Subject: Re: COOP, Drop Annie !!!! (small 4/18 spoilers) From: rjohnson@vela.acs.oakland.edu (R o d Johnson) Date: 1991-04-19, 12:33 Newsgroups: alt.tv.twin-peaks In article <3658@lamont.ldgo.columbia.edu> hough@lamont.ldgo.columbia.edu (sue hough) writes: > >In article <1991Apr19.125827.627@eagle.lerc.nasa.gov>, xxmartn@lims04.lerc.nasa.gov writes: >> >> I now believe Annie is *NOT* what she seems.... >> >> She is BAD (maybe slightly influenced by the black lodge)... >> >> Also, I am noticing how Annie's involvement is causing COOP to veer off >> >> his quest to put an end to WE ( & Black Lodge). She is trying to distract >> >> COOP so he cannot move as quickly as WE is in finding their sources of >> >> "power" (WE - Black lodge, COOP - White lodge). > >As evidenced by my last posting, I first assumed the obvious > >implications of the events of recent weeks: that the giant > >was warning Coop for Annie's safety (and could Coop really > >be dumb enough not to see)? Well, Coop is being dense no matter > >what, but when is the last time TP was so predictable? > >Why *did* Annie decide to emerge from the convent? Well, these are both possibilities, but there's also the chance of something in between--namely that it's neither danger to or from Annie that the Giant is trying to warn about, but merely that their coming together is, for unrevealed reasons, an unfortunate "conjunction", that they're, in effect, the human Jupiter and Saturn of this plot. When they met, there was practically an audible >click< of tumblers falling into place, and another one happened when Coop called Annie the queen last night. The "combination" that these two are acting out isn't necessarily one that opens a happy door by any means. This last part of the episode (much of which I found rather lackluster, sorry), was great--it had the same sense of tragic events moving implacably in their courses that the death-of-Maddie episode did. In fact, most of the best parts of the episode had that feeling. Partners coming together: Annie and Coop, Shelly and Bobby, Audrey and Jack, Donna and. . . nobody (Ben?). The irony of someone finding love at last, only to lose it in that moment, isn't exactly an original plot, but it added a nice mournful element to the emotional texture here. (I'd say Donna's out of the running, since no one would mourn for her.) And the dread, as people have remarked, was palpable, reinforced by those shots of the traffic light, the firs waving in the rushing wind, the cameras drifting down empty corridors. . . I think the succession of images in the last minutes was a kind of underture, weaving together these images thaty we've seen before as a kind of closure to the whole series, establishing where we stand before the cataclysm, as if all of Twin Peaks had arrived at a kind of hushed expectancy and we were being allowed to savor it once before everything comes to pieces for good. One of the remarkable things about this series is that a few simple images have been endowed with this kind of pregnant quality, so that a simple shot of the moon or the fir branches has an almost musical effect--it's as if a mysterious chord has been sounded, or a sustained rest at a surprising moment, in a nineteenth-century symphony. When it's done poorly, it's ham-fisted melodrama; when it's done right, it can give you chills. -- Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 "Poetry ends like a rope" --Jack Spicer