Legend of Korra Season 4 Episode 1

Total Page:16

File Type:pdf, Size:1020Kb

Legend of Korra Season 4 Episode 1 Legend of korra season 4 episode 1 Continue The Legend of KorraSeason 4Region 1 DVD cover artCountry OriginUnied States No. episodes13ReleaseOriginal networkNicktoonsNick.comOrligal releaseOctober 3 (2014-10-03) - December 19, 2014 (2014-12-19)Season timeline← Previous Season 3 List of Legends of Corra episodes Book 4: Balance is the fourth and final season of the animated series The Legend of Correa by Michael DiMartino and Brian Koniko. It consists of thirteen episodes (chapters), all animated Studios World. Episodes were available on the Nickelodeon website and other online editions every Friday starting October 3, 2014, and premiered on November 28, 2014 on Nicktoons. The critical reception of Book 4, throughout the series as a whole, was positive. Book 4 is set three years after the previous season. It is dedicated to The Avatar Corra's journey of self-discovery after the physical and psychological trauma she suffered in battle with zahir, and the riots in the Kingdom of the Earth, where Kuvira, a former security officer in the service of Suiin Biphonong, seeks to seize power by military force. The season is followed by the graphic novel trilogy Turf Wars, which gathers momentum immediately after the series finale. Production After Nickelodeon cut the budget for season 4 by about the amount needed for one episode, DiMartino and Konietzko decided to include a clip of the show's episode that reused the earlier production of animation, instead of allowing many of the creative staff to go. Inspired by an episode of Samuraja Champloo's music video show The Diaries of Disorder, they decided to frame a series of edited clips from previous seasons of The Legends of Corre with five minutes of new animation. Shown as episode 8, Remembrances, the clip show was also intended as a light-hearted romp, similar to an episode of Avatar: The Last Air Funder of Amber Island Players before the series enters its place. The reception season as a whole was well received by critics. Critics generally enjoyed the main villain Kuvira and thought that it complements Corra well. Max Nicholson of IGN felt that the overall plot of Kuvira's military campaign was not as ambitious as the previous seasons, although he still liked it. Nicholson also praised the season for its handling of topics such as war, dictatorship, weapons of mass destruction and post-traumatic stress disorder. The latest footage of the series, designed to show Asami and Corra becoming a romantic couple, was seen pushing the boundaries of LGBT representation on children's television. Korra Alone was rated by critics as one of the best episodes of the entire series, 56, described by Nicholson as masterful and heartbreaking. Day of the Colossus received positive reviews for its action sequences, described by Matt Patch as 22 minutes of magic scenery, featuring some of the most creative, actions I've ever seen. In contrast, the music video show Remembrances was highlighted as a weak spot in the season. In the final scene of the season and the series, Corra and Asami face each other holding hands. This scene is reminiscent of the previous wedding scene between Joo Li and Warrick, as well as the last shot of Avatar: The Last Balloon, in which Aang and Katara kiss. It has been the subject of discussion outside of the entertainment media, particularly after the creators of the series confirmed that the scene was meant to mean Corra and Asami becoming a romantic couple. According to Joanna Robinson for Vanity Fair, who described the series finale as the most disruptive television event of the year, it changed the side of TV by going further than any other children's television work in portraying same-sex relationships 13 - the score, Shared reviewers for TV.com, 14 Club A.V., 4 USA Today,15 IGN, Megan Farokhmanes of Polygon wrote that by portraying Korra and Asami bisexual, the series even avoided mistakes, suggesting sexual orientation, as many other TV series have done, to be a strict gap between gay and direct. In 2018, io9 ranked #55 in the list of 100 Most Important Pop Culture Moments of the Last 10 Years. Episodes Watch also: List of Legends of Corra episodes No.overallNo. inseasonTitleAnimated byDirected byWritten byOriginal Release DateProd.code401Head one: After all these years Studio MirColin HeckJoshua HamiltonOctober 3, 2014 (2014-10-03)214 Three years after the defeat by zahir, the conceited Prince Wu is about to be crowned The King of the Earth, McEvoy his assigned bodyguard. In the Land kingdom, Opal and Kai are trying to protect the community from gangsters with limited success. Kuvira, who now styles herself a Great Uniter, appears at the head of an army that includes Bolin, Warrick and his assistant Ju Li. It offers the governor supply and protection - if he subordinates his state to its sovereignty. The governor reluctantly agrees, and their conversation shows that this has become a regularity as Kuvira consolidates more and more of the Kingdom's Land under her leadership, which is beginning to seem increasingly oppressive. Elsewhere, a dull Corra fights and loses cage matches, apparently giving up his identity as Avatar. 412Head two: Korra AloneThe Studio Mirian GramMaihael Dante DiMartino10 October 2014 (2014-10-10)215 Over the past three years, the dull Corra has been slowly regaining his health through physical therapy and healing imposed by Katara at the South Pole, following her torture and poisoning by the hands of the Red Lotus. However, the consequences of the attack and the other suffering and loss she faced left her psychologically traumatized, and haunted by doubts that she ever be the same again, and she wasn't in Avatar State after the attack. By deceiving her family and friends into believing that she is back in the Republic City, she is actually wandering aimlessly around the world, isolating herself as much as possible from human contact. She pursues a dark vision of herself as she appears in the fight against zahir, who seems to look at her wherever she goes. Spirit leads her into the banyan swamps that were previously featured in Avatar: The Last Air Exchange, where her twin ghost chases her down and attacks her, and she suffers a hallucination of drowning, but regains consciousness in the abode of Toff Beifong. 423Head 3: Coronation Studio MirMelchior TsvirTim HedrickOctober 17, 2014 (2014-10-17)216 At Wu's coronation in the Republican city, Kuvira refuses to cede power to him, instead announcing that she will consolidate territory under her control into the new Empire of the Earth. This creates a rift between her and other world leaders, including Souyun, as well as between Bolin and Mako, who must protect the unpopular Wu from Kuvira's angry supporters. Meanwhile, in the Banyan swamp, Tof agrees to help Corra regain her strength, though her methodology largely consists of browbeating Corra and beating her with still formidable earthbending. She finds residual metal poison inside the Corra but can't remove it - Corra subconsciously resists, scarring from her previous injuries. Meanwhile, Tenzin sends Ginora, Ikki, and Melo in search of Corra, and Warrick experiments on spiritual vines for Kuvira. 434Head 4: Invocation Studio MirColin HeckKatie MattilaOctober 24, 2014 (2014-10-24)217 While young pilots look far and wide for Corra, Ikki is briefly captured by two soldiers of the Earth Empire. Based on what they say, Ikki leads the trio to the Misty Swamp. There, Korra is still haunted by the vision that she has suffered from her past enemies, but she manages to connect with her brothers and sisters through the roots of the great Banyan Grove tree. After they implore her to resume her Avatar duties to face Kuvira, Tofa's advice helps Corre let go of her fears, bend the rest of the poison out of herself and re-enter the Avatar state. 445Head 5: The Enemy at the Gates Studio Mirian GraemeJoshua Hamilton31 October 2014 (2014-10-31)218 As the Kuvira army marches through Saofu, Souyun refuses to allow his city to join the new empire, and Corra tries in vain to negotiate a peace exodus. Varrik and Bolin realized the totalitarian nature of Kuvira's rule, but their escape was thwarted by Kuvira's fiance, the son of Suiin Baatar Jr. (Todd Haberkorn). While Joo Lee swears allegiance to Kuvira, Warrick is forced to arm the wind vines for her, and Bolin must be sent to a re-education camp. In the Republican city of Asami reunites with his father, who was imprisoned, Hiroshi. 456Head 6: Battle AofuTudiofustudio After Soyun and her twin sons were captured while infiltrating Kuvira's camp to get her out, Kuvira agrees to a duel with Corra to decide control of Theofu. Although currently free from the effects of Red Lotus poison, Corra remains off-balance and Kuvira goads her to gain further advantage by consistently outmaneuvering Corra. Unable to otherwise gain an advantage, Corra enters the Avatar state and prepares to strike a crushing blow until he hallucinates a vision of his dark ghost in Kuvira's place and collapses to the ground. Opal, Ginora, Ikki and Meelo rescue Corra and run with her on the back of an air bison. Meanwhile, Warrick and Bolin escape after Warrick impistes a bomb with a vine. Kuvira forces the citizens of Saofu to obey, and Baatar Jr. and Ju Li continue to work on the superweapon of grapes. 467Head 7: MirColin HeckMichael Reunion Studio Dante DiMartino November 14, 2014 (2014-11-14)220 As Corra reunites with his friends in the Republican city, Wu is kidnapped on Kuvira's orders.
Recommended publications
  • Twin Peaks’ New Mode of Storytelling
    ARTICLES PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING MIKHAIL L. SKOPTSOV ABSTRACT Following the April 1990 debut of Twin Peaks on ABC, the TV’, while disguising instances of authorial manipulation evi- vision - a sequence of images that relates information of the dent within the texts as products of divine internal causality. narrative future or past – has become a staple of numerous As a result, all narrative events, no matter how coincidental or network, basic cable and premium cable serials, including inconsequential, become part of a grand design. Close exam- Buffy the Vampire Slayer(WB) , Battlestar Galactica (SyFy) and ination of Twin Peaks and Carnivàle will demonstrate how the Game of Thrones (HBO). This paper argues that Peaks in effect mode operates, why it is popular among modern storytellers had introduced a mode of storytelling called “visio-narrative,” and how it can elevate a show’s cultural status. which draws on ancient epic poetry by focusing on main char- acters that receive knowledge from enigmatic, god-like figures that control his world. Their visions disrupt linear storytelling, KEYWORDS allowing a series to embrace the formal aspects of the me- dium and create the impression that its disparate episodes Quality television; Carnivale; Twin Peaks; vision; coincidence, constitute a singular whole. This helps them qualify as ‘quality destiny. 39 SERIES VOLUME I, SPRING 2015: 39-50 DOI 10.6092/issn.2421-454X/5113 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X ARTICLES > MIKHAIL L. SKOPTSOV PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING By the standards of traditional detective fiction, which ne- herself and possibly The Log Lady, are visionaries as well.
    [Show full text]
  • How Twin Peaks Changed the Face of Contemporary Television
    “That Show You Like Might Be Coming Back in Style” 44 DOI: 10.1515/abcsj-2015-0003 “That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television RALUCA MOLDOVAN Babeş-Bolyai University, Cluj-Napoca Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen. Keywords: Twin Peaks, television series, film noir, David Lynch Introduction: the Lynchian universe In October 2014, director David Lynch and scriptwriter Mark Frost announced that Twin Peaks, the cult TV series they had created in 1990, would be returning to primetime television for a limited nine episode run 45 “That Show You Like Might Be Coming Back in Style” broadcast by the cable channel Showtime in 2016.
    [Show full text]
  • Twin Peaks at Twenty-Five
    IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks.
    [Show full text]
  • Smashing the Small Screen David Lynch, Twin Peaks and Reinventing Television
    Smashing the Small Screen David Lynch, Twin Peaks and Reinventing Television KYLE BARRETT David Lynch began his career as a fine artist and his films have always had a strong sense of visual style, even within the conventions of narrative cinema, which tends to fore­ ground effectswork or script-based character development over aesthetic verisimilitude. -Odell (163) Moving into filmmakingwith his debut animated short Six Figures Get­ ting Sick {1967), David Lynch developed subversive filmmaking techniques that would later be employed in his later live-action shorts and feature films. Many stylistic elements have evolved fromhis earlier work, including the use of an experimental soundscape, wide-angles, long sustained close-ups and use (and absence) of color. Jane Evans Braziel notes, "His visual style, influ­ enced by artists Francis Bacon, Jackson Pollock and Edward Hopper, balances narrative with non-representational images. The effectis a startling beautiful, if bizarre and sometimes horrifying, montage of sights, sounds, bodies, lights and movement that denaturalises the parameters of space and time, and con­ ventions of embodiment, violence, sex, desire and gender" {108). Both embracing and abandoning conventional production practices, Lynch has created an easily identifiable-"Lynchian" -style, successfully translated to the small screen with the seminal Twin Peaks (1990-91). Lynch's firstfeature film, Eraserhead, became a cult hit on the midnight movie circuit, leading to directing duties on the Mel Brooks-produced The Elephant Man. The critical success of this gave Lynch the chance to direct a big budget science fictionfilm, Dune, the result of which became a box-office 47 48 Approaching Twin Peaks and critical failure.
    [Show full text]
  • A Cinema of Confusion
    A CINEMA OF CONFUSION Erik Oliver omething is wrong. Videotapes appear on the doorstep of Fred (Bill Pullman) and Renée Madison (Patricia Arquette). They show, in floating, ominous frames, the exterior and then the interior of the couple’s home. Even ignoring the Stapes, Fred and Renée seem off, somnambulant. They speak in non- sequiturs and long pauses. Their house is always dark. We sense an intrusion taking place, but never that there might be one specific intruder. Something is looming, and it’s impossible to tell what it might be. Things in this successful couple’s upscale home seem like they should be normal, but they feel fundamentally wrong, and by the time Fred receives the final tape—chronicling his murder of Renée— the grainy footage seems itself like the act of violence. The police arrest Fred, but once within his jail cell, he physically transforms into another man, Pete (Balthazar Getty). The police can’t figure out what to do with this man, so they release him. Pete returns home to his own family and work, which soon will lead him to Alice (also played by Patricia Arquette), who looks identical to Renée. So, we have questions, but the answers we receive from David Lynch’s Lost Highway (1997) only confound us more. Fred murdered his wife. But when? Why? And even taking this account for the truth, Fred is no longer Fred, but Pete. Fred’s arrest seems like a climax to Lost Highway ’s odd, oblique psychodrama, but with the transfigura - tion in the jail cell, we’re delivered back into a status quo, albeit one that disrupts our understanding of the plot.
    [Show full text]
  • The COE Bookshelf Antiracism and Intersectional Oppression Resources
    The COE Bookshelf Antiracism and Intersectional Oppression Resources General Books (Adults) A • Alexander, M. (2010). The new Jim Crow: Mass incarceration in the age of colorblindness. The New Press. • Anderson, C. (2020). White rage: The unspoken truth of our racial divide. Bloomsbury. • Angelou, M. (1969). I know why the caged bird sings. Random House. • Anzaldúa, G. (2012). Borderlands: La frontera: The new Mestiza. Aunt Lute Books. • Arnold, J. (2020). Raising our hands: How White women can stop avoiding hard conversations, start accepting responsibility, and find our place on the new frontlines. BenBella Books. B • Baldwin, J. (1962). The fire next time. Vintage Books. • Boggs, G. L. (2011). The next American revolution: Sustainable activism for the twenty-first century. University of California Press. • Burciaga, J. A. (1993). Drink cultura: Chicanismo. Capra Press. • Butler, P. (2017). Chokehold: Policing Black men. The New Press. C • Coates, T.-N. (2015). Between the world and me. Spiegel & Grau. • Collins, P. H. (2000). Black feminist thought. Routledge. • Cooper, B. (2018). Eloquent rage: A Black feminist discovers her superpower. St. Martin’s Press. D • Davis, A. Y. (1981). Women, race and class. Random House. • Davis, A. Y. (2003). Are prisons obsolete? Seven Stories Press. • DiAngelo, R. (2018). White fragility: Why it’s so hard for White people to talk about racism. Beacon Press. E • Eddo-Lodge, R. (2017). Why I’m no longer talking to White people about race. Bloomsbury. F • Fanon, F. (1952). Black skin, white masks. Éditions du Seuil. • Fanon, F. (1963). The wretched of the earth. Présence Africaine. • Ferrera, A. (2019). American like me: Reflections on life between cultures.
    [Show full text]
  • Double Time in Twin Peaks: the Return
    Lash, D. J. A. (2020). The dangers of getting what you asked for: double time in Twin Peaks: The Return. Open Screens, 3(1). https://doi.org/10.16995/os.21 Publisher's PDF, also known as Version of record License (if available): CC BY Link to published version (if available): 10.16995/os.21 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Open Library of Humanities at http://doi.org/10.16995/os.21. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Research How to Cite: Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 Published: 09 July 2020 Peer Review: This article has been peer reviewed through the double-blind process of Open Screens, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
    [Show full text]
  • The Drink Tank’S 9Th Annual Giant Sized Annual James Bacon - the Drink Tank 365 - Chris Garcia Garcia@Computerhistoryorg January 31St, 2014
    The Drink Tank’s 9th Annual Giant Sized Annual James Bacon - The Drink Tank 365 - Chris Garcia Garcia@computerhistoryorg January 31st, 2014 Before I get into Twin Peaks, I’ve got some news. The last Drink Tank will hit the street on January 31st, 2015. That’s right, we’re gonna call it a day in exactly one year. The Tenth Annual Giant Sized Annual will be the last issue of The Drink Tank. Ten years and, what I assume will be more than 400 issues. Neither will be a record, but both feel like enough to me. I never wanted The Drink Tank to be one of those zines that just stopped show- ing up one day. I wanna be the one to close the door on it, and this seems like the time. Ten years, man. My entire 30s. I’ll be 40 (and so will James, since he’s the older brother, it would seem) James signed off on the idea when I pitched it to him. Ten Years is a good round number. It’ll be time to close the door. Back in the 90s, Antonio Inoki announced his retirement and then did a several year long tour, doing show after show, having some of the best matches of his career, including one with Big Van Vader that was just tops! He went on and on, not stopping until he really needed to retire, and certain that New Japan Pro Wrestling, the company he built, would be financially secure without him. Luckily, we don’t have those problems here, but there’s still a few things I wanna try.
    [Show full text]
  • Department of English and American Studies English Language And
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Rudolf Hecl Twin Peaks: Revolution on TV Master ’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2009 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .................................................. Author’s signature 2 Acknowledgements I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his kind help, support and valuable advice. Also, I would like to thank Leesa Wheatley for proofreading my thesis. 3 Table of Contents Introduction ................................................................................................................................. 5 01. Lynch ...................................................................................................................................... 7 02. Twin Peaks ........................................................................................................................... 25 General facts about Twin Peaks .............................................................................................. 25 Auteur Theory vs. Collaborators (Why Lynch’s Twin Peaks ?) .............................................. 27 Plot .......................................................................................................................................... 30 Characters ...............................................................................................................................
    [Show full text]
  • LCVB the Office Self-Guided Tour
    . NOT ON THE MAP HOUDINI MUSEUM 1433 N Main Ave Scranton Season 8, Episode 19 THE PAVILION AT MONTAGE MOUNTAIN 1000 Montage Mountain Rd VE AD A Scranton O BR IDG Season 2, Episode 20 RAILR E A V E C W LINDEN S LIFF ST GERTRUDE HAWK CHOCOLATES r T ided tou 909 Keystone Industrial Park self-gu Throop P Season 2, Episode 22 A MIFFLIN AVE GE PL HALLSTEAD CT MULBER Season 4, Episode 2 FRANKLIN AVE R Y GLIDER DINER S ON THE SCRANTON MAP. T RAYMOND CT VE 890 Providence Rd VE 4TH A L CAPOUSE A A CK SP Scranton CENTER A VE R PENN A W VE UCE Season 4, Episode 14 3RD A ANNA S ZA CAFE S T OAKFORD CT ALFREDO’S PIZ T 1 e A ashington Av VE CUGINO’S 1040 S W E GI PHELP WYOMING AVE ASH PINE OLIVE 107 E Drinker St Season 4, Episodes 1 & 3 B SON S S S YOMING AVE T S W S Dunmore Season 6, Episode 15 RIVER T OREST CT S T F S B T T E ’S PUB E Season 3, Episode 7 C DUPONT CT POOR RICHARD S 2 H T S t MYRTLE T 125 Beech S ASHINGTON AVE MULBER 0 VE N W VE ASHINGTON A LINDEN VINE S W SP PNC FIELD Season 2, Episodes 1, 5 & 1 S WASHINGTON AVE R AMS A UCE DIX CT S DIX CT S AD 235 Montage Mountain Rd T R Season 3, Episode 7 T Y S S S LEE CT T T Moosic T Season 9, Episode 6 L A C K ADAMS AVE Site of Wrap Party: Farewell A 3 ELECTRIC CITY W A Celebration OLLEY MUSEUM N TR N OLIVE A KRESSLER CT A t V E 300 Cliff S ’ Nickname Origin S LAKE SCRANTON ‘Electric City JEFFERSON AVE T TIONAL MAMADDIIS Route 307 OWN NA SO MOIR CT STEAMT N 4 A Scranton VE HISTORIC SITE t MADISON AVE Season 3, Episode 22 350 Cliff S C EN Season 4, Episode 2 TR Season 4, Episode 4 AL MCKENNA CT
    [Show full text]
  • Reversal of Gender Roles in Twin Peaks and Fire Walk with Me
    Reversal of Gender Roles in Twin Peaks and Fire Walk with Me By Antonio Sanna Spring 2012 Issue of KINEMA LAURA PALMER WAS BOB’S MASCULINE DAUGTER: REVERSAL OF GENDER ROLES IN TWIN PEAKS AND FIRE WALK WITH ME Abstract In my paper I shall analyse the cult TV series Twin Peaks through a gender perspective. I shall argue that Laura Palmer could actually be seen as BOB’s daughter because she impersonates male predatory sexuality and attitudes. I shall also argue that the behaviour of BOB could be seen as very similar to that of all of his victims through the same masculine attitudes they exhibit. In my reading, the series and the film will be considered as an unfolding narrative resulting from the comprehensive work of both its creators David Lynch and Mark Frost and the team of its writers and directors. THE CONTROVERSIAL and much-debated TV series Twin Peaks by David Lynch and Mark Frost was divided in two seasons which were aired between 1990 and 1991; it was the most video-taped program on network television during the time of its airing, with over 830,000 persons recording it each week (Jenkins 67). It received initially an enthusiastic critical reaction and achieved a massive popularity, which still lasts after twenty years of its original airing. Indeed, the DVD collections of its two series as well as its soundtrack have been recently re-issued on the market (the ”Gold Box Edition” was issued in 2007) and critical readings of its narrative are still being published, especially in volumes which analyse David Lynch’s entire oeuvre.
    [Show full text]
  • Double Time in Twin Peaks: the Return
    Research How to Cite: Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 Published: 09 July 2020 Peer Review: This article has been peer reviewed through the double-blind process of Open Screens, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Screens is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 RESEARCH The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return Dominic Lash University of Bristol, GB [email protected] The third season of Twin Peaks is chock full of uncanny, disturbing – and disturbingly humorous – doubles, most notably of its central character, played by Kyle McLachlan. This article argues that the series itself is also a kind of double, because it takes advantage of the almost unique situation in which a beloved show is continued after a quarter-century absence to superimpose itself on the new versions of Twin Peaks its fans have fantasized in the interim.
    [Show full text]