I think that may have been the single greatest piece of filmmaking I've ever seen.

I don't know what the fuck.

Hold me. Someone.

Yup. On my first viewing, this may be my favorite hour of television of all-time. I think I would have made that statement regardless, but it also helps that NIN is my favorite band.

Holy shit.

Gotta light?

Dying to see this one tonight.

It would sure seem so.

Man, I never expected an overt political statement from Twin Peaks. But then again I never expected to hear anyone say, "Ladies and Gentlemen, the Roadhouse is pleased to present, The Nine Inch Nails!" either.

Also, from the excellent, excellent Vulture recap:

"'She’s gone, she’s gone, she’s gone away,; croons Reznor from behind his sunglasses, which has always been the story of this show."

That performance made me cringe. Lol. The lyrics hit home for the show though.

What a wild 58 minutes of TV. I loved it.

Have you ever been a big fan of a band, and there's a song that's good, but not necessarily your favorite, and then a few months later they release a video, or it's featured on a trailer, movie, or TV show, and then suddenly the meaning changes for you and the song goes from good to amazing?

Yeah. . . That was me with "She's Gone Away" last night.

One of the last things I ever thought I wanted from Twin Peaks was a BOB origin story, mainly for the same reason that Frank Silva doesn't really do it for me acting that character. I would have thought that the more that's shown or explained to me, the less powerful it would end up being.

...and yet here I am. I loved that episode. I can't stop thinking about how it made me feel. I have both a deeper understanding of BOB's nature while feeling more mystified than ever about how he continues to exist among us.

Showtime Executive 1: "Hey, let's give DL complete creative control over this series; sounds good, right?"
Showtime Executive 2: "Yeah, Twin Peaks was so quirky and off-kilter! It's not like he's going to make the most fucked-up hour of TV of all time."
David Lynch: "Hold my Courvoisier."

Two weeks until the next episode.

I think I'm going to watch that Journey Through Twin Peaks YouTube series.

So, everyone seems pretty confident that the young nameless lady -- who has a nuclear frog-bug crawl into her mouth while she's sleeping -- is Sarah Palmer. And that's certainly possible. But what if that she's Linda of Richard and Linda? What if this young couple in 1956 is who The Giant/?????? is reminding Coop of in the first episode?

On it's face, this Part 8 almost feel like the antithesis of Part 7. But really, I don't think it's a coincidence that these two episodes are back to back. They both give a shit ton of backstory and exposition, but in profoundly different ways. One is Mark Frost's version and the other is David Lynch's version. It's poetic and fucking beautiful. In fact, it really feels like all of these "parts" have been coupled for a reason. Parts 1&2 aired together and really do form one narrative film. Ditto 3&4 and 5&6 and now 7&8.

Goddamn, this show is absolutely brilliant. It's as much a mash-up of all of Lynch's previous material as anything we're likely to see in our lives. This is a magnum opus. If this is the last thing Lynch ever directs, I'll be satisfied.