Welcome to Diane… #15.

Rosie, Bob and Adam dose up on bad medicine before watching the lucky thirteenth episode of David Lynch and Mark Frost’s Twin Peaks, Demons.

This time on Diane infection threatens but the treatment seems to be off. Audrey’s had an overdose, Harold fights contamination, and if the wonders of home care don’t kill Leo Johnson the cake might. Off his meds, the one armed man reveals that his amputation was inspired by God, and invites us to consider the parasite.

We could all catch up on our sleep ladies and gentlemen, but restless nights and uneasy dreams go with the territory.


You mighty one who ascends the mountains
Who faces all the winds,
Angry wind, who’s rising is terrible
Fierce one, raging one, who comes on furiously,
Who roars at the world regions,  who wrecks the high mountains
Who parches the marshland, who withers its reeds

He confronted the woods, dropped its trees

He descended to the river, poured out ice

He struck the young man, hunched him over,
He knocked the young woman, hit her womb

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*Actually by jovi, we’re having a break while a few of us go on holiday or whatever, so no Diane for three weeks. Feel good about it: consider it a respite.

Next episode: Nothing major really, just a nice little ep to chat about

19 Responses to “Diane… #15: Twin Peaks Episode 13 – Demons”

  1. John Says:

    In this episode, the episode before the giant reveal, we get to see so MANY other reveals:
    -We get to see the real Maddie for the first time
    -We see Josie (in that scene with Ben where she looks and acts like a devil) for the first time
    -We get to see Leland in his pre-show normal.
    -We see where Cooper’s FBI worldview comes from in Gordon Cole.
    -We see Harold’s vulnerability (reason for his isolation) for the first time
    -Not to mention One Armed Mike for the first time in the waking world.
    -Ben gets to experience the full extent what Audrey knows (and of her power)
    -Leo (however draped in coma) sees Bobby and Shelly up close and personal.
    -While Nadine counterpoints everything by full-on dressing up her dillusion (therefore showing us her true parameters for happiness)

    Masks have been lifted and truth spills out all over the carpet, hm?

  2. John Says:

    When I first watched this as a kid, I was terrified for Bobby and Shelly. I just knew Leo was going to wake up, and it was maddening that he wouldn’t do it. What was he waiting for? Those kids were going to get killed, just leave the room for god’s sake.

    I love the idea that the hermit’s olden role of confidante works so well with Harold.

    I think the Maddie scene here (when she becomes a real person and why she enjoyed being someone else) is why I had such an affection for her as a young guy who was trying out my own ways to interact with the world.

    Rosie, the last part of the episode you read over the Dark Mood Woods track was properly haunting (with that patented twin peaks edge of sex appeal just to confuse a guy as for what should he be thinking about).
    And then the not-actually-non-sequitur JBJ music at the end gave me a good laugh.

    Earle’s chess move appearing in this episode seems early…can you imagine if this came with a follow-up in episode 17, what other space the show could’ve moved into?

    If the wait for the next episode doesn’t kill me, the cake might. Rock on, New Jersey

  3. Mark Says:

    The thing with your posts, John, is they always make me want to ask about, well, everything.

    So Coop got his FBI worldview from Cole? He didn´t have the bones of it before? I´m not saying you´re wrong, I really haven´t thought about it and don´t have much of an opinion, but you´ve thought about it a lot I imagine, and I´d love to hear your, probably very well thought out, take. So can you unpack that a bit?

  4. John Says:

    Hey there Mark, I actually meant the FBI line pretty plainly. We meet Cole and immediately know Cooper isn’t this crazy Tibet-obsessed rogue agent in an otherwise buttoned up Bureau of efficiency (made of Alberts, say), he’s one link in a chain of abstract thinkers and is a solid representation/reflection of his immediate boss’ mindset (and he’s not going to be fired for thinking too far outside the box). And he came to this thought process naturally; Cole and Coop appear to be kindred spirits just as much as mentor/mentee.

  5. Mark Says:

    Excellent. 100% AGREE.

    Talk about the chess. My thoughts about that have always been vague, but I definitely feel they could have done more.

  6. John Says:

    If Cooper and the gang had to publish chess counter moves as early as the wake, Windom Earle could’ve arrived a few episodes before he did, which means he could’ve been in the mix in person while all that stuff went down at dead dog farm. Which means, most importantly, that his first full episode wouldn’t be directed by Diane Keaton. And that means he might’ve cultivated some menacwe right away instead of zany flute prancing.

  7. Mark Says:

    I´m not against flute prancing because it plays into Earle´s puckish vibe, which I do think is very creepy. But, yeah, it could have come later.

  8. John Says:

    I suspect this is partially a cultural issue. I’d say the grand majority of american viewers have an exposure to Shakespeare that begins and ends with Romeo and Juliet. And,faeries tend to be cute and hang out with Peter Pan. We see Earle do the trickster thing and it reminds us of Cesar Romero and Frank Gorshin doing the campy Batman villain thing, and they’re as toothless a danger as they come. Being able to easily laugh at the biggest bad since Bob really messes with his credibility to be dangerous.

  9. Adam Says:

    You could probably say the same for most Brits, in all honesty.

    As an aside, I suspect Mark shares my unconventional view that Gorshin and Romero are just a shade shy of very creepy indeed!

  10. Adam Says:

    Wondering how I’m going to respond to Earle this time around. My wife’s struggling with some of later S2 episodes (she’s ahead of me) – not sure this bodes well

  11. John Says:

    Just try to remember the menacing Earle in the last two episodes. That was the way I met the guy and that’s impression I’ll always have. Makes up for the less serious stuff.

  12. Mark Says:

    I´m going to save Earle thoughts for the pod now.

  13. John Says:

    I hear you there, Mark. I keep wanting to pick your guys’ brains on so many things but I don’t want to hear it until the show. But I tell you what, after you’re through the show all bets are off.

  14. Adam Says:

    It’s a tricky one, how and when we get our thoughts down. It occurred to me last night that I’m going to have to sketch my grand theory, or at least its outline, on the next episode of the podcast. I’ve been pointing in it’s direction for a while, introducing relevant ideas, etc… still, it feels maybe too early.

  15. John Says:

    It’s such a shame you guys went non-spoiler…I mean, parameters and limitations do make for a great product and direction usually (just look at 8-bit game music for example), but listening to you all going for it and leaving no cards on the table would just decimate me in the greatest way.
    But then you’re running into SW&21′s dilemma where you’re only going to be listened to by people who’ve already seen everything at least once, which is quite the time commitment to expect from a normal listener. The way you’re doing it allows your listenership to be enormous, and not closed to superfans only. But it really encourages people to become superfans…

    So long story short (too late) I don’t envy your dilemma at all.

  16. Adam Says:

    There are plans afoot which should allow us the occasional off-the-chain episode. We’re quite excited, although we need to wait for Rosie to get back from her hols to thrash it out. Probably nothing of that nature before October.

  17. John Says:

    The Stowrywonk team that does Dusted (for Buffy the Vampire Slayer) when appropriate has a small ten-minutes-or-less epilogue after their closing music they call the spoiler zone where the talk about any long game issues introduced in that episode and talk in broad strokes about the future. That could be a quick way to do it too. But I’d rather see a one-off episode blatantly described as spoiler-filled myself.

  18. Adam Says:

    Running time is the problem. We struggle to get listener feedback on, let alone setting aside 10 minutes to talk about spoilerific stuff. It is a good idea though – we should maybe think about it.

    In other news. My wife this morning: “This watch through, some of the later episodes remind me of Batman & Robin”. She doesn’t read *anything* about Twin Peaks, and we don’t talk about it much.

  19. John Says:

    I find it interesting that you’re trying to stick to an exact time frame every episode….I feel like as long as you’re at an hour and a half or under you’ll be fine with your audience, especially considering the show invites further discussion as more and more layers reveal themselves.
    There’s also listener goodwill you’ve built; if the episodes get somewhat larger than your hour and a quarter, those of us invested will roll with it if the expansion is reasonable. An extra fifteen minutes per episode isn’t going to even be a blip to me.

    I find the “love letter to TV” approach of TP writers almost 100% fact in TP and I think including the Omen etc is there, and I begrudgingly now think someone included Batman as part of the show’s influences too. I just wish they didn’t marry it to Earle’s character. Should’ve been Nadine-related.

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