Twin Peaks

[Hobo]

That damn ceiling fan is back.

I genuinely teared up at Sarah Palmer's scenes.

 

[Skummy]

The ceiling fan is kind of a perfect example of how well Lynch has used the iconography of the previous seasons to great effect in this one - the moment you see it, you're on edge. I think the last three or four episodes have been the best example of tension-building I've seen since The Shining; even when nothing's really happening, it feels like the whole show is conspiring to make you see impending, unavoidable disaster right around the corner. You know something bad is coming, and you know there's absolutely nothing anybody can do to stop it, it's just a matter of time.

[Hobo]

The pacing is so methodical. It has been throughout but in the last two episodes you can really feel it. It is frustrating but in a really enjoyable way. 

I love the that Audrey is reintroduced in a scene that is completely unrelated. And that the episode ends with characters we've never seen before. Which felt very self aware. With potentially a reference to Richard making a run for it?

[Skummy]

Quote

 

The pacing is so methodical. It has been throughout but in the last two episodes you can really feel it. It is frustrating but in a really enjoyable way. 

 

This episode was practically glacial! I don't even find it frustrating, you just need to let yourself become attuned to how it works; people complain about certain scenes being meaningless, or some dragging on too long - sweeping the floor at the Roadhouse, or this week's brilliant "I worry about you, Albert" long pause (which was heartbreaking in retrospect) - but they do such a great job of maintaining that pace, and of building a mood that goes above and beyond the more literal plot. I said it before, but this series is so much more about creating that atmosphere than about telling the story, and when the connections in the story do come about, it's through free association - we're encouraged to approach the show like the Sheriff's Department approaching a mystery through drawing connections between bizarre, disparate clues, nothing so simple as "if X, then Y". And that atmosphere is what makes Twin Peaks work - the theme music still gives me goosebumps, and there are certain visuals that set my heart racing, no other show has ever managed that.

 

Who's Billy? Who's Tina? Who's Chuck? Who's Angela? Who's Clark? What/Who is in Sarah Palmer's kitchen? What's happening?!

That whole Audrey scene felt like a conscious tease - we finally get Audrey, get a glimpse of where she is in life, but given that it came straight off the heels of Truman informing Ben Horne about Richard, we were obviously set up to assume we'd get our confirmation that Richard was Audrey's son, and her reaction to his misdeeds, but instead we get an entire scene of her discussing people we've never heard of.

I really, really hope that the theory going around that Richard is the son of Audrey and Evil Cooper is wrong - even by the standards of someone possessed by BOB, the idea that Bad Coop raped Audrey while she was in a coma just isn't something I want in this show. It also feels a bit obvious.

There's a theory going around that Audrey's scene didn't really happen, that she's still either in a coma or institutionalised, and that what we saw was just a dream/delusion of hers. Part of the reasoning being that her husband was using a rotary phone, with a stack of paperwork, rather than any modern technology, and referring to characters who may not even exist. If Audrey's been in a coma for 25 years, it would make sense that her imagined adult life wouldn't contain any modern technology. It may even be that Audrey is trapped in some Lodge or other, and Charlie is a Lodge spirit. I don't buy it, though until she mentioned the Roadhouse I was wondering if she was even in Twin Peaks at all. Presumably the guy who's truck got stolen relates to the truck Richard ran over the kid in, and whom Andy failed to question, though, which - free association again - manages to tie Audrey back to Richard, and back to reality, which is another mark against the theory. That said, the constant throwing out of new names - Billy, Tina, etc. - and the implied convoluted connections of all of these people seemed to be almost a conscious parody of the soap opera side of Twin Peaks; every happy couple has a double life, every married man a secret mistress, and it's all the viewer can do to try and keep up with it all. Inside the mind of an already over-imaginative girl like Audrey, growing up in that world, it wouldn't be enough for her to have imagined a sedate married life, she would need to imagine a soap opera melodrama of betrayals and secrets. Worth adding that, thus far at least, she never reached the Roadhouse.

My theory? Audrey isn't Richard's mother. It's not been said, Ben Horne has only referred to "the parents", and Richard never having had a father - but Audrey seems to be married (unless there's a whole lot of misdirection going on there), and we can assume has been for some time, so Richard must at least have had a nominal father figure at some point, and you'd think that in a close knit town like Twin Peaks, with a family as notable as the Hornes, Truman would know this. My theory (which I arrived at about two minutes ago) is that there's another Horne child - a bastard born of one of Ben's dalliances with an employee or a One Eyed Jack's prostitute - who's the mother of Richard, and her existence is partially responsible for the divorce of Ben and Sylvia. There's probably a thousand reasons that can't be true, but him being Audrey's son just seems so obvious, yet so wrong to me. Either one of these theories - mine, or the coma/asylum theory - would explain why Richard seems to have a relationship with his grandparents but not with Audrey (who doesn't appear to be short of money), and why the police have gone straight to Ben Horne to talk about his grandson, and only referencing the parents obliquely.

Ben Horne is becoming a low-key highlight of this for me - he's not had anything substantial to work with, and rarely been relevant to the story, but his scenes have a quiet dignity completely at odd with how cartoonish his character once was. He really feels like an older man struggling against his own nature - he's trying to do things the right way, and make up for past wrongdoing, even as everything is collapsing around him. His waxing lyrical about his childhood bike was Citizen Kane-esque, but really summed that feeling of reconciliation up for me.

Another theory going around - apparently an owl flew over Dougie's house in his brief scene.

 

Diane seems to be working for Bad Coop, as I hoped she wasn't...though Albert is definitely more aware of this than I had thought, rather than just being suspicious of her. I think the FBI have a plan to let Diane lure them to Cooper, just as Diane is attempting to use them. They're both smart enough to suspect the other, it's got to come down to who has the best hand to play. A whole mess of double crosses are incoming.

The whole Blue Rose reveal scene, and subsequent hotel room larks, was moving - and full of references to all manner of things. From Diane's "Let's Rock" to Cole's joke including the line "a mother's daughter", and references to missing women amid rubbish jokes; could it be that, knowing there's a chance Diane isn't on the level, Gordon and Albert were speaking in Blue Rose code? I don't like that they've gone into UFO stories with Blue Rose, though that was apparently the plan for series 3 back in the day anyway, and comes up a lot (too much) in "Secret History of...", so I suppose it was inevitable. I'm actually kind of surprised how heavily involved in Blue Rose Albert seems to be - he's the archetypal sceptic, so I always assumed he was a top agent begrudgingly drafted in to focus more on the mundane aspects of these cases, but it seems he's been an integral part of Blue Rose since the beginning. And, of course, the room the Blue Rose conversation happened in having red curtains can't be a coincidence. Diane emerging from red curtains is a powerful, significant image.

There was a bouquet of blue roses next to Miriam's hospital bed, incidentally.

Is anything with Dr. Amp going anywhere, or are they just bizarre interludes? After the "reveal" that Nadine had bought a bunch of gold shovels for her silent running drape store (which was brilliant), I didn't think we'd see another going-nowhere skit with him, but there he was again, adding nothing. I get the feeling that he's completely disingenuous and doesn't believe at least half of what he's saying, but what does it all mean?

Carl continues to be wonderful and, in some ways, the heart and soul of this whole series - like Hawk and Truman, but without the weight of having to go out and solve crimes. Which makes me scared that something bad is going to happen to him. I really hope not.

 

What's happening in Sarah Palmer's house? What's in there, if anything? Maybe it was just "something in the kitchen". Get ready for some more free association:

• She had her breakdown in a convenience store. Woodsmen have been seen congregating in convenience stores.
• Woodsmen are from the Black Lodge, presumably. They seem to feed on Garmonbozia, or at least to collect it and prevent it returning to the Black Lodge - hence how/why they managed to keep Bad Coop "alive" when he should have been killed, perhaps. The Palmer house must be positively dripping in Garmonbozia, even without its existing connection to the Black Lodge.
• What did Sarah say in her convenience store breakdown? "There are men coming". Woodsmen?
• We've seen that Woodsmen were able to somehow reconstruct Bad Coop.
• I've been working under the assumption that Episode 8 was entirely set in the 1950s, with the sequence of the White (?) Lodge creating the essence Laura Palmer in response to the creation of BOB having taken place long before the first series of Twin Peaks. But perhaps that's not what we saw. Or perhaps it happened at a different time. Or, more significantly, we already know that time isn't linear in the Lodges anyway. Are Woodsmen, or a White Lodge equivalent, attempting to reconstruct Laura Palmer in the Palmer house to counteract the coming storm ("There's Fire where you're going!") from the Black Lodge? And is Sarah, still maddened by grief, complicit in this?

1 hour ago, Hbob From Another Place said:

The pacing is so methodical. It has been throughout but in the last two episodes you can really feel it. It is frustrating but in a really enjoyable way. 

I love the that Audrey is reintroduced in a scene that is completely unrelated. And that the episode ends with characters we've never seen before. Which felt very self aware. With potentially a reference to Richard making a run for it?

Characters we've never heard of popping up in the Road House isn't new for this series, but I do wonder where (if anywhere) all that's going, or if it's just a way to crowbar in more actors! I was curious about the person who ran Trip (?) off the road - Richard making a run for it, or Audrey speeding to the Road House? Or, worse, Bad Cooper on his way home?

Or, conceivably, none of the above and we'll never hear of it again.

 

Oh, and lest we forget, Gordon has previous;

[tristy]

I think it was just the bag boy from the grocery store in Sarah Palmer's house - he said he knew where she lived.

[Skummy]

True, it could be something that mundane. But it seems an odd thing for Sarah to lie about, or to draw attention to.

[Skummy]

Okay. Bunch more theoretical stuff I'm seeing;

There was a long-standing theory earlier in the series, which I don't buy into, that what's going on with Dougie actually took place before the main story - that the Black Lodge threw Dale Cooper back out into the world prior to the events of Twin Peaks, and that he would return to Twin Peaks at effectively the beginning of season one. There's a thousand and one reasons this doesn't make sense and, like the Audrey theory, it was based largely on anomalies and the presence of obsolete tech and so on.

However, there is still the odd discrepancy around time. In the original series, an episode of Twin Peaks was supposed to represent roughly a day in that town. But that doesn't seem to add up this time round - we saw the news report of Dougie stopping Ike The Spike several episodes before other characters watched it, presumably live, on TV.

A lot of things seem to be taking place in a very short space of time, based on what few points of reference we're given, so it may be that not everything we're seeing occurred in the same sequence as we've witnessed it. Entertainment Weekly suggested that, based on Diane's outfits and the fact that her and Tammy were taken on, and asked to comment on, a clearly "Blue Rose" case last week, perhaps the Blue Rose induction for them we saw this week actually occurred prior to that episode, and we were only shown it this week.

Way back towards the beginning of the series, an episode closed on the Diner, rather than the Roadhouse, and someone barged in calling for "Billy". We now know that Billy, whoever he is, has only been missing a couple of days, and Audrey is going out looking for him. But, following the "one episode = one day" pattern, Billy would have been missing a week or more, assuming that the person in the diner was looking for him as missing. I'm not 100% sure about this bit, to be honest!

 

What I've seen suggested now, which I sincerely hope isn't true because it would make this whole series unfathomable, is that there's a significance to the bands playing the Roadhouse more than once. I'd already thought that Nine Inch Nails appearing at the Roadhouse early in episode 8, rather than at the end, was an indication that the ordinary rules of time didn't apply to that episode, but what's been suggested is that each band playing at the Roadhouse is an indication of one day having passed. This week, Chromatics played the Roadhouse for the second time - meaning that at least part of the episode we just saw actually took place at the same time as events in episode 2, the last time we saw them at the Roadhouse. Au Revoir Simone appeared in episodes 4 and 9.

I have done absolutely no work to try and match up the events of said episodes to see if this makes any sense whatsoever, and I suspect it doesn't.

[Hobo]

The idea that Audrey is in a coma would explain the entire nature of that scene. It felt so very disconnected and from everything.

 

[Hobo]

 

On 1/8/2017 at 11:11, Skummy said:

What's happening in Sarah Palmer's house? What's in there, if anything? Maybe it was just "something in the kitchen". Get ready for some more free association:

• She had her breakdown in a convenience store. Woodsmen have been seen congregating in convenience stores.
• Woodsmen are from the Black Lodge, presumably. They seem to feed on Garmonbozia, or at least to collect it and prevent it returning to the Black Lodge - hence how/why they managed to keep Bad Coop "alive" when he should have been killed, perhaps. The Palmer house must be positively dripping in Garmonbozia, even without its existing connection to the Black Lodge.
• What did Sarah say in her convenience store breakdown? "There are men coming". Woodsmen?
• We've seen that Woodsmen were able to somehow reconstruct Bad Coop.
• I've been working under the assumption that Episode 8 was entirely set in the 1950s, with the sequence of the White (?) Lodge creating the essence Laura Palmer in response to the creation of BOB having taken place long before the first series of Twin Peaks. But perhaps that's not what we saw. Or perhaps it happened at a different time. Or, more significantly, we already know that time isn't linear in the Lodges anyway. Are Woodsmen, or a White Lodge equivalent, attempting to reconstruct Laura Palmer in the Palmer house to counteract the coming storm ("There's Fire where you're going!") from the Black Lodge? And is Sarah, still maddened by grief, complicit in this?

 

Just listening to the Fire Walk Talk With Me Podcast and this came up.

I'd heard this already but Gordon sees the Woodsmen on a staircase and wallpaper of that staircase is the same on the painting from Laura's room that Mrs. Tremond gives her in FIWW.  On the podcast, they note that we first see the ceiling fan through Laura Palmer's old bedroom window.

With that information and based on what Sarah Palmer said at the convenience store, I'm going to bet that her house is full of Woodsmen. She could see BOB so it makes sense that she can see them.

 

[Skummy]

The ceiling fan is definitely significant - it's something intimately tied to Leland and BOB, and a sign of Black Lodge activity. Throw in the scene with Gordon, and I think you're absolutely right. And the Woodsmen are Garmonbozia scavengers, so they're going to love the Palmer house - but the question is how much Sarah knows.

 

Reassessing my theory on Richard Horne - I don't think Richard is the son of an illegitimate child of Ben any more; I think Richard is the illegitimate child of Ben Horne.

Assuming Richard is roughly the same age as the actor playing him, he's in his early 30s. Could probably apply some Hollywood license and say he could be mid-to-late 20s.

So unless Richard Horne is supposed to be considerably younger than the actor portraying him, he's too old to be the son of Audrey Horne - 25 years ago, Audrey was a virgin, and then in a coma. We don't know what's occurred in her life since then, aside from the suggestion that Evil Cooper visited her in hospital, but anything later than that would start to edge Richard's age into his early 20s, which is plausible, but not necessarily likely. She can't be Richard's mother, it doesn't add up.

But what was Ben up to 25-30 years ago? He was a villain, he had been having an affair with a high school girl, he owned (and used) a brothel, and had a history of extramarital affairs. By the end of series 2, he was trying to atone for his wrongdoings - and seems to be very much in the same position now, yet is seemingly separated from Sylvia in spite of that.

I think there's a Chinatown twist coming - Ben is Richard's father, not his grandfather. He was born of one of Ben's affairs, came to light later in life - possibly through blackmail, given that Ben was more than little susceptible to it - and was raised by the Hornes as their "grandson", perhaps in Audrey's absence, to explain away his existence to polite society. But the revelation of Ben's infidelity, or the stress of raising a clearly evil "grandson", led to the break-up of the Hornes' marriage.

[Josh]

My review of this episode:

"It's a good one!"

Seriously, that entire scene with Albert, Gordon, and Gordon's Friend. My god. So many wonderful shifts in tone.

[Skummy]

Another point on the weirdness of the Audrey scene:

Charlie said it was a New Moon, but at other points in the episode we saw a Full Moon. So either Charlie's lying, Audrey's not quite in our reality one way or another, or the scenes we see aren't necessarily occurring in chronological order.

[Benji]

I have nothing to add to this thread except for the fact I just thought "Twin Peaks" could be a great code for someone who has weird looking boobs.

[Hobo]

Just finished this episode and I was at my most 100% panicked when I thought Dougie was going to be killed.

My initial reactions are:

Janey-E and Sonny-Jim are set for life. I'm certain something is going to happen to Dougie in the next few episodes and the Mitchum brothers will look after his family. Now that the police in Vegas have found the link between Dougie and Bad Cooper it's going to get to the FBI sooner or later.

I'm really curious as to how Phillip Jefferies is going to play into all of this in any other way than just as an unseen presence. It was interesting that Ray said he knew who Cooper was - does he mean he knows he's Agent Dale Cooper? Or was there more to that? Cooper should have the coordinates now shouldn't he? Meaning that Cole et al and Bad Coop have them.

Audrey is some kind of waiting room and can only get out when Cooper returns to Twin Peaks. Could she still be in a coma? The scene in this weeks episode where Richard watches Cooper kill Ray seems to seriously imply a link between the two 

Sarah Palmer is a never ending supply of garmonbozia and there's just a tonne of Woodsmen coming to feast. It felt like that whole scene played over multiple times before Sarah actually did anything different. Laura still has some role to play in all of this too.

With Norma having licenced the RR out as a franchise - it might be possible that the pie that Dougie is eating is based on her recipe? The only flaw in this is that the cafe in Dougie's building isn't a Norma's Double R Diner. Although I'm getting the feeling that at some point very soon Dougie is going to end up in a Double R franchise diner eating one of the authentic pies and this might be important.

Becky's husband has disappeared. Which is interesting. I don't know what's going on there.

There is a real sense of things drawing together. You just have to wonder how quickly they're going to get there.

[Skummy]

One of the weaker episodes in a while but, yeah, still feeling like things are coming together.

The theories about Audrey definitely seem a lot stronger now - she's somewhere not quite right, and not in control of herself. Could she be in a Lodge, and her not knowing who she is means that there's someone else out there, that we've already met, that's effectively Audrey Horne in all but appearance? Or is she still in a coma willing herself to wake up?

I like the idea that Dougie will end up eating at a Norma's Double R - though it sounded like it's still quite a small regional franchise, and Vegas is a long way from Twin Peaks, though who knows what could happen?

It does sort of feel at times like Dougie Jones is David Lynch sticking two fingers up to the parts of the audience who wanted new Twin Peaks to just be a cosy nostalgia trip rather than exploring the story further. A grown man infantalised and repeating the words "coffee" and "cherry pie"....

 

Big Ed!

[Hobo]

I got the feeling she was willing herself to wake up and whatever Charlie is, he's what keeps her there.

9 minutes ago, Skummy said:

It does sort of feel at times like Dougie Jones is David Lynch sticking two fingers up to the parts of the audience who wanted new Twin Peaks to just be a cosy nostalgia trip rather than exploring the story further. A grown man infantalised and repeating the words "coffee" and "cherry pie"....

 

It's the most charmingly adorable up-yours in history! The Wesley(?) and Norma scene this week seemed pretty pointed as well.

Dougie is really fascinating and magical. I love how pretty much everyone who encounters him very quickly wants to protect and help him. It seems he has a bit of an evolution in the last couple of episodes. I've been of the impression he's being a little more aware, at times, of what's going on. I feel like the cherry pie has something to do with it.

[Skummy]

The theory that the Guardian are running with is that Charlie is Audrey's therapist, not her husband. It doesn't add up to me.

Another interpretation is that she's still in a coma and Charlie is Benjamin Horne refusing to switch off her life support and "let her leave".

The thing that doesn't seem to be getting picked up on much from Audrey is "it's like Ghostwood here!" - Ghostwood is pretty intrinsically tied to Audrey's story.

 

Another is that, if we take the theory I subscribe to that this series of Twin Peaks is Lynch's personal exploration of his own work and the thread to tie it altogether, Charlie is representative of meddling studio executives - threatening to end Audrey's story, being akin to cancelling Twin Peaks in the first place, or forcing them to reveal who killed Laura Palmer in series 2. Though I'd also suggest that the conversation between Walter and Norma was very much this - "love doesn't always make a profit", and suggesting that the "true artist" water down their work in the name of a turning profit, felt like a very biting commentary from Lynch himself.

There's also a theory that the Double R diner scenes are out of synch chronologically. In this episode, we had Becky phone Shelly and say that Steven had missing for two days - which is plausible, but feels like it maybe belongs prior to the last time we saw Becky in the diner. Shelly invited Becky to come to the diner that evening - but when we're at the diner later, we see Bobby there, but no Becky or Shelly, and Bobby's talking about something that happened that day (the discovery of Major Briggs' hand-me-downs to him), but which we saw several episodes ago. No one in conversation with Bobby or with Shelly felt the need to bring up Steven's presumed cheating, Bobby's altercation with a zombified girl in a car, and so on. Maybe this will all come together, maybe it won't, but I'm more and more convinced that a lot of this series isn't happening in chronological order - to what end, I haven't figured out.

 

I didn't pick up on this personally, but apparently Big Ed's reflection was out of sync with Ed himself during the end credits. Ed is eating soup, but his reflection isn't. Not the first time the end credit scene has been seemingly "off" or out of synch somehow - the one episode that closed at the Diner rather than the Roadhouse seemed to have audio not quite in sync with the visual.

 

Other random thoughts; Duncan Todd seems a lot more significant than I assumed, as he seems to be positioned as the villain of the piece, or at least of Dougie's side of the story, now. I'd always assumed that he was pretty much a lackey for someone above him - Phillip Jeffries, presumably - and that he was being pressured against his will into sending out the calls for murder and corruption, that he was just a cog in the machine. Now it seems that he's a far more significant player than I'd realised - though I still very much doubt he's anywhere near the top of the food chain.

Way back when he first appeared, someone suggested that there was something of the Lodge to Sonny Jim - something about his eyes. I never bought it. But it was hard to shake that thought when he was running silently around a lit-up jungle gym with a spotlight on him. "Sonny Jim's in seventh heaven", but it certainly didn't look like it, it just looked like he was going through the motions. Who puts a spotlight on a jungle gym? Brings to mind the spotlight when Leland killed Maddy, and that electricity is tied to the Black Lodge. I'm assuming it's nothing, but I couldn't shake that this was a really, perhaps unintentionally, creepy scene.

 

Someone pointed out that The Farm, where Bad Coop found his way to Ray, and where Richard Horne has somehow found his way, is in Western Montana. Do you know who else is from Western Montana? David Lynch. And Maddy Ferguson. I'm free associating again here. Speaking of Richard Horne - how far away is Twin Peaks from Western Montana? Twin Peaks is just a little south of Canada in Washington state, right? So Richard's done one hell of a runner in a short space of time - assuming that we're seeing things in chronological order.

Why did Bad Coop want cellphones? Logically, it's because he's running a criminal network, and because he needs to contact Diane. But he was told that the phones wouldn't work in the Farm. So that means one of two things - one, he's leaving the Farm; which, given the coordinates he just picked up, presumably means he's headed to Twin Peaks - which raises the question of why, given that he's actively avoiding being called back into the Black Lodge - or he doesn't need them to use them as phones. Last time we saw him use a phone, it was back in the prison and all sorts of weird shit happened. Can he use the Black Lodge's influence over electricity to fuck with things via the phone network?

Ray seems to know who, or what, Bad Cooper is, probably through working with Jeffries. He's also still wearing the protective ring, though it didn't seem to do him any good. Though given that the ring transported him (or, at least part of him) to the Lodge, it looks like Jeffries is actually trying to trap Bad Coop back in the Lodge, so while he seems to be pulling all the strings behind the scenes, he might not be quite so evil as we thought, if he's trying to send BOB back home. Remember, also, that Dougie - the real Dougie - was transported to the Lodge via the same means. What is "The Dutchman's" where Jeffries apparently is, but is not a "real place"? Somewhere in Ghostwood, or the Lodge, or just a codeword for somewhere far more mundane? Cooper seems to know.

 

Still no idea where things are going with Jacoby and Nadine, but at least they seem to be going somewhere.

What the hell is going on in Sarah Palmer's house? Very intense scene of her just watching a loop of a few seconds of an old boxing match. The thoughts that come to mind here are that boxing immediately puts me in mind of Battlin' Bud, the static of the TV screams Black Lodge, and the notion of being caught in a never-ending loop applies very obviously and very tragically to the life of Sarah Palmer over the last 25 years. Maybe we're wrong looking for a Black Lodge or supernatural explanation here, and we're actually just looking at the aftermath of a poor woman whose life has been destroyed.

Speaking of being stuck in a loop, though....25 years on, and James Hurley is still playing the song he played with Donna and Maddy. This must have more significance than just another Roadhouse performance, considering it's James Hurley of all people, and the first use of an actual song from the original series. Particularly when we've had our first glimpse of Big Ed this series too. Is James another Sarah Palmer, another Big Ed, another Audrey perhaps - dangerously trapped in the past, unable to move on from the events of 25 years ago?

[Hobo]

This is unrelated to the new series but I love this scene so much and I thought about it today apropos of nothing.

It's kinda a shame that it's all chopped up in FIWWM

[Josh]

Finally got to watch the most recent episode. I never would have thought that I'd be loving a series featuring Kyle McLaughlan, Jim Belushi, and Tom Sizemore in 2017.

[tristy]

Sarah Palmer has a hand inside her face, and Janey-E is the half-sister of Diane.

This fuckin' show.

Edited August 14, 2017 by tristy