The Possibility of Parallel Realities in TWIN PEAKS: THE RETURN



Almost everyone I know who is closely watching the astonishing third season of Twin Peaks agrees by now that the chronology of the scenes set in the town of Twin Peaks itself is far more scrambled than the chronology of the show’s other narratives set outside of Twin Peaks (see my updated timeline for examples). A lot of commentators, including me, believe that this non-linearity is deliberate on the part of the show’s creators, David Lynch and Mark Frost, and that it relates to their desire to further explore the kind of time/space paradoxes that have always been central to both the show and Twin Peaks: Fire Walk with Me (Annie Blackburn appearing to Laura Palmer in a dream and conveying information about Dale Cooper before his arrival in town being perhaps the most prominent example). While puzzling over the current season’s tricky chronology – specifically the way two different episodes depict separate scenes of Bobby Briggs that appear to be occurring in the Double R Diner on what seems like the same night (one involving him interacting with Shelly and Becky, the other involving him interacting with Big Ed and Norma) – an idea struck me: what if, instead of a jumbled timeline, the town of Twin Peaks and its residents exist simultaneously in two separate realities? And what if David Lynch is freely cutting back and forth between these parallel realities without giving viewers any clear or comforting indication of when we are seeing what I’ll call “Reality A” vs. when we are seeing what I’ll call “Reality B?”

The most solid evidence in favor of this theory can be found at the end of Part Seven. In one of the show’s most baffling moments to date, a young man identified in the credits as “Bing” bursts into the Double R Diner and excitedly blurts out the question “Has anybody seen Billy?” before turning and running back outside. This action happens over a series of wide shots taken from the back of the diner that are interrupted by medium shots of Norma sitting in a booth and looking up from her paperwork, seemingly in response to the commotion caused by Bing. Interestingly, the dozens of customers populating the diner are completely different from one wide shot to the next – even though no time appears to elapse over the straight cuts that separate them. Some cynical viewers have suggested that the use of shots featuring different extras is a mere “continuity error.” Others think the sense of temporal dislocation imparted by these cuts is intentional on Lynch’s part but cannot agree on the purpose of this bizarre editing scheme. Could it be that this scene is the key to understanding that Lynch is explicitly juxtaposing two different realities – where waitresses Shelly and Heidi are working the same shift but where their customers are totally different in each? Adding to the confusion, the scene ends with Bing, who we already saw exit the diner, walk up to the cash register to pay his tab. So, let’s say that in Reality A, a man named Billy is missing in the town of Twin Peaks and that his friend Bing is frantically looking for him. In Reality B, Billy is not missing and his friend Bing is enjoying a leisurely meal at the Double R Diner. You can watch the scene in its entirety here.

In Parts 12 and 13, the beloved character Audrey Horne made her long awaited reappearance on the show in two exceptionally dreamlike scenes. In both, she bitterly argues with her husband, Charlie, about the fact that her boyfriend, Billy, has been missing for two days. Audrey begs Charlie to escort her to the Roadhouse in order to help her look for Billy but both scenes end on a curious note of irresolution as Audrey seems almost physically incapable of leaving her home. Many viewers have speculated that the “real” Audrey is either still in a coma (caused by the bank explosion at the end of season two) and that these scenes are her dreams as she lies unconscious in a hospital bed, or that Audrey is inside some kind of mental hospital and that her “husband” in these scenes is actually a psychiatrist engaging her in a form of therapeutic role play. Both of these theories make sense: there is no technology in Charlie’s home office more recent than 1989 (when Audrey went into a coma) and, in a line of dialogue reminiscent of something Ben Kingsley says at the end of Shutter Island, Charlie at one point ominously threatens to “end” Audrey’s “story.” The problem with these theories, however, is that Audrey seems to have knowledge of events taking place in town that we have seen independently of her (e.g., the fact that someone named Billy has been missing for “two days,” and, if we are to further assume that Billy is the “farmer” interviewed by Deputy Andy in Part 7, that his truck was both stolen and returned prior to his disappearance).

The possibility of multiple realities reconciles this contradiction somewhat: could it be that Audrey is stuck in a loveless marriage to Charlie and having an affair with Billy in Reality A but that she is in a coma in Calhoun Memorial Hospital in Reality B? Could the empathetic Audrey of Reality A somehow sense that another version of herself is in a coma in a parallel reality? This would explain why, distraught, she tells Charlie that she feels like she’s “someone else” and “somewhere else.” Could this also be why Big Ed seems to react to the fact that his reflection in a window at the end of Part 13 is out of synch with his actions? Could the Big Ed of one reality be glimpsing a version of himself in another reality? Could the weirdness in Sarah Palmer’s home, including the strange looping of a boxing match on her television set near the end of Part 13, indicate that she is somehow trapped “between two worlds?” Finally, might this theory also explain the discrepancies between Mark Frost’s Secret History of Twin Peaks novel and the events of the show’s first two seasons (notably concerning the death of Norma’s mother and the fact that there are two different Miss Twin Peaks pageant winners)? While I’m not 100% sold on this idea, I find it intriguing to think about. Future episodes (and further close viewing) should bring clarity.


My Student Tomato-Meter: 2017 Edition


The Fall semester is about to began, which means it’s that time of year when I post my updated “student tomato-meter” showing the aggregated results of the ratings — on a scale from one-to-10 — that my students have given to every movie I’ve shown in my film studies classes dating back to the Spring 2009 semester. I’ve now taught 96 classes and shown a total of 447 unique movies. Below is a list of all the films I’ve screened to date, presented in chronological order by release date, along with the average ratings given by my students. Below that I’ve also included a list of the top 10 highest-rated films. My goal as a teacher is to show at least one movie by every great director who ever lived. Please scan the list below and feel free tell me in the comments section who you think I might be missing.

Sherlock Holmes (Berthelet, USA, 1915) – 4.3
Les Vampires (Feuillade, France, 1915-1916) – 7.0
Broken Blossoms (Griffith, USA, 1919) – 5.9
Within Our Gates (Micheaux, USA, 1920) – 7.0
The Cabinet of Dr. Caligari (Wiene, USA, 1920) – 6.9
The Golem (Wegener, Germany, 1920) – 6.0
The Phantom Carriage (Sjostrom, Sweden, 1921) – 7.3
Nosferatu (Murnau, Germany, 1922) – 6.7
Safety Last! (Newmeyer/Taylor, USA, 1923) – 8.4
Our Hospitality (Keaton, USA, 1923) – 8.4
Greed (Von Stroheim, USA, 1923) – 6.9
Coeur Fidele (Epstein, France, 1924) – 5.2
Sherlock Jr. (Keaton, USA, 1924) – 8.0
The Hands of Orlac (Wiene, Germany, 1924) – 6.2
Waxworks (Leni, Germany, 1924) – 5.1
The Freshman (Newmeyer/Taylor, 1925) – 8.3
Seven Chances (Keaton, USA, 1925) – 8.2
The Gold Rush (Chaplin, USA, 1925) – 8.1
The Navigator (Keaton, USA, 1925) – 8.1
The Last Laugh (Murnau, Germany, 1925) – 6.6
Battleship Potemkin (Eisenstein, USA, 1925) – 5.1
The General (Keaton, USA, 1926) – 8.4
Faust (Murnau, Germany, 1926) – 6.9
Secrets of a Soul (Pabst, Germany, 1926) – 6.6
Sunrise (Murnau, USA, 1927) – 6.9
Metropolis (Lang, Germany, 1927) – 6.6
Hindle Wakes (Elvey, UK, 1927) – 6.6
The End of St. Petersburg (Pudovkin, Soviet Union, 1927) – 5.0
The Fall of the Romanov Dynasty (Shub, Soviet Union, 1927) – 4.0
The Docks of New York (Von Sternberg, USA, 1928) – 8.4
Speedy (Wilde, USA, 1928) – 7.5
The Crowd (Vidor, USA, 1928) – 7.4
The Passion of Joan of Arc (Dreyer, France, 1928) – 6.9
Lonesome (Fejos, USA, 1928) – 6.7
A Cottage on Dartmoor (Asquith, UK, 1929) – 8.3
Lucky Star (Borzage, USA, 1929) – 8.1
Asphalt (May, Germany, 1929) – 6.8
Man with the Movie Camera (Vertov, Soviet Union, 1929) – 6.2
City Girl (Murnau, USA, 1930) – 6.7
City Lights (Chaplin, USA, 1931) – 8.5
M (Lang, Germany, 1931) – 8.1
Madchen in Uniform (Sagan/Froelich, Germany, 1931) – 7.1
Freaks (Browning, USA, 1931) – 7.1
Vampyr (Dreyer, Germany, 1932) – 7.1
The Testament of Dr. Mabuse (Lang, Germany, 1933) – 7.6
Duck Soup (McCarey, USA, 1933) – 6.8
It Happened One Night (Capra, 1934) – 8.5
The Goddess (Wu, China, 1934) – 7.6
L’atalante (Vigo, France, 1934) – 6.8
Top Hat (Sandrich, USA, 1935) – 8.6
My Man Godfrey (La Cava, USA, 1936) – 8.5
Modern Times (Chaplin, USA, 1936) – 8.0
Redes (Muriel/Zinneman, Mexico, 1936) – 6.9
The Awful Truth (McCarey, USA, 1937) – 8.5
Grand Illusion (Renoir, France, 1937) – 7.0
Bringing Up Baby (Hawks, USA, 1938) – 8.2
Holiday (Cukor, USA, 1938) – 7.9
Alexander Nevsky (Eisenstein, Soviet Union, 1938) – 5.0
Midnight (Liesen, USA, 1939) – 8.7
Only Angels Have Wings (Hawks, USA, 1939) – 8.2
The Roaring Twenties (Walsh, USA, 1939) – 8.2
Stagecoach (Ford, USA, 1939) – 7.7
The Rules of the Game (Renoir, France, 1939) – 7.1
His Girl Friday (Hawks, USA, 1940) – 8.3
The Grapes of Wrath (Ford, USA, 1940) – 7.9
The Shop Around the Corner (Lubitsch, USA, 1940) – 7.4
The Lady Eve (Sturges, USA, 1941) – 8.2
Citizen Kane (Welles, USA, 1941) – 8.2
How Green Was My Valley (Ford, USA, 1941) – 7.8
The Strawberry Blonde (Walsh, USA, 1941) – 7.6
The Maltese Falcon (Hawks, USA, 1941) – 6.9
Casablanca (Curtiz, USA, 1942) – 8.4
The Palm Beach Story (Sturges, USA, 1941) – 7.5
Aniki Bobo (De Oliveira, Portugal, 1942) – 7.2
Cat People (Tourneur, USA, 1942) – 6.0
The More the Merrier (Stevens, USA, 1943) – 8.2
I Walked with a Zombie (Tourneur, USA, 1943) – 6.0
Ossessione (Visconti, Italy, 1943) – 5.2
Double Indemnity (Wilder, USA, 1944) – 8.1
The Miracle of Morgan’s Creek (Sturges, USA, 1944) – 8.0
To Have and Have Not (Hawks, USA, 1944) – 7.5
Murder My Sweet (Dmytryk, USA, 1944) – 7.0
Brief Encounter (Lean, UK, 1945) – 8.0
Detour (Ulmer, USA, 1945) – 7.4
Rome, Open City (Rossellini, Italy, 1945) – 7.2
Notorious (Hitchcock, USA, 1946) – 8.5
The Best Years of Our Lives (Wyler, USA, 1946) – 8.4
My Darling Clementine (Ford, USA, 1946) – 7.5
The Big Sleep (Hawks, USA, 1946) – 6.0
Dead Reckoning (Cromwell, USA, 1947) – 8.2
Out of the Past (Tourneur, USA, 1947) – 7.7
The Lady from Shanghai (Welles, USA, 1947) – 7.7
Body and Soul (Rossen, USA, 1947) – 8.6
Pursued (Walsh, USA, 1947) – 7.1
Black Narcissus (Powell/Pressburger, UK, 1947) – 7.1
La Perla (Fernandez, Mexico, 1947) – 6.5
Letter from an Unknown Woman (Ophuls, USA, 1948) – 8.8
Rope (Hitchcock, USA, 1948) – 8.7
The Red Shoes (Powell/Pressburger, UK, 1948) – 8.3
Bicycle Thieves (De Sica, Italy, 1948) – 8.0
Call Northside 777 (Hathaway, USA, 1948) – 7.7
Germany Year Zero (Rossellini, Italy/Germany, 1948) – 7.5
Fort Apache (Ford, USA, 1948) – 7.5
Spring in a Small Town (Fei, China, 1948) – 6.7
A Letter to Three Wives (Mankiewicz, USA, 1949) – 8.4
White Heat (Walsh, USA, 1949) – 8.3
The Third Man (Reed, UK, 1949) – 8.0
Jour de Fete (Tati, France, 1949) – 7.8
Sunset Boulevard (Wilder, USA, 1950) – 8.8
Los Olvidados (Bunuel, Mexico, 1950) – 7.5
Devil’s Doorway (Mann, USA, 1950) – 7.3
Union Station (Mate, USA, 1950) – 7.3
The African Queen (Huston, USA, 1951) – 8.3
On Dangerous Ground (Ray, USA, 1951) – 7.5
Singin’ in the Rain (Donen/Kelly, USA, 1952) – 9.0
Umberto D. (De Sica, Italy, 1952) – 6.8
The Big Heat (Lang, USA, 1953) – 8.5
Pickup on South Street (Fuller, USA, 1953) – 8.2
Gentlemen Prefer Blondes (Hawks, USA, 1953) – 8.2
Mr. Hulot’s Holiday (Tati, France, 1953) – 8.1
The Band Wagon (Minnelli, USA, 1953) – 7.9
Strangers on a Train (Hitchcock, USA, 1953) – 7.8
The Hitch-Hiker (Lupino, USA, 1953) – 7.7
City That Never Sleeps (Auer, USA, 1953) – 7.5
The Naked Spur (Mann, USA, 1953) – 7.0
Tokyo Story (Ozu, Japan, 1953) – 6.7
Ugetsu (Mizoguchi, Japan, 1953) – 6.7
Rear Window (Hitchcock, USA, 1954) – 8.9
Seven Samurai (Kurosawa, Japan, 1954) – 8.3
French Cancan (Renoir, France, 1954) – 8.2
Sansho the Bailiff (Mizoguchi, Japan, 1954) – 7.0
The Night of the Hunter (Laughton, USA, 1955) – 9.1
All That Heaven Allows (Sirk, USA, 1955) – 8.0
Artists and Models (Tashlin, USA, 1955) – 7.8
Kiss Me Deadly (Aldrich, USA, 1955) – 7.2
Pather Panchali (Ray, India, 1955) – 6.4
A Man Escaped (Bresson, France, 1956) – 8.1
The Searchers (Ford, USA, 1956) – 7.4
Bigger Than Life (Ray, USA, 1956) – 6.8
Aparajito (Ray, India, 1956) – 6.6
An Affair to Remember (McCarey, USA, 1957) – 8.0
Vertigo (Hitchcock, USA, 1958) – 8.8
Some Came Running (Minnelli, USA, 1958) – 7.9
Touch of Evil (Welles, USA, 1958) – 7.6
Big Deal on Madonna Street (Monicelli, Italy, 1958) – 7.5
Cairo Station (Chahine, Egypt, 1958) – 7.0
Ashes and Diamonds (Wajda, Poland, 1958) – 7.0
Throne of Blood (Kurosawa, Japan, 1958) – 5.9
Some Like It Hot (Wilder, USA, 1959) – 9.1
Anatomy of a Murder (Preminger, USA, 1959) – 8.9
The 400 Blows (Truffaut, USA, 1959) – 8.8
North By Northwest (Hitchcock, USA, 1959) – 8.6
Rio Bravo (Hawks, USA, 1959) – 8.6
Pickpocket (Bresson, France, 1959) – 7.3
Hiroshima, Mon Amour (Resnais, France, 1959) – 6.8
Psycho (Hitchcock, USA, 1960) – 8.7
When a Woman Ascends the Stairs (Naruse, Japan, 1960) – 8.1
Les Bonnes Femmes (Chabrol, France, 1960) – 8.0
Breathless (Godard, France, 1960) – 7.9
Eyes Without a Face (Franju, France, 1960) – 7.7
Accatone (Pasolini, Italy, 1960) – 7.6
L’aventura (Antonioni, Italy, 1960) – 7.4
The Housemaid (Kim, S. Korea, 1960) – 7.1
Chronicle of a Summer (Rouch/Morin, France, 1960) – 6.9
Last Year at Marienbad (Resnais, France, 1961) – 6.8
Viridiana (Bunuel, Spain, 1961) – 5.8
The Ladies Man (Lewis, USA, 1962) – 8.3
The Man Who Shot Liberty Valance (Ford, USA, 1962) – 8.3
Cleo from 5 to 7 (Varda, France, 1962) – 7.4
Vivre sa Vie (Godard, France, 1962) – 7.2
Le Doulos (Melville, France, 1962) – 7.1
Jules and Jim (Truffaut, France, 1962) – 5.5
Shock Corridor (Fuller, USA, 1963) – 8.4
The Nutty Professor (Lewis, USA, 1963) – 8.4
The Executioner (Berlanga, Spain, 1963) – 8.1
Contempt (Godard, France, 1963) – 8.0
Black Sabbath (Bava, Italy, 1963) – 7.1
8 1/2 (Fellini, Italy, 1963) – 6.5
Onibaba (Shindo, Japan, 1964) – 8.0
The Umbrellas of Cherbourg (Demy, France, 1964) – 7.8
Band of Outsiders (Godard, France, 1964) – 7.4
Dry Summer (Erksan, Turkey, 1964) – 7.4
Pierrot le Fou (Godard, France, 1965) – 8.3
Repulsion (Polanski, UK, 1965) – 7.4
Mickey One (Penn, USA, 1965) – 7.1
Alphaville (Godard, France, 1965) – 6.0
The Good, the Bad and the Ugly (Leone, Italy, 1966) – 8.8
Daisies (Chytilova, Czechoslovakia, 1966) – 7.2
Point Blank (Boorman, USA, 1966) – 7.0
The Pornographers (Imamura, Japan, 1966) – 6.9
Persona (Bergman, Sweden, 1966) – 6.4
The Graduate (Nichols, USA, 1967) – 8.8
The Young Girls of Rochefort (Demy, France, 1967) – 8.6
Play Time (Tati, France, 1967) – 8.2
The Firemen’s Ball (Forman, Czechoslovakia, 1967) – 8.0
Le Samourai (Melville, France, 1967) – 8.0
Branded to Kill (Suzuki, Japan, 1967) – 7.8
Don’t Look Back (Pennebaker, USA, 1967) – 7.4
David Holzman’s Diary (McBride, USA, 1967) – 6.7
Dragon Inn (Hu, Taiwan, 1967) – 6.5
Rosemary’s Baby (Polanski, USA, 1968) – 8.3
High School (Wiseman, USA, 1968) – 7.7
2001: A Space Odyssey (Kubrick, USA, 1968) – 7.6
Chronicle of Anna Magdalena Bach (Straub/Huillet, Germany, 1968) – 5.3
The Wild Bunch (Peckinpah, USA, 1969) – 8.1
My Night at Maud’s (Rohmer, France, 1969) – 7.8
Medium Cool (Wexler, USA, 1969) – 7.2
Inquiring Nuns (Quinn, USA, 1969) – 7.2
Antonio das Mortes (Rocha, Brazil, 1969) – 5.2
The Red Circle (Melville, France, 1970) – 8.4
Le Boucher (Chabrol, France, 1970) – 7.5
The Emigrants (Troell, Sweden, 1971) – 8.8
A New Leaf (May, USA, 1971) – 8.2
Two-Lane Blacktop (Hellman, USA, 1971) – 7.7
McCabe and Mrs. Miller (Altman, USA, 1971) – 6.9
Minnie and Moskowitz (Cassavetes, USA, 1971) – 5.2
The New Land (Troell, Sweden, 1972) – 8.8
Love in the Afternoon (Rohmer, France, 1972) – 8.3
Solaris (Tarkovsky, Russia, 1972) – 6.3
The Exorcist (Friedkin, USA, 1973) – 8.1
The Long Goodbye (Altman, USA, 1973) – 7.9
The Sting (Hill, USA, 1973) – 7.9
Badlands (Malick, USA, 1973) – 7.6
The Mother and the Whore (Eustache, France, 1973) – 7.4
The Spirit of the Beehive (Erice, Spain, 1973) – 7.4
Touki Bouki (Mambety, Senegal, 1973) – 6.8
Blazing Saddles (Brooks, USA, 1974) – 8.4
Chinatown (Polanski, USA, 1974) – 8.2
Black Christmas (Clark, Canada, 1974) – 8.2
Young Frankenstein (Brooks, USA, 1974) – 7.6
Ali: Fear Eats the Soul (Fassbinder, Germany, 1974) – 7.2
Celine and Julie Go Boating (Rivette, France, 1974) – 6.8
The Irony of Fate: Or Enjoy Your Bath (Ryazanov, Russia, 1975) – 8.5
Cooley High (Schultz, USA, 1975) – 8.3
Night Moves (Penn, USA, 1975) – 8.1
Grey Gardens (Maysles/Maysles, USA, 1975) – 4.2
Taxi Driver (Scorsese, USA, 1976) – 7.8
In the Realm of the Senses (Oshima, Japan, 1976) – 6.9
Mikey and Nicky (May, USA, 1976) – 6.4
Annie Hall (Allen, USA, 1977) – 6.6
House (Obayashi, Japan, 1977) – 6.4
One Way Boogie Woogie (Benning, USA, 1977) – 5.1
A Wedding (Altman, USA, 1978) – 8.4
Halloween (Carpenter, USA, 1978) – 8.3
The 36th Chamber of Shaolin (Lau, Hong Kong, 1978) – 8.3
Dawn of the Dead (Romero, USA, 1978) – 7.8
Days of Heaven (Malick, USA, 1978) – 7.8
Killer of Sheep (Burnett, USA, 1979) – 7.8
The Blues Brothers (Landis, USA, 1980) – 9.4
Raging Bull (Scorsese, USA, 1980) – 8.3
The Shining (Kubrick, USA, 1980) – 8.2
Melvin and Howard (Demme, USA, 1980) – 7.0
Popeye (Altman, USA, 1980) – 5.2
Thief (Mann, USA, 1981) – 8.5
An American Werewolf in London (Landis, USA, 1981) – 8.3
Possession (Zulawski, France/Germany, 1981) – 7.9
The Road Warrior (Miller, Australia, 1981) – 7.4
Trances (El Maanouni, Morocco, 1981) – 6.2
The Thing (Carpenter, USA, 1982) – 8.3
Blade Runner (Scott, USA, 1982) – 7.6
The Slumber Party Massacre (Jones, USA, 1982) – 6.8
Rock in Reykjavik (Fridriksson, Iceland, 1982) – 6.3
A Nos Amours (Pialat, France, 1983) – 8.5
Merry Christmas, Mr. Lawrence (Oshima, Japan, 1983) – 8.0
Sans Soleil (Marker, France, 1983) – 6.2
Stranger Than Paradise (Jarmusch, USA, 1984) – 8.0
Vagabond (Varda, France, 1985) – 7.4
After Hours (Scorsese, USA, 1985) – 6.7
The Fly (Cronenberg, USA/Canda, 1986) – 8.0
Bad Blood (Carax, France, 1986) – 7.1
The Green Ray (Rohmer, France, 1986) – 6.1
The Dead (Huston, USA/UK, 1987) – 7.8
The Thin Blue Line (Morris, USA, 1988) – 7.9
A Short Film About Love (Kieslowski, Poland, 1988) – 7.9
Time of the Gypsies (Kusturica, Yugoslavia, 1988) – 7.0
A Short Film About Killing (Kieslowski, Poland, 1988) – 6.9
Drugstore Cowboy (Van Sant, USA, 1989) – 8.2
Do the Right Thing (Lee, USA, 1989) – 7.6
Goodfellas (Scorsese, USA, 1990) – 9.0
King of New York (Ferrara, USA, 1990) – 8.9
House Party (Hudlin, USA, 1990) – 6.7
Defending Your Life (Brooks, USA, 1991) – 8.5
To Sleep with Anger (Burnett, USA, 1991) – 8.5
The Lovers on the Bridge (Carax, France, 1991) – 8.0
Close-Up (Kiarostami, Iran, 1991) – 7.6
Slacker (Linklater, USA, 1991) – 7.0
Basic Instinct (Verhoeven, USA, 1992) – 9.0
Unforgiven (Eastwood, USA, 1992) – 8.6
Deep Cover (Duke, USA, 1992) – 8.5
The Player (Altman, USA, 1992) – 8.2
The Long Day Closes (Davies, UK, 1992) – 4.7
The Piano (Campion, New Zealand, 1993) – 8.4
Groundhog Day (Raimis, USA, 1993) – 8.4
Sonatine (Kitano, Japan, 1993) – 8.3
Matinee (Dante, USA, 1993) – 8.2
Dazed and Confused (Linklater, USA, 1993) – 8.2
Menace II Society (Hughes/Hughes, USA, 1993) – 8.0
Naked (Leigh, UK, 1993) – 6.3
The Bride with White Hair (Yu, Hong Kong, 1993) – 5.1
Hoop Dreams (James, USA, 1994) – 8.0
Chungking Express (Wong, Hong Kong, 1994) – 8.0
The Last Seduction (Dahl, USA, 1994) – 7.1
Wild Reeds (Techine, France, 1994) – 7.1
Ed Wood (Burton, USA, 1994) – 6.8
Devil in a Blue Dress (Franklin, USA, 1995 – 8.5
The Bridges of Madison County (Eastwood, USA, 1995) – 8.2
Dead Man (Jarmusch, USA, 1995) – 8.1
Irma Vep (Assayas, France, 1996) – 7.2
A Moment of Innocence (Makhmalbaf, Iran, 1996) – 5.8
Jackie Brown (Tarantino, USA, 1997) – 9.2
L.A. Confidential (Hanson, USA, 1997) – 8.8
Cure (Kurosawa, Japan, 1997) – 8.2
Taste of Cherry (Kiarostami, Iran, 1997) – 7.2
The Mirror (Panahi, Iran, 1997) – 5.1
The Big Lebowski (Coen/Coen, 1998) – 8.8
The Last Days of Disco (Stillman, USA, 1998) – 8.4
The Bird People in China (Miike, Japan/China, 1998) – 6.6
Office Space (Judge, USA, 1999) – 8.5
Peppermint Candy (Lee, S. Korea, 1999) – 8.2
Ravenous (Bird, UK/USA, 1999) – 8.0
Nowhere to Hide (Lee, S. Korea, 1999) – 7.6
Audition (Miike, Japan, 1999) – 7.5
Beau Travail (Denis, France, 1999) – 7.0
JSA: Joint Security Area (Park S. Korea, 2000) – 8.6
High Fidelity (Frears, USA, 2000) – 8.5
Yi Yi (Yang, Taiwan, 2000) – 8.4
Dancer in the Dark (Von Trier, Sweden/Denmark, 2000) – 8.1
La Captive (Akerman, France, 2000) – 8.0
The Day I Became a Woman (Meskini, Iran, 2000) – 7.6
In the Mood for Love (Wong, Hong Kong, 2000) – 7.4
Needing You (To/Wai, Hong Kong, 2000) – 7.1
Sexy Beast (Glazer, UK, 2000) – 6.9
Italian for Beginners (Scherfig, Denmark, 2000) – 6.4
Lagaan: Once Upon a Time in India (Gowariker, 2001) – 9.3
The Devil’s Backbone (Del Toro, Spain/Mexico, 2001) – 8.6
Mulholland Drive (Lynch, USA, 2001) – 8.1
Failan (Song, S. Korea, 2001) – 8.1
Avalon (Oshii, Japan/Poland, 2001) – 7.8
What Time Is It There? (Tsai, Taiwan, 2001) – 6.6
Fat Girl (Breillat, France, 2001) – 6.5
The Tracker (De Heer, Australia, 2002) – 7.9
Infernal Affairs (Lau/Mak, Hong Kong, 2002) – 7.8
Far From Heaven (Haynes, USA, 2002) – 7.6
Bollywood/Hollywood (Mehta, Canada, 2002) – 7.6
Distant (Ceylan, Turkey, 2002) – 5.0
Memories of Murder (Bong, S. Korea, 2003) – 8.8
Oldboy (Park, S. Korea, 2003) – 8.6
A Tale of Two Sisters (Kim, S. Korea, 2003) – 7.8
Save the Green Planet (Jang, S. Korea, 2003) – 6.9
Before Sunset (Linklater, USA, 2004) – 9.0
3-Iron (Kim, S. Korea, 2004) – 8.8
Moolade (Sembene, Senegal, 2004) – 8.2
The Island of Black Mor (Laguionie, France, 2004) – 8.1
The Holy Girl (Martel, Argentina, 2004) – 6.9
Dumplings (Chan, Hong Kong, 2004) – 6.4
A History of Violence (Cronenberg, Canada/USA, 2005) – 8.3
Grizzly Man (Herzog, USA, 2005) – 8.1
The Proposition (Hillcoat, Australia, 2005) – 8.1
Three Times (Hou, Taiwan, 2005) – 7.5
Pan’s Labyrinth (Del Toro, Spain, 2006) – 9.3
The Host (Bong, S. Korea, 2006) – 8.9
Once (Carney, UK, 2006) – 8.8
Shaun of the Dead (Wright, UK, 2006) – 8.5
Black Book (Verhoeven, Holland, 2006) – 8.4
Offside (Panahi, Iran, 2006) – 8.2
A Scanner Darkly (Linklater, USA, 2006) – 8.0
Woman on the Beach (Hong, S. Korea, 2006) – 7.1
12:08 East of Bucharest (Poromboiu, Romania, 2006) – 5.7
The Assassination of Jesse James By the Coward Robert Ford (Dominik, USA, 2007) – 9.6
Zodiac (Fincher, USA, 2007) – 9.1
Eastern Promises (Cronenberg, Canada/UK, 2007) – 8.7
My Winnipeg (Maddin, Canada, 2007) – 6.3
Let the Right One In (Alfredson, Sweden, 2008) – 8.7
Me and Orson Welles (Linklater, USA, 2008) – 7.9
The Headless Woman (Martel, Argentina, 2008) – 6.1
The Hurt Locker (Bigelow, USA, 2008) – 9.4
The House of the Devil (West, USA, 2009) – 8.1
Change Nothing (Costa, France/Portugal, 2009) – 6.0
Shutter Island (Scorsese, USA, 2010) – 9.5
The Social Network (Fincher, USA, 2010) – 8.5
Certified Copy (Kiarostami, Italy/France, 2010) – 8.5
Another Year (Leigh, UK, 2010) – 8.1
The Ghost Writer (Polanski, Germany/France, 2010) – 8.0
The Hunter (Pitts, Iran, 2010) – 6.8
Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, Thailand, 2010) – 6.6
Audrey the Trainwreck (Ross, USA, 2010) – 6.4
Bernie (Linklater, USA, 2011) – 8.9
The Skin I Live In (Almodovar, Spain, 2011) – 8.6
Drive (Refn, USA, 2011) – 8.1
Life Without Principle (To, Hong Kong, 2011) – 7.9
Midnight in Paris (Allen, USA/France, 2011) – 7.7
Le Havre (Kaurismaki, France/Finland, 2011) – 7.6
Mildred Pierce (Haynes, USA, 2011) – 7.5
This Is Not a Film (Panahi, Iran, 2011) – 7.1
Sleeping Sickness (Kohler, Germany, 2011) – 6.6
Zero Dark Thirty (Bigelow, USA, 2012) – 8.9
Frances Ha (Baumbach, USA, 2012) – 8.7
Silver Linings Playbook (Russell, USA, 2012) – 8.4
Holy Motors (Carax, France, 2012) – 8.3
Spring Breakers (Korine, USA, 2012) – 8.3
Dormant Beauty (Bellochio, Italy, 2012) – 8.1
Barbara (Petzold, Germany, 2012) – 8.0
Empire Builder (Swanberg, USA, 2012) – 7.7
The Master (Anderson, USA, 2012) – 7.6
Cosmopolis (Cronenberg, Canada/Germany, 2012) – 7.0
The Unspeakable Act (Sallit, USA, 2012) – 6.9
A F**load of Scotch Tape (Grant, USA, 2012) – 6.8
Shoals (Bass, USA, 2012) – 5.7
Snowpiercer (Bong, S. Korea, 2013) – 9.4
Stoker (Park, USA, 2013) – 8.9
Nymphomaniac (Von Trier, Denmark/Germany, 2013) – 8.5
The Grandmaster (Wong, Hong Kong/China, 2013) – 8.2
Top of the Lake (Campion/Davis, New Zealand, 2013) – 8.1
Upstream Color (Carruth, USA, 2013) – 8.1
Before Midnight (Linklater, USA, 2013) – 8.0
A Touch of Sin (Jia, China, 2013) – 7.9
The Wind Rises (Miyazaki, Japan, 2013) – 7.8
Jimmy P. (Desplechin, France/USA, 2013) – 7.7
Contracted (England, USA, 2013) – 7.6
Under the Skin (Glazer, UK, 2013) – 7.3
Black Box (Cone, USA, 2013) – 7.2
Gloria (Lelio, Chile, 2013) – 7.2
Double Play: James Benning and Richard Linklater (Klinger, USA, 2013) – 6.8
Only Lovers Left Alive (Jarmusch, USA, 2013) – 6.3
The Girls on Liberty Street (Rangel, USA, 2013) – 5.5
Boyhood (Linklater, USA, 2014) – 9.5
The Grand Budapest Hotel (Anderson, USA, 2014) – 8.9
Actress (Greene, USA, 2014) – 8.3
Inherent Vice (Anderson, USA, 2014) – 8.3
The Babadook (Kent, Australia, 2014) – 8.1
Li’l Quinquin (Dumont, France, 2014) – 7.9
Goodbye to Language (Godard, Switzerland/France, 2014) – 7.6
Buzzard (Potrykus, USA, 2014) – 6.7
Right Now, Wrong Then (Hong, S. Korea, 2015) – 8.5
Thao’s Library (Van Meter, USA, 2015) – 8.5
Timbuktu (Sissako, Mauritania/Mali, 2015) – 7.6
Bloomin Mud Shuffle (Ross, USA, 2015) – 7.5
Toni Erdmann (Ade, Germany, 2016) – 9.0
Malaria (Shahbazi, Iran, 2016) – 8.8
Donald Cried (Avedisian, USA, 2016) – 8.5

The 10 Highest-Rated Films:
10. The Night of the Hunter (Laughton, USA, 1955) – 9.1
9. Jackie Brown (Tarantino, USA, 1997) – 9.2
8. Pan’s Labyrinth (Del Toro, Spain/Mexico, 2006) – 9.3
7. Lagaan: Once Upon a Time in India (Gowariker, India, 2000) – 9.3
6. The Blues Brothers (Landis, USA, 1980) – 9.4
5. The Hurt Locker (Bigelow, USA, 2008) – 9.4
4. Snowpiercer (Bong, S. Korea, 2013) – 9.4
3. Shutter Island (Scorsese, USA, 2010) – 9.5
2. Boyhood (Linklater, USA, 2014) – 9.5
1. The Assassination of Jesse James By the Coward Robert Ford (Dominik, USA, 2007) – 9.6






The Last Ten Movies I Saw

1. Detroit (Bigelow)
2. Good Time (Safdie/Safdie)
3. Wuthering Heights (Wyler)
4. Person to Person (Defa)
5. Schizopolis (Soderbergh)
6. XX (Benjamin/Clark/Kusama/Vuckovic)
7. Breathless (Godard)
8. Toni Erdmann (Ade)
9. Ed Wood (Burton)
10. Stalker (Tarkovsky)

Filmmaker Interview: Harley McKabe

The following piece appeared at Time Out today:
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Harley McKabe is a Chicago-based writer/director whose proof-of-concept short film The Other Guy will screen at Reggie’s Music Joint this Friday, July 21 as part of a concert featuring punk acts The C-Sides, StereoViolet, Butchered and The New Sex and Drugs, who wrote an original song for the film. McKabe is a transwoman who based this raunchy, Kevin Smith-influenced comedy on her own pre-trans life; the plot concerns Sean (David Weiner), a green-haired punk, who cajoles his wallflower roommate, Harry (Adam J. Rebora), into attending a party referred to as a “shirtless shindig.” At less than four minutes, this funny, no-budget DIY effort marks McKabe as a talent to watch.

MGS: How did you get involved in filmmaking?

HM: I actually have a background in print journalism. I worked as a staffer for a small newspaper in Alaska. But I’d always done film on the side – even if it was just writing scripts. Ever since I was a kid I was always interested in film. Whenever there were school projects and there was an opportunity, I’d go with making a film. The Other Guy script was in consideration by two producers and a director at one point and I was just going to stay on as a writer. But as I learned more about the actual (filmmaking) process, I decided that I wanted to get into directing myself.

MGS: The film is a traditional comedy in a lot of ways because it’s about two characters with contrasting personalities. Were they based on people you know?

HM: That is a very interesting question. A person I used to be rather close with suggested I write this film. It was pre-transition. The character Harry is loosely based on me. As I was beginning to decide to go through with this, I had some questions as to whether I wanted to continue that project – for obvious reasons. I do believe that there are a lot of universal concepts at play in the short. There have been plenty of times where people feel awkward at parties or are placed in uncomfortable situations by their good friends. Sean is also much more loosely based on me. But the idea was basically that there was this guy who thinks fate’s out to get him, that he’s never going to find a girlfriend because every woman he’s attracted to already has a boyfriend. It’s about him realizing the problem is really him; that he just has to get some self-confidence, stop being a wallflower and start going for the women who might actually be interested in him. It’s coming-of-age as if directed by Kevin Smith, that’s kind of what I was going for.

MGS: There’s a lot of good gross-out humor. I loved seeing the vomit because the texture of it seemed so authentic. I see big-budget Hollywood movies where the vomit looks less real. How did you make that?

HM: Thank you for the compliment. It’s actually not the first time I’ve thrown soup on a man. It was a mixture of vegetable soup and lentil soup with a fair amount of crackers. I put that together in a bucket the day of. It was referred to as the puke bucket. Adam later told me that he still smelled like puke two or three days later.

MGS: The band The New Sex and Drugs wrote a song for the film. How did you hook up with them?

HM: I met Adam, the front man for the band, through Craigslist. I posted an ad saying I was a screenwriter looking for someone to swap scripts with. He and I exchanged scripts and I ended up going to one of his concerts, and he and his band were kind enough to write the song “All Hipsters Must Die.” It’s pretty difficult to get music for a short film, let alone have someone offer to write an original. So I was like, ‘Yeah, fuck yeah. Absoluely!”

MGS: Last question: are “shirtless shindigs” a real thing?

HM: Pretty much the only reason I wrote the short was to have Sean say, “No shirt shindigs are the shit!” I’ve never been to a shirtless shindig. I do not know if they exist but it sounds fucking hilarious.

The Other Guy screens at Reggie’s Music Joint Friday, July 21. Doors open at 8pm for this 21+ show. More info can be found on the official Reggie’s website.

The Last Ten Movies I Saw

1. A Ghost Story (Lowery)
2. Porto (Klinger)
3. The Lost City of Z (Gray)
4. L’argent (Bresson)
5. Mildred Pierce (Haynes)
6. Bicycle Thieves (De Sica)
7. The Void (Gillespie/Kostanska)
8. Out of the Past (Tourneur)
9. In the Shadows (Arslan)
10. Eastern Promises (Cronenberg)

Twin Peaks: The Return – A Timeline

For the past two months I have obsessively watched and rewatched every episode of the still in-progress new season of Twin Peaks. I have seen each of the nine episodes so far either four or five times in full. I have also skimmed back through all of the episodes and watched them in pieces for the sole purpose of creating a timeline to determine exactly when each scene is taking place. Before the new limited series began airing this past May, many fans speculated that the show would be taking place in the year 2014 – in order for Laura Palmer’s promise to Agent Cooper in the Season Two finale (“I’ll see you again in 25 years”) to literally become true. As appealing as that notion might be, a close reading of the show – and Mark Frost’s accompanying Secret History of Twin Peaks novel – reveals that nearly all of the action of the new season actually takes place in September and October of 2016. (When I write “nearly all,” I am barring the major flashbacks to 1945 and 1956 New Mexico in Part Eight and the “extra-dimensional” scenes scattered throughout the season that may be seen as taking place “outside of time.”)

The first tip off that Twin Peaks: The Return begins in September of 2016 comes from The Secret History of Twin Peaks. Frost’s novel begins with a memo written by FBI Deputy Director Gordon Cole (the beloved hard-of-hearing character played by David Lynch on the show) to Special Agent Tammy Preston (a new character played by singer Chrysta Bell) asking her to analyze a secret “dossier” that was recovered from a crime scene in July of 2016. This memo is dated 8/4/2016 and is followed by a notarized response from Preston dated 8/28/16. At the conclusion of Frost’s novel, after Preston has read and annotated the dossier and discovered that its mysterious “compiler” is none other than Major Garland Briggs, there is another notarized statement from her that she doesn’t know “what happened to either Major Briggs or Agent Cooper at this point.” It is not logical that Preston would make this claim in 2016 if the events of the new season had taken place two years previously: Preston, after all, learns a great deal about both Briggs and Cooper (and what happened to them in the 25 years between Seasons Two and Three) in Twin Peaks: The Return.

More evidence comes from the show itself: Bill Hastings’ driver’s license, which can be clearly seen in Part One: My log has a message for you, shows that his birthday is August 15, 1973. In Part Nine: This is the chair, during an instant-classic interrogation scene that is simultaneously both genuinely tragic and genuinely hilarious, Hastings tells Agent Preston that he is 43-years-old, indicating the show takes place after August 15, 2016. It is also during this scene that Hastings, at Preston’s request, writes the day’s date as “9/29,” which, if one counts the days backwards through each episode of the season, means that Bill was arrested on Saturday, September 24. Indeed, when Bill is first interrogated by Buckhorn cop Dave Macklay in Part One, he is asked to account for his whereabouts over the past “three or fours days.” After mentioning that he had been at work on Wednesday, Thursday and Friday, Bill, a high school principal, tells Dave that he had been at home “all day today,” indicating that Bill was arrested on a Saturday.

Contrary to rampant online speculation, Twin Peaks: The Return has so far followed a surprisingly linear chronology. The only times when there appear to be either flash-forwards or flashbacks are either at the very end or the very beginning of certain episodes. This makes sense given that Lynch has stated he had no clue how he was going to “break up” his 18-hour movie into hour-long segments until he and his editors actually started cutting it. The decision to give the series a sense of structural symmetry by ending most episodes with musical performances at the Roadhouse means that Lynch occasionally flashes forward to a nighttime scene at the Roadhouse before “back-tracking” to the afternoon of the same day in the episode that immediately follows. For whatever it might be worth, I hope some of you find this timeline useful:


Part One: My log has a message for you.
Day One: Wednesday, September 21
Cooper and ??????? in black-and-white room – ?
Jacoby receives shovels in Twin Peaks – Day
Sam watches glass box in NYC – Night

Day Two: Thursday, September 22
Ben and Jerry Horne and Beverly at the Great Northern – Day
Insurance salesman and Lucy in Twin Peaks Sheriff’s Dept. – Day
Mr. C goes to Beulah’s in South Dakota – Night
Sam and Tracy watch glass box and are killed in NYC – Night

Day Three: Friday, September 23
Buckhorn police discover corpses of Ruth Davenport and Garland Briggs – Day

Day Two: Thursday, September 22 (Cont’d)
Log Lady calls Hawk in Twin Peaks – Night

Day Four: Saturday, September 24
Constance and Macklay in Buckhorn police station – Day
Bill Hastings is arrested in Buckhorn – Day

Day Three: Friday, September 23 (Cont’d)
Hawk, Andy and Lucy in Twin Peaks Sheriff’s Dept. – Day

Day Four: Saturday, September 24 (Cont’d)
Hastings is interrogated in Buckhorn police station (and says it’s Saturday) – Day
Macklay searches Bill’s car in Buckhorn – Day

Part Two: The stars turn and a time presents itself.
Day Four: Saturday, September 24 (Cont’d)

Phyllis visits Bill in the Buckhorn jail – Night
Duncan and Roger in Las Vegas – Night

Day Three: Friday, September 23
Mr. C, Darya, Ray and Jack in a South Dakota diner – Night

Day Four: Saturday, September 24 (Cont’d)
Hawk at Glastonbury Grove in Twin Peaks – Night
Agent Cooper w/ Laura, MIKE and the Evolution of the Arm in the Red Room – ?
Mr. C gets a new car from Jack in S.D. – Day
Mr. C kills Darya in a S.D. motel – Night
Agent Cooper, Leland, MIKE and the Evolution of the Arm in the Red Room – ?

Day Two: Thursday, September 22 (Cont’d)
Agent Cooper visits glass box / Sam and Tracy are killed – (explicit FLASHBACK to Day Two: Thursday night)

Day Four: Saturday, September 24 (Cont’d)
Sarah Palmer watches television at home – Night
The Chromatics play the Roadhouse – Night

Part Three: Call for help.
Day Five: Sunday, September 25
Agent Cooper, Naido and “American Girl” in purple purgatory – ?
Mr. C crashes car in Black Hills of S.D. – Day
Dougie and Jade in Las Vegas – Day
Drugged Out Mother and Son in Las Vegas – Day
Cops find Mr. C in Black Hills – Day

Day Six: Monday, September 26
Hawk, Andy and Lucy in Twin Peaks Sheriff’s Dept. – Day
Dr. Jacoby spray-paints shovels in Twin Peaks – Day

Day Five: Sunday, September 25 (Cont’d)
Jade drops Cooper off at Silver Mustang Casino in Vegas – Day

Day Six: Monday, September 26 (Cont’d)
Gordon, Tammy and Albert in Philadelphia – Day
The Broken Blossoms play the Roadhouse – Night

Part Four: …brings back some memories.
Day Five: Sunday, September 25 (Cont’d)

Cooper at the Silver Mustang Casino – Night
Cooper gets a ride from casino to Dougie’s home in Las Vegas – Night

Day Six: Monday, September 26 (Cont’d)
Gordon Cole meets w/ Denise Bryson in Philadelphia – Night
Sheriff Truman, Andy, Lucy, Bobby and Wally Brando at Twin Peaks Sheriff’s Dept. – Night
Cooper has breakfast with Janey-E and Sonny Jim – Morning

Day Seven: Tuesday, September 27
Constance and Macklay in Buckhorn – Morning
Gordon, Albert and Tammy drive from airport to Yankton jail – Day
Gordon, Albert and Tammy question Mr. C in jail – Day
Gordon, Albert and Tammy talk at a South Dakota airport – Dusk
Au Revoir Simone plays at the Roadhouse in Twin Peaks- Night

Part Five: Case files.
Day Five: Sunday, September 25
Lorraine talks to hitmen in Vegas (it only makes sense that this conversation would follow the missed hit earlier that day)

Day Eight: Wednesday, September 28 (Cont’d)
Constance and Macklay in the Buckhorn morgue – Morning
Mr. C gets breakfast in jail in Yankton – Morning

Day Seven: Tuesday, September 27 (Cont’d)
Steven’s job interview with Mike Nelson in Twin Peaks – Morning
Sheriff Truman and Doris at the Twin Peaks Sheriff’s Dept. – Morning

Day Six: Monday, September 26 (Cont’d)
Janey-E gives Cooper a ride to work in Las Vegas – Morning (this scene has to follow the breakfast scene in Part Four)
Cooper attends work meeting in Las Vegas – Morning
Mitchum brothers beat up the Supervisor of the Silver Mustang Casino in Las Vegas – Day
Car thieves attempt to steal Dougie’s car in Rancho Rosa in Las Vegas – Day
Jade mails Great Northern key from Las Vegas to Twin Peaks – Day

Day Seven: Tuesday, September 27 (Cont’d)
Becky asks Shelly for money in RR Diner in Twin Peaks – Day

Day Six: Monday, September 26 (Cont’d)
Cooper gets off work at Lucky 7 in Las Vegas at 5:30pm – Dusk

Day Seven: Tuesday, September 27 (Cont’d)
Hawk and Andy at the Twin Peaks Sheriff’s Dept. – Night
Dr. Jacoby’s internet infomercial at 7:00pm – Night

Day Eight: Wednesday, September 28 (Cont’d)
Lt. Knox and Col. Davis at the Pentagon in Arlington, VA – Night
Trouble plays at the Roadhouse in Twin Peaks – Night
Tammy studies fingerprints in Philadelphia – Night
Mr. C makes a phone call from Yankton jail – Night

Day Six: Monday, September 26 (Cont’d)
Cooper caresses shoes of statue outside Lucky 7 office in Vegas – Night

Part Six: Don’t die.
Day Six: Monday, September 26 (Cont’d)
Police give Cooper a ride from Lucky 7 office to Dougie’s home in Las Vegas – Night

Day Seven: Tuesday, September 27 (Cont’d)
Albert approaches Diane at Max Von’s Bar in Philadelphia – Night

Day Eight: Wednesday, September 28
Red and Richard meet at a Twin Peaks warehouse – Morning
Carl and Mickey get a ride from the New Fat Trout Trailer Park into Twin Peaks – Morning
Miriam at the RR Diner in Twin Peaks – Morning
Carl witnesses a hit and run in Twin Peaks – Morning
Duncan Todd receives message from Mr. C in Las Vegas – Morning

Day Seven: Tuesday, September 27 (Cont’d)
Dougie’s car is towed away from Rancho Rosa in Las Vegas – Day (This may be a flashback to Monday, September 26.)
Ike the Spike receives hit orders in Las Vegas motel – Day
Cooper meets Bushnell at Lucky 7 in Las Vegas – Day
Janey-E meets loansharks in park in Las Vegas – Day
Ike the Spike kills Lorraine in her office in Las Vegas – Day

Day Eight: Wednesday, September 28 (Cont’d)
Red cleans truck in Twin Peaks – Day
Hawk finds Laura’s missing diary pages in Twin Peaks Sheriff’s Dept. – Day
Doris visits Sheriff Truman at the Twin Peaks Sheriff’s Dept. – Day
Sharon Van Etten plays at the Roadhouse – Night

Part Seven: There’s a body all right.
Day Eight Wednesday, September 28 (Cont’d):

Jerry, lost in the woods in Twin Peaks, calls Ben at the Great Northern – Day
Hawk meets Sheriff Truman at the Twin Peaks Sheriff’s Dept. – Day
Sheriff Truman calls Harry from the Twin Peaks Sheriff’s Dept. – Day
Andy meets Farmer at 2:30pm in Twin Peaks – Day (Andy’s watch says it’s the 10th – could be a Flash-forward to October 10)
Sheriff Truman Skypes with Doc Hayward from the Twin Peaks Sheriff’s Dept. – Day
Lt. Knox meet Macklay at Buckhorn police station – Day
Lt. Knox, Macklay and Constance in the Buckhorn morgue – Day
Gordon and Albert at FBI headquarters in Philadelphia – Day
Gordon and Albert visit Diane at home in Philadelphia – Day
Gordon, Albert, Tammy and Diane fly to Yankton – Day
Diane interviews Mr. C in Yankton prison – Day
Diane talks to Gordon outside of the Yankton prison – Day
Mr. C talks to prison guard in Yankton prison – Day
Andy waits for farmer in Twin Peaks at 5:05pm – Day
Mr. C meets Warden Murphy – Day

Day Seven: Tuesday, September 27 (Cont’d)
Las Vegas police interview Cooper at Lucky 7 office in Las Vegas – Day
Cooper fends off Ike the Spike outside Lucky 7 office in Las Vegas – Dusk
Las Vegas police interview witnesses outside Lucky 7 office – Night

Day Eight Wednesday, September 28 (Cont’d):
Ben and Beverly at the Great Northern in Twin Peaks – Night (Cooper’s key arrives two days after Jade mailed it.)
Beverly and Tom at home in Twin Peaks – Night
Jean-Michel Renault at the Roadhouse in Twin Peaks – Night
Mr. C and Ray leave Yankton prison – Night
Bing looks for Billy at the RR Diner in Twin Peaks – Night

Part Eight: Gotta light?
Day Eight: Wednesday, September 28 (Cont’d):

Ray shoots Cooper in rural South Dakota – Night
The Nine Inch Nails perform at the Roadhouse in Twin Peaks – Night
Flashbacks to New Mexico in 1945 & 1956

Part Nine: This is the chair.
Day Nine: Thursday, September 29:

Mr. C walks to a South Dakota farm – Morning
Gordon, Tammy, Diane and Albert fly from Yankton to Buckhorn – Day
Mr. C, Hutch and Chantal on a South Dakota farm – Day

Day Eight: Wednesday, September 28 (Cont’d):
Fusco brothers, Bushnell Mullins, Cooper and Janey-E in Las Vegas police dept. – Day
Fuscos arrest Ike the Spike in Las Vegas motel – Day

Day Nine: Thursday, September 29 (Cont’d):
Andy and Lucy at the Twin Peaks Sheriff’s Dept. – Day
Twin Peaks police visit Betty Briggs – Day
Philadelphia FBI agents visit Buckhorn morgue – Day
Jerry Horne wrestles with his foot in the woods of Twin Peaks – Day
Sheriff Truman, Bobby and Hawk at the Twin Peaks Sheriff’s Dept. – Day
Tammy interrogates Bill in a Buckhorn jail – Day
Ben Horne and Beverly in the Great Northern – Night
Hudson Mohawke and Au Revoir Simone perform at the Roadhouse – Night

Part 10: Laura is the one.
Day Nine: Thursday, September 29 (Cont’d):
Richard appears to kill Miriam in her Twin Peaks trailer – Day

Day Eight: Wednesday, September 28 (Cont’d):
Steven and Becky at the Fat Trout Trailer Park in Twin Peaks – Day
The Mitchum brothers and Candie at home in Las Vegas – Day
Janey-E takes Cooper to the Doctor in Las Vegas
The Mitchum brothers watch T.V. – Night (The extended weather forecast tells us it’s Wednesday then there is a story about Ike’s arrest, which a news anchor says happened “today.”)
Janey-E and Cooper having sex in their Las Vegas home – Night

Day Nine: Thursday, September 29 (Cont’d):
Nadine watches Jacoby’s video blog from her Twin Peaks drapery store – Night
Janey-E drives Sonny Jim to school and Cooper to work in Vegas – Morning
Jerry is lost in the woods of Twin Peaks – Day
Deputy Chad intercepts the mail at the Twin Peaks Sheriff’s Dept. – Day
Richard Horne robs Sylvia Horne at her Twin Peaks home – Day

Day Eight: Wednesday, September 28 (Cont’d):
Anthony Sinclair visits Duncan Todd’s Las Vegas office – Night

Day Nine: Thursday, September 29 (Cont’d):
Albert has a dinner date with Constance in Buckhorn – Night

Day Eight: Wednesday, September 28 (Cont’d):
Anthony Sinclair visits the Mitchum brothers at the Silver Mustang Casino – Night
The Mitchum brothers at home – Night

Day Nine: Thursday, September 29 (Cont’d):
Albert and Tammy visit Gordon in his Buckhorn hotel room – Night
Ben Horne takes a call from Sylvia at the Great Northern Hotel – Night
The Log Lady calls Hawk at the Twin Peaks Sheriff’s Dept. – Night
Rebekah Del Rio performs at the Roadhouse – Night

Part 11: There’s fire where you are going.
Day Nine: Thursday, September 29 (Cont’d)
Kids discover Miriam still alive in Twin Peaks – Day

Day Eight: Wednesday, September 28 (Cont’d):
From her trailer Becky calls Shelly at the RR Diner – Day
Becky, Shelly and Carl in the Fat Trout trailer park – Day
Carl calls the Twin Peaks Sheriff’s Dept. while giving Shelly a ride – Day
Becky shoots holes in Gersten’s apartment door – Day

Day 10: Friday, September 30 (Cont’d)
Hastings takes the FBI to the “vortex” in Buckhorn – Day

Day Eight: Wednesday, September 28 (Cont’d):
Bobby, Shelly and Becky at the RR Diner – Night

Day Nine: Thursday, September 29 (Cont’d):
Hawk shows Truman his map in the Twin Peaks Sheriff’s Dept. – Night (Hawk says, “The major also gave us a date, the day after tomorrow,” putting this scene on the same day as the Twin Peaks scenes in Episode 9)

Day 10: Friday, September 30 (Cont’d)
The FBI agents and Macklay in the Buckhorn police station – Night

Day Nine: Thursday, September 29 (Cont’d)
Bushnell and Cooper at the Lucky Seven office in Vegas – Day
The Mitchum brothers at home in Vegas – Day
Bushnell escorts Cooper to the Mitchum brothers’ limo – Day
Driving through Vegas montage – Day
Cooper meets the Mitchum brothers in the desert – Dusk
Cooper and the Mitchum brothers in a Las Vegas restaurant – Night

Part 12: Let’s rock.
Day 10: Friday, September 30 (Cont’d)
Gordon and Albert initiate Tammy into the Blue Rose Task Force at a Buckhorn hotel – Night
Jerry makes it out of the woods in Twin Peaks – Day
Sarah Palmer shops for liquor at a Twin Peaks grocery store – Day
Carl Rodd talks to Kriscol at the Fat Trout trailer park – Day

Day 8: Wednesday, September 28? 
Cooper and Sonny Jim play catch in their backyard in Las Vegas – Day (this has to be a flashback; we learn in Part 13 that Cooper didn’t come home the night he went out with the Mitchum brothers; this brief scene was almost certainly inserted here so that Kyle MacLachlan would be able to have one scene in this episode.)

Day 10: Friday, September 30 (Cont’d)
Hawk visits Sarah Palmer at home – Day
Miriam at the Calhoun Memorial Hospital – Day
Diane in a hotel bar in Buckhorn – Night
Sheriff Truman visits Ben at the Great Northern – Day
Albert visits Gordon’s hotel room in Buckhorn – Night
Hutch and Chantal kill Warden Murphy in Yankton – Night
Nadine watches Jacoby’s video blog from her Twin Peaks drapery store – Night
Audrey talks to her husband Charlie in his home office – Night (Charlie says, “It’s a new moon tonight, it’ll be dark out there.” The lunar calendar confirms there was a new moon on September 30, 2016.)
Diane in a hotel bar in Buckhorn – Night
The Chromatics perform at the Roadhouse in Twin Peaks – Night

Part 13: What story is that, Charlie? 
Day 10: Friday, September 30 (Cont’d)
The Mitchum brothers and Dougie bestow gifts on Bushnell at Lucky 7 – Morning
Anthony Sinclair calls Duncan Todd in his Las Vegas office – Morning
Movers deliver gym set/BMW to Janey-E in her Vegas home – Day
Sonny Jim plays on his gym set – Night
Mr. C kills Ray in a warehouse in western Montana – Day
Detectives Fusco/Anthony Sinclair/Det. Clark in the Vegas police dept. – Day (Fuscos reference Mr. C escaping prison “two days ago.”)
Chantal and Hutch drive through Utah – Night

Day 11: Saturday, October 1
Janey-E drops Cooper at work/coffee w/ Anthony Sinclair – Morning

Day 10: Friday, September 30 (Cont’d)
Becky calls Shelly at the Double R (says Steven hasn’t been home for “two nights.”) – Day

Day 11: Saturday, October 1
Anthony Sinclair confesses to Bushnell Mullins at Lucky 7 – Day

Day Nine: Thursday, September 29 (Cont’d)
Bobby, Norma, Big Ed and Walter at the Double R – Night (Bobby says “We found some stuff that my dad left today.”

Day 10: Friday, September 30 (Cont’d)
Dr. Jacoby visits Nadine at “Run Silent, Run Drapes” – Night
Sarah watches boxing on T.V. – Night
Audrey talks to Charlie in their home – Night (This is a continuation of the conversation between these characters from the previous episode albeit in a different room of their home. They are wearing the same clothes.)
James Hurley performs at the Roadhouse – Night
Big Ed eats soup in his Gas Farm – Night

Part 14: We are like the dreamer.
Day 11: Saturday, October 1 (Cont’d)

From his Buckhorn hotel room, Gordon calls Sheriff Truman in Twin Peaks – Day
Albert, Tammy, Gordon and Diane in the Buckhorn hotel – Day
Truman, Hawk, Bobby and Andy arrest Chad at the T.P. Sheriff’s Dept. – Day
Truman, Hawk, Bobby and Andy visit Jackrabbit’s Palace – Day
Andy, Lucy, Chad, Naido and Drunk in the T.P. Sheriff’s Dept. jail – Night
James and Freddie at the Great Northern Hotel – Night
Sarah at the Elk’s Point #9 Bar – Night
Lissie performs at the Roadhouse – Night

Elevated Films Kicks Off Summer Series with PERSON TO PERSON

The following piece was published at Time Out Chicago today.


Elevated Films, the outdoor independent movie series that supports cinema and local youth arts programs in Chicago, has announced its first summer screening: a sneak preview of Dustin Guy Defa’s Person to Person. The film, which stars Michael Cera (fresh off of his God-level cameo as Wally Brando in Twin Peaks), was well-received at its Sundance World Premiere and will be distributed later in the year by Magnolia Pictures. The ensemble drama has been described as following a “variety of New York characters as they navigate personal relationships and unexpected problems over the course of a single day.” Person to Person co-stars Bene Coopersmith, Broad City‘s Abbi Jacobson and Chicago native Tavi Genvinson.

The screening will take place on the roof deck of Columbia College’s Media Production Center at 1600 South State St. and Chicago filmmaker Joe Swanberg, who executive produced, will moderate a post-screening Q&A with director Defa and star Coopersmith. “I’m incredibly proud to be involved with Person to Person, it’s a really funny, warm, uplifting film, and I can’t wait to share it with the Chicago audience on a summer night,” says Swanberg. Tickets for PERSON TO PERSON can be purchased for $10.00, while students may attend for free. Doors open with cocktails at 7:30pm and the screening begins at 8:30pm. For more information, visit the Elevated Films website.

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