Amoeblog

Your Pals Are Not What They Seem 1: Faith and Reason in Lost's Season 5 Finale

Posted by Charles Reece, May 24, 2009 10:32am | Post a Comment
When Twin Peaks veers into the conventions of illusionism, which pay homage to the rationalist's faith in a phallic force and properly directed will, the series loses its sense of the benign subconscious and the affirming power of femininity. In the later episodes, the seeker regresses into a stereotypical hero. Proper reason directing Cooper's will becomes the heroic focus of the action against the typical perverse will and reason of the villain. The traditional conquest of Earle -- not the desire to see -- becomes the desire of the series. -- Martha P. Nochimson, David Lynch: Wild at Heart in Hollywood, p. 93

The only thing Columbus discovered was that he was lost! -- Wyndom Earle

lost jacob nemesis season 5

Since Ron Moore and colleagues sank my Battlestar, the only show I've cared about is Lost. As the former demonstrated, TV is determined by its own law of entropy, where any show gets worse in direct proportion to the length of time it's on times the structural quality (plot, characters, diegesis, etc.) that the creators initially developed. Clearly, BSG went on for about 2 years longer than the initial fund of creativity allowed. Its keg was all but tapped by the beginning of the third season. Given its tenuous beginning, Moore probably thought his show wouldn't make it much past the mini-series, hoping that he'd at least have one of those cult-celebrated shows that could've been. On the other side of the coin, TV executives don't much care about quality, but about how long they can wring some advertising dollars out of the shows they're broadcasting. As such, they are creatures of chaos, encouraging the steady dissolution of the creative order; they are, in a word, demonic. It's the nature of the beast that creators have to get in bed with these incubi to give birth to a TV show. This Faustian dialectic requires as much blind faith from the creators as it does money being thrown about by investors. Little wonder, then, why so many SF-fantasy shows are predisposed to defending faith over reason. As articles of faith in the face of overwhelming odds, they came into being as the result of big, dumb chance.

x-files believe

A classic example is X-Files, which burned out after the third season and whose endings justified every ludicrous theory the conspiracist Agent Mulder came up with. After a few years of this, the skepticism of Agent Scully's ratiocinations came across as implausible, or just plain dumb. Faith in something that's demonstratively true isn't really faith; it's empirical knowledge. Contrary to some interpretations, X-Files didn't really analyze the role of faith, so much as side-step it by making the supernatural natural. You'd be one stupid hobbit to doubt magic in Middle-Earth. The hero in an absurdist universe can either fight it like Agent 6 did in The Prisoner, or just embrace it like Maxwell Smart in Get Smart. On the former journey -- Kafkaesque in its structure -- lies madness, cancellation and no end to the story, much like what waits for the rationalist in the real world; on the latter, you get a better chance at a few more seasons, but, like a business going public and expanding, the product begins to feel like a cheap imitation (just look at X-Files).

Contrariwise, David Lynch and Mark Frost built the possibility for endless expansion into Twin Peaks with the mystery of Laura Palmer's murder -- what Lynch has called "the golden goose." They intended to keep it ongoing indefinitely while exploring the epiphenomenal mysteries arising from the central investigation. ABC felt that endless mystery would tax the faith of viewers, and "asked" the creators to wrap up the Laura storyline in the second season. The end of that mystery wasn't all that killed the show's élan: both Frost and Lynch went away to work on other projects, turning the reins over to a bunch of cheap Lynch clones, resulting in a whole lot of James and Lucy. It was with the return of Frost that the show began to regain some sense of direction, but more along the lines of the classic good versus evil struggle to which Nochimson alludes in the above quote. Agent Cooper now had a Moriarty, Wyndom Earle, a damsel in distress, Annie, and there was a white lodge to go along with the black one -- tropes that a Jungian once called archetypes, but are now known as clichés. Nochimson is herself a Jungian feminist who sees Cooper as a hero-seeker, a protagonist who leaves himself open to questions, tapping into the universal unconscious, rather than one who is out to conquer the Other. Openness, you see, is the province of universal femininty -- think the woman's classic coital role ('classic' should here be read as another synonym for 'cliché', or 'stereotype'). Reason is phallic, controlling, penetrating, and thusly the province of masculinity.

twin peaks cooper unconscioustwin peaks season 2 cooper

Despite the reductionistic men-are-from-Mars-women-from-Venus rhetoric, Nochimson's book gets it right that Lynch isn't much of an us-versus-them sort of narrator. As becomes increasingly evident from Blue Velvet to Inland Empire, all of his protagonists possess a Hermann Hesse-duality that drives the narrative more than some external battle with another. However, Cooper is his purest hero, only shown to face his dark side when Lynch returned for season 2's finale. By listening to his dreams and going with his occult intuition, Cooper might be considered a man of faith, albeit one who doesn't put all his eggs in one basket. (These eggs aren't of the hysterical kind, though.) But he was until the final episode, and against Nochimson's reading, always in control. He asked the right questions and proffered the best hypotheses again and again. I'd say, given the preternatural realm of Twin Peaks, Cooper belongs philosophically with his cohort Agent Mulder to Noam Chomsky's brand of rationalism. ("Mulder" even pops up in Twin Peaks as an FBI investigator in drag, an agent of scientifico-rationalism mocking the identity politics inherent in Nochimson's account.)


Against the bottom-feeding positivism of behaviorism that was dominant back in the 50s, Chomsky countered that unobservable mental models (the a priori, or given) were necessary to understand linguistic behavior. Scientific discovery, like language learning, is guided by models, where one has an initial theory that undergoes modification as experience dictates (I speak loosely here, so see these entries on Universal Grammar and Modularity if you're curious). If the data is consistent with the theoretical model, no change is necessary; it is, for all intents and purposes, rational knowledge. Mulder and Cooper's seemingly outlandish theories might not work in our world, but they tended to be confirmed by (were consistent with their experiences in) their own diegeses. Their faith is more analogous to David Hume believing that one billiard ball will move when struck by another, i.e., it always had in the past (as far as he knew).

Earworms, brainworms, and sticky music

Posted by Whitmore, June 28, 2008 10:05pm | Post a Comment

An Earworm is a term for a portion of a song or other musical bit that gets "stuck" in someone’s head and repeats continually against a their will. Often, relief comes only when it is swapped with a newer fragment from another tune. Research indicates that the people who get the most earworms tend to listen to music frequently and are more likely to have other neurotic habits, such as biting pencils or finger nails or tapping fingers. In Oliver Sacks latest book, Musicophilia, he defines the phenomenon as “involuntary musical imagery.”

I’m regularly haunted by fractions of tunes wandering between lobes. And more often than not, these are unfamiliar melodies incessantly repeating, tumbling about, until my slipping weak-ass sagacity cracks. Musicians tend to more susceptible to earworms, and it probably doesn’t help that I listen to scraps of songs all day at Amoeba as a I comb over the piles of used, alien 45’s littering my office. Yesterday, for example, I played snippets of possibly three hundred different singles just trying to figure what is what and what is not. I seem to have survived the experience, at least for the moment; in any case I won’t know until the next ghostly notes infest my synapses. Unfortunately some melodies or musical moods are so perfectly defined; my simpleton’s grey matter is rather easy prey to a full-on earworm assault. For the last couple of weeks I’ve been re-watching all 29 episodes of David Lynch’s 1990 -1991 television show Twin Peaks. And no, the Twin Peaks Theme is not the exact piece of music bouncing around my skull, but Twin Peaks is the source of the latest spell.

(In which Job reflects on the end of the year... a year late.)

Posted by Job O Brother, December 9, 2007 10:46pm | Post a Comment

"They'll never give us a room if we don't pretend we're married."

Welp… We’re about ready to finish off ol’ 2007. And what a year it’s been. For years to come, we’ll be remembered by history as the people who got to see… urr… hours of YouTube footage of Britney Spears trying to buy cappuccinos. Oh yeah, and something about a war?

Anyhoo, I thought I’d maybe talk a little about my favorite album of the year – only, there’s a problem. My favorite album of the year came out in November of 2006. Hey, it’s not my fault if I wasn’t as blown away by the latest release by [insert everyone who released an album this year].

It’s not that I’m cynical and it’s NOT that I didn’t enjoy anything new this year. It’s that nothing has replaced my favorite yet. So, I continue listening to it.


For those few of you who don’t know what you’re looking at here, it’s the album “Ys” by Joanna Newsom.

There’s very little praise I can say here that hasn’t been said before by critics the world over. When it hit the scene, the album secured Miss Newsom some serious accolades. For myself, it was a rare moment when popular culture and yours truly loved something at the same time. That’s a blue moon moment. I think the last time it happened was… Twin Peaks. And Jesus, there’s people working as cashiers at Amoeba Music that are too young to remember who Laura Palmer is.


The good old days.

My relationship with the album is personal and doesn’t easily translate for my whimsical blog. I don’t like to talk about it. Every time I try to explain how I feel about the music, I get all overwhelmed and vulnerable, like a quaking fawn on newborn legs, and then I wanna punch faces in. You know how it is.

welcome to twin peaks!!!

Posted by Brad Schelden, April 4, 2007 06:22pm | Post a Comment

Finally!!! Twin Peaks Season 2 is now available. It just came out this week. It has been over 5 years since Season 1 came out on DVD! Like many of you, I sold my vhs box set years ago in anticipation of the release of this show on DVD. I am so excited I now get to revisit my favorite show and watch it all from the beginning. David Lynch is a genius and was really able to show the world just how brilliant he was with this amazing ground breaking television show.  Season 2 originally aired in the 1990/1991 season. While the 1st season only had 8 episodes, season 2 had a full season of episodes with 22. This was the year it was nominated for some Soap Opera Digest Awards.

Sheryl Lee was nominated for best death scene as Maddie Ferguson. And I have to agree...she was amazing. She was brilliant in her second role in the series as Laura Palmer's strangely almost identical nerdy cousin. Kyle Maclachlan and Piper Laurie were both nominated for outstanding acting. The show was nominated for outstanding Prime Time Show. It won no Soap Opera Digest Awards but did walk away with a couple Golden Globes. Amazingly the Soap Opera Digest Awards still happen. However last year was the first year it was not televised and it went straight to magazine. Not a good sign for the future of the awards show.

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