Alright now let’s just dial it back a bit
This has definitely grown on me with each viewing, and now it’s at the point where I think it’s as essential as all his best work thematically and aesthetically, even removed from Twin Peaks canon. The original series and Blue Velvet take on suburbia by showing the seedy underbelly of an idyllic town, but what the series taps into briefly that FWWM really develops is the idea that the underlying evil of suburbia is actually within the home, which is far more terrifying. Laura…
Second time around only affirmed the stuff I was unsure of and improved everything else. I still think calling the season a movie is pretty dumb unless you consider a lot of other shows movies too, but that’s something to take up with Cahiers du Cinéma, not the show.
Obviously there are a lot of questions left unanswered, but I think the biggest through line of the season is modernization, which seems given with this being a 25-year return, but…
It’s a bit slow to ramp up the tension but I think it was earned, especially with such great editing throughout, palpable chemistry between Donald Sutherland and Brooke Adams (except for one scene that makes you say “not the time or place guys”), and special effects that hold up remarkably well. One school of thought is that it’s about the spread of communism, and another school of thought is that it’s actually a criticism of McCarthyism, and while I think…
The real reactions in both of these movies are just so much better than the scripted stuff, and this one seemed to rely a lot more on the latter. The abortion scene was a standout, but I was really just waiting for the Giuliani scene, which ended up being a little underwhelming compared to how it was described. It did some fun stuff with Covid but definitely hit some low-hanging fruit in other areas. Even kinda stooped to SNL levels with the Karen stuff at the end.