DOCSLIB.ORG

Lo86053 TP Bevmenu I-Drive.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lo86053 TP Bevmenu I-Drive.Pdf MENU While famous for our signature 29° draft beer, Twin Peaks also takes immense pride in our spirits and premium bar offerings. The Twin Peaks beverage menu highlights everything from tequila cocktails and an extensive bourbon category to top shelf spirits and cocktails served over ice balls. Local craft beers and hand crafted whiskey cocktails round out an adventurous drink menu second to none. VARIETY OF HANDCRAFTED OLD FASHIONED COCKTAILS SHOTSSHOTS Bottoms Up! $ 6.99 shots $3.99 CINNAMON TOAST 165 cal RumChata • Fireball CHEAP SHOTS JAMESON PICKLE BACK 105 cal 70-140 CAL Jameson Irish Whiskey • side of pickle juice BLUE CHAIR BAY KEY LIME RUM CREAM JÄGER BOMB 190 cal Jägermeister • bombed into Red Bull DEEP EDDY LEMON PEANUT BUTTER & JELLY 80 Skrewball Peanut Butter Whiskey • DEEP EDDY RUBY RED raspberry schnapps PEANUT BUTTER CUP 80 DULCE VIDA GRAPEFRUIT TEQUILA Skrewball Peanut Butter Whiskey • SHOTS butterscotch schnapps VEGAS BOMB 140 cal DULCE VIDA PINEAPPLE JALAPEÑO TEQUILA Crown Royal • Malibu • peach schnapps • bombed into Red Bull FIREBALL CINNAMON WHISKY $5.99 shots JACK DANIEL’S APPLE GREEN TEA 95 cal JACK DANIEL’S FIRE Jameson • peach schnapps • sweet & sour • splash of Sprite KAMIKAZE 120 cal JACK DANIEL’S HONEY New Amsterdam Vodka • triple sec • simple syrup • lime JOSE CUERVO SILVER LEMON DROP 110 cal Tito's Handmade Vodka • JÄGERMEISTER sweet & sour • sugar rim LIQUID MARIJUANA 170 cal OLD CAMP PEACH PECAN WHISKEY Captain Morgan • Malibu • Midori • Blue Curacao • pineapple juice • sweet & sour OLE SMOKY APPLE PIE MOONSHINE MELON BALL 120 cal New Amsterdam Vodka • OLE SMOKY SALTY CARAMEL WHISKEY Midori • OJ SEX ON THE PEAKS 90 cal RUMPLE MINZE New Amsterdam Vodka • peach schnapps • OJ • cranberry juice SKREWBALL PEANUT BUTTER WHISKEY WHITE TEA 105 CAL Herradura Silver • peach schnapps • Try it with a salted rim! sweet & sour • splash of Sprite SCOOBY SNACK 115 cal SOUTHERN COMFORT Malibu • melon liqueur • pineapple juice TUACA BEERBEER Laces out, lagers in! BOTTLES/CANS Ask your Twin Peaks Girl for more details Bottles 70-170 CAL ABV IBU 12 OZ AMSTEL LIGHT Amsterdam, Netherlands 4.1% 18 4.95 BUD LIGHT St Louis, MO 4.2% 10 3.95 BUDWEISER St. Louis, MO 5.0% 12 3.95 COORS LIGHT Golden, CO 4.0% 12 3.95 CORONA Mexico 4.6% 18 4.95 CORONA PREMIER Mexico 4.0% 7 4.95 DOS EQUIS AMBAR Mexico 4.7% 22 4.95 DOS EQUIS LAGER Mexico 4.2% 10 4.95 HEINEKEN Netherlands 5.0% 23 4.95 HEINEKEN 0.0 Netherlands 0.0% NA 4.95 HEINEKEN LIGHT Netherlands 3.3% 12 4.95 IMPERIAL Costa Rica 4.5% 14 4.95 LABATT BLUE Canada 5.0% 12 4.95 LABATT BLUE LIGHT Canada 4.0% 10 4.95 MICHELOB ULTRA St Louis, MO 4.2% 10 3.95 MILLER LITE Milwaukee, WI 4.2% 12 3.95 MODELO ESPECIAL Mexico 4.4% 18 4.95 NEGRA MODELO Mexico 5.0% 20 4.95 O'DOUL'S St. Louis, MO 0.0% NA 4.95 PACIFICO Mexico 4.4% 18 4.95 SAM ADAMS BOSTON LAGER Boston, MA 5.0% 35 4.95 SOL Mexico 4.5% 12 4.95 STELLA ARTOIS Belgium 5.2% 20 4.95 cans 145-155 CAL ABV IBU 16 OZ BLUE MOON LIGHTSKY Golden, CO 4.0% 9 4.75 FAT TIRE 16 OZ Asheville, NC 5.2% 18.5 4.75 PABST BLUE RIBBON Milwaukee, WI 4.6% 10 4.95 DRAFTS We’ve got ice in our beer veins! 125-140 CAL for 10oz / 275-310 CAL for 22oz ABV IBU 10 OZ / 22 OZ DIRTY BLONDE citrus peels • coriander spice 5.2% 14 4.75 / 5.97 DROPDEAD REDHEAD fruity aroma • long hop finish 5.9% 55 4.97 / 6.97 KNOTTY BRUNETTE caramel malts • rich amber • full bodied 5.3% 19 4.75 / 5.97 Local Crafts 140-190 CAL for 10oz / 310-420 CAL for 22oz BREW BUS LAST STOP IPA Tampa, FL tropical fruit • citrus • clean finish • fresh pine 7.2% 68 4.97 / 6.97 FUNKY BUDDHA FLORIDIAN HEFEWEIZEN Oakland Park, FL wheat • malt body 5.2% 12 4.97 / 6.97 Michelada 215 CAL for 22oz DOS EQUIS LAGER OR MODELO ESPECIAL • Zing Zang • lime • chile salt rim 4.2% 23 NA / 7.25 Cider 170 CAL for 10oz / 330 CAL for 22oz ANGRY ORCHARD CRISP APPLE CIDER Walden, NY 5.0% 7 4.97 / 6.97 Lumberjack Select ROTATING CRAFT HANDLE Ask your Twin Peaks Girl what’s on tap! Price varies Seasonal 150-190 CAL for 10oz / 310-380 CAL for 22oz LEINENKUGEL’S SEASONAL Chippewa Falls, WI 4.97 / 6.97 NEW BELGIUM SEASONAL Ft Collins, CO 4.97 / 6.97 BEER SAMUEL ADAMS SEASONAL Boston, MA 4.97 / 6.97 SWEETWATER SEASONAL Atlanta, GA 4.97 / 6.97 TERRAPIN SEASONAL Athens, GA 4.97 / 6.97 Ales 140-180 CAL for 10oz / 310-400 CAL for 22oz BLUE MOON BELGIAN WHITE ALE Golden, CO orange peel • oats • wheat 5.4% 10 4.97 / 6.97 DOGFISH HEAD 60 MINUTE IPA Milton, DE citrusy • grassy • pungent 6.0% 60 4.97 / 7.97 ELYSIAN SPACE DUST IPA Seattle, WA American double imperial IPA • moderately sweet up front • bitter finish 8.2% 62 4.97 / 7.97 GUINNESS DRAUGHT Ireland roasted malt • caramel sweetness • dry bitterness 4.2% 40 4.97 / 7.97 KONA BIG WAVE Kailua-Kona, HI lightly toasted • honey malt 5.4% 10 4.97 / 6.97 LAGUNITAS IPA Petaluma, CA big aroma • spicy • sweet finish 6.2% 51 4.97 / 6.97 MAGIC HAT #9 South Burlington, VT dry • crisp • refreshing fruit • floral bitterness 5.1% 20 4.97 / 6.97 VOODOO RANGER IPA Ft Collins, CO sweet • strong • perfectly bitter 7.0% 50 4.97 / 7.97 Lagers 80-120 CAL for 10oz / 180-270 CAL for 22oz BUD LIGHT St Louis, MO 4.2% 10 3.50 / 4.97 BUDWEISER St. Louis, MO 5.0% 12 3.50 / 4.97 COORS LIGHT Golden, CO 4.0% 12 3.50 / 4.97 DOS EQUIS LAGER ESPECIAL Mexico 4.2% 23 4.97 / 6.97 HEINEKEN Netherlands 5.0% 23 4.97 / 6.97 MICHELOB ULTRA St Louis, MO 4.2% 10 4.97 / 6.97 MILLER LITE Milwaukee, WI 4.2% 12 3.50 / 4.97 MODELO ESPECIAL Mexico 4.4% 18 4.97 / 6.97 SAMUEL ADAMS BOSTON LAGER Boston, MA 5.0% 35 4.97 / 6.97 STELLA ARTOIS Belgium 5.2% 20 4.97 / 6.97 YUENGLING TRADITIONAL LAGER Pottsville, PA 4.5% 12 4.97 / 6.97 COCKTAILSCOCKTAILS Cheers! signature COCKTAILS AVIATION GIN CORPSE REVIVER Aviation Gin • triple sec • Carpano Antica Dry Vermouth • Peychaud’s bitters • lemon juice 210 CAL ..........................................................8.75 BUFFALO TRACE SOUR Buffalo Trace • simple syrup • lemon juice • red wine float 165 CAL ..........................................................................................................8.75 DIRTY MARTINI Ketel One Vodka or Plymouth Gin • Carpano Dry Vermouth • olive juice 180 CAL .............................................................................................................. 11.25 HENDRICK'S & TONIC Hendrick's Gin • lime juice • Fever Tree Tonic 130 CAL .....................9.25 HIGH WEST COWBOY MARGARITA High West American Prairie Bourbon • Grand Marnier • agave nectar • lime juice 280 CAL ....................................................................................... 13.79 IRISH TRASHCAN House Vodka • House Rum • Midori • Blue Curacao • topped with a can of Red Bull 250 CAL ............................................................................................9.25 LIQUID MARIJUANA Captain Morgan • Malibu • Midori • Blue Curacao • pineapple juice • sweet & sour 170 CAL .................................................................................................9.25 MARTELL SIDECAR Martell Cognac • Patrón Citrónge • lemon juice 245 CAL .................... 10.25 MOJITO Bacardí Superior • mint leaves • simple syrup • lime juice • Sprite 200 CAL ............9.25 MONKEY SHOULDER PENICILLIN Monkey Shoulder • agave nectar • lemon • Fever Tree Ginger Beer 260 CAL .......................................................................................................... 11.79 COCKTAILS PEAKS' LONG ISLAND ICED TEA Absolut • Lunazul Silver • Bacardi • Tanqueray • sweet & sour • splash of Coke 210 CAL .................................................................................9.25 PLYMOUTH GIN NEGRONI Plymouth Gin • Carpano Antica Sweet Vermouth • Campari • orange peel 200 CAL ............................................................................................................ 10.25 TITO'S BLOODY MARY Tito’s Handmade Vodka • Zing Zang • lime • celery • olive • seasoned salt rim • bacon 180 CAL ...................................................................................... 10.75 TITO'S TEA Tito's Handmade Vodka • Patrón Citrónge • OJ • sweet & sour • splash of Coke 240 CAL ........................................................................................................8.75 TITO’S SPARKLING LEMON Tito’s • Fever Tree Lemon 170 CAL..............................................8.50 WHEATLEY VODKA PEACH LEMONADE Wheatley Vodka • peach schnapps • lemon juice • simple syrup • club soda 245 CAL..........................................................................................7.75 the mule train Made with Fever Tree Ginger Beer and served in a copper mug. IRISH MULE Jameson or Proper No. Twelve Irish Whiskey • simple syrup • lemon juice • mint 190 CAL ...................................................................................................7.99 KENTUCKY MULE Maker’s Mark • simple syrup • lemon juice • mint 190 CAL .......................9.75 MEXICAN MULE Lunazul Silver • simple syrup • lime juice • jalapeño 190 CAL .....................9.75 MOSCOW MULE Ketel One • simple syrup • lime juice • mint 190 CAL ..................................9.75 Tequila CocktailS DOBEL™ DIAMOND MARGARITA Maestro Dobel Diamante Tequila • Grand Marnier • agave nectar • lime juice 210 CAL ....................................................................................... 13.99 DOBEL™ PINEAPPLE PALOMA Maestro Dobel Diamante Tequila • agave nectar • fresh grape- fruit • pineapple juice • lime juice • charred pineapple 175 CAL ........................................ 11.25 PALOMA Dulce Vida Grapefruit Tequila • simple syrup • lime juice
Load more

Recommended publications
  • 8.28.14-Lincoln-Now-Open.Pdf
    FOR IMMEDIATE RELEASE Twin Peaks Restaurant Debuts Scenic Views in Lincoln, Nebraska Ultimate Sports Lodge opens second Nebraska restaurant at 800 Q Street DALLAS (August 27, 2014) – Twin Peaks, the ultimate sports lodge known for its rugged man- cave atmosphere and playful Twin Peaks Girls, recently unveiled its second Nebraska restaurant in Lincoln at 800 Q Street. Twin Peaks Lincoln offers everything guests crave and more. The new location features an array of high definition televisions visible from every angle so guests never miss a minute of their favorite sports. A menu of carefully selected draft beers poured at a freezing, 29 degrees from a full-service bar can be enjoyed while relaxing around an inviting fireplace on the patio. The comfort food menu offers hearty made-from-scratch American dishes like the slow-roasted Ribeye Pot Roast and house-breaded Chicken-Fried Steak alongside Twin Peaks favorites like the tempting Smokehouse Burger and BBQ Pulled Pork Nachos. “Guys love a place that offers bold, craveable food, cold drinks and all their favorite sports,” said Kristen Colby, Senior Director of Marketing at Twin Peaks. “Twin Peaks is the perfect hot spot to relax and watch the game with an ice cold beer.” Twin Peaks Lincoln is also home to 75 new energetic Twin Peaks Girls, the concept’s signature assets. “The girls have been working hard in training to prepare for opening day,” added Colby. “We want to ensure that our staff provides guests with a dining experience that is not only enjoyable, but also memorable.” Twin Peaks Lincoln is open every day, Sunday-Thursday from 11 am to 12 am and Friday- Saturday from 11 am to 1 am.
    [Show full text]
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • A Postmodern Sense of Nostalgia: Demonstrating Through a Textual Analysis of Twin Peaks How Cult Membership Can Be Inculcated
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons @Salve Regina University Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 8-1-2012 A Postmodern Sense of Nostalgia: Demonstrating Through a Textual Analysis of Twin Peaks How Cult Membership Can Be Inculcated. Nicholas G. Albanese Salve Regina University, [email protected] Follow this and additional works at: http://digitalcommons.salve.edu/pell_theses Part of the American Popular Culture Commons, Film and Media Studies Commons, and the Television Commons Albanese, Nicholas G., "A Postmodern Sense of Nostalgia: Demonstrating Through a Textual Analysis of Twin Peaks How Cult Membership Can Be Inculcated." (2012). Pell Scholars and Senior Theses. Paper 81. http://digitalcommons.salve.edu/pell_theses/81 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Nostalgia & Twin Peaks 1 Running head: Nostalgia and Twin Peaks A Postmodern Sense of Nostalgia : demonstrating through a textual analysis of Twin Peaks how cult membership can be inculcated Nicholas Albanese Salve Regina University Pell 450 Dr. Esch December 16, 2011 Nostalgia & Twin Peaks 2 Abstract This paper explores a “cult”
    [Show full text]
  • National Conference
    NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award
    [Show full text]
  • ROGÉRIO FERRARAZ O Cinema Limítrofe De David Lynch Programa
    ROGÉRIO FERRARAZ O cinema limítrofe de David Lynch Programa de Estudos Pós-Graduados em Comunicação e Semiótica Pontifícia Universidade Católica de São Paulo (PUC/SP) São Paulo 2003 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC/SP Programa de Estudos Pós-Graduados em Comunicação e Semiótica O cinema limítrofe de David Lynch ROGÉRIO FERRARAZ Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica – Intersemiose na Literatura e nas Artes, sob a orientação da Profa. Dra. Lúcia Nagib São Paulo 2003 Banca Examinadora Dedicatória Às minhas avós Maria (em memória) e Adibe. Agradecimentos - À minha orientadora Profª Drª Lúcia Nagib, pelos ensinamentos, paciência e amizade; - Aos professores, funcionários e colegas do COS (PUC), especialmente aos amigos do Centro de Estudos de Cinema (CEC); - À CAPES, pelas bolsas de doutorado e doutorado sanduíche; - À University of California, Los Angeles (UCLA), por me receber como pesquisador visitante, especialmente ao Prof. Dr. Randal Johnson, supervisor de meus trabalhos no exterior, e aos professores, funcionários e colegas do Department of Spanish and Portuguese, do Department of Film, Television and Digital Media e do UCLA Film and Television Archives; - A David Lynch, pela entrevista concedida e pela simpatia com que me recebeu em sua casa; - Ao American Film Institute (AFI), pela atenção dos funcionários e por disponibilizar os arquivos sobre Lynch; - Aos meus amigos de ontem, hoje e sempre, em especial ao Marcus Bastos e à Maite Conde, pelas incontáveis discussões sobre cinema e sobre a obra de Lynch; - E, claro, a toda minha família, principalmente aos meus pais, Claudio e Laila, pelo amor, carinho, união e suporte – em todos os sentidos.
    [Show full text]
  • Twin Peaks #25
    TWIN PEAKS #25 (Episode 2.018) by Harley Peyton & Robert Engels Scanned by runningdog. Original formatting duplicated as closely as possible. For clarification all duplicate pages removed. Special note: this is a faithful duplication that includes the original spelling, formatting and series related errors. First Draft/Distribution to Dept. Heads: January 9 ,1991 Second Draft/General Distribution: January 15, 1991 Revised: January 16, 1991 - BLUE Revised: January 21, 1991 - PINK Revised: January 22, 1991 - GREEN Revised: January 23, 1991 - YELLOW Revised: January 24, 1991 - CHERRY Lynch/Frost Productions, Inc. 7700 Balboa Boulevard Van Nuys, CA 91406 (818) 909-7900 Revised 1-21-91, PINK #2.018 1. ACT ONE FADE IN: 1. INT. BOOKHOUSE - NIGHT Truman in a cot turns restlessly in his drunken sleep. He rolls over. A naked woman snuggles close to him. In Truman's dreams it is Josie. TRUMAN Josie - Truman kisses the woman who responds. It is JONES. She moves under the sheets. Massaging. Whispers. JONES Do you like that? TRUMAN Yes, Josie. Yes. Jones' hands slide under him - massaging. Then she rolls over on top of Truman who responds with passion. The wheeze of the wire from the BRACELET GAROTTE wakes Truman. She tightens the strangle line around his neck while she sits on top of him. Jones bends over him and kisses him passionately. Truman uses this moment to flip her off him. But at the same time Jones pulls the magnesium wire tighter. Truman fights to breathe and free her hands from the garotte. ANOTHER ANGLE Truman manages to stand. Jones wraps her legs around him.
    [Show full text]
  • The Architecture of David Lynch Shannon Blake Skelton, [email protected]
    The architecture of David Lynch Shannon Blake Skelton, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.157 | http://cinej.pitt.edu Book Review Richard Martin, The architecture of David Lynch. London: Bloomsbury, 2014. 234 pp. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. The architecture of David Lynch Shannon Blake Skelton Abstract: This book review considers Richard Martin’s 2014 The Architecture of David Lynch. The reviewer commends the author on the work’s intelligence and insightful considerations of Lynch’s use of space, place and architecture in his films. The book analyzes Lynch’s depictions of towns and cities, domicile spaces, roads and highways, performative spaces, and rooms. The final chapter recontextualizes Lynch’s Inland Empire within theories of space, place and architecture. With an impressive bibliography and 62 color plates of film stills, reproductions of paintings, and photographs of filming locations, the book is an important contribution to Lynch scholarship and engages film scholars to consider the dynamics of space, place and architecture in cinema. Keywords: Cinema, David Lynch, Architecture, Space, Design From the industrially ravaged neighborhood of Eraserhead and Joseph Merrick’s architectural models in The Elephant Man to the deceptively benign small town of Blue Velvet’s Lumberton, the mills of Twin Peaks and the sinister, liminal spaces of Los Angeles in Lost Highway and Mulholland Drive, David Lynch’s films work as unique explorations of place, space and architecture.
    [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]
  • FILM 350: FILM GENRE AUTEUR FILM: DAVID LYNCH Dr. Holly
    FILM 350: FILM GENRE AUTEUR FILM: DAVID LYNCH Dr. Holly Wilson email: [email protected] office: 3219 Laurentide office hours: M & T, 4-6:00, W, 4-5:00 COURSE DESCRIPTION: This course explores the stylistic innovations, recurrent themes, and varying interpretations of the work of auteur filmmaker David Lynch. It will include in-depth analysis of the structure and content of representative films spanning Lynch’s career, as well as discussions of Lynch’s more recent web-based projects. The course will provide you with the tools of critical film analysis, with an emphasis on Lynch’s visual vocabulary in the contexts of narrative structure; postmodernism; and gender, psychoanalytic, and auteur theory. Film viewings and class discussion will be supplemented with critical and theoretical texts to further assist you as you begin to position Lynch in the larger American film canon. TEXTS: David Lynch. Justus Nieland A Short Guide to Writing About Film. Timothy Corrigan “David Lynch: The Making of a Post-classical Auteur,” Anthony Todd “Visual Pleasure in Narrative Cinema,” Laura Mulvey “Blue Velvet,” Roger Ebert “Double Talk in Twin Peaks,” Alice Kuzniar “The Peaks and Valleys of Serial Creativity: What Happened to/on Twin Peaks,” Marc Dolan Eraserhead. David Lynch (1977) The Elephant Man. David Lynch (1980) Blue Velvet. David Lynch (1986) Twin Peaks, pilot-1.8. David Lynch et al. (1990) Wild at Heart. David Lynch (1990) Mulholland Drive. David Lynch (2001) Inland Empire. David Lynch (2006) GRADE BREAKDOWN: Film Reviews 20% Midterm 20% Auteur Analysis
    [Show full text]
  • Darkness Audible: Sub-Bass, Tape Decay and Lynchian Noise
    186 ‘The grainy, staticky noise of Eraserhead.’ | LISA CLAIRE MAGEE DARKNESS AUDIBLE: Sub-bass, tape decay and Lynchian noise FRANCES MORGAN Noise is the forest of everything. The existence of noise implies a mutable world through an unruly intrusion of an other, an other that attracts difference, heterogeneity and productive confusion; moreover it implies a genesis of mutability itself. —Douglas Kahn1 DREAMING IN THE BLACK LODGE FEATURING 187 In the interests of research, I undertake Death a Twin Peaks marathon, from the iconic Dread first eight episodes to the end of season Drone two. Afterwards, I dream I am lost Distortion in a dark, airy house, populated with indistinct presences. Like Dale Cooper Doom metal making his multiple ways in and out of each curtained alcove, I become increasingly confused, roaming through 1 Douglas Kahn, Noise Water Meat: A History of Sound in the Arts (M I T, 1999), p.22. The End | AN ELECTRIC SHEEP ANTHOLOGY long rooms that change in shape and size. I can hear a voice, distorted, slowed down and incomprehensible: as the register sinks lower, the house’s darkness becomes more oppressive. Fear hums like a vast machine that operates almost below audible range but whose vibrations are felt in the feet and chest; death and decay take aural shape in rumble, static and hiss. This is not the actual sound of David Lynch’s Black Lodge, of course. Twin Peaks’ sound design reflects the restrictions imposed by television, which has a smaller dynamic range than film, and the series’ abiding sonic impressions, for most, are the constant presence of Angelo Badalamenti’s score, followed by the creative use of the voice, such as the backwards/forwards dialogue used by characters in Cooper’s dreams or visions.
    [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]