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Léo Henry Henry LÉO HENRY LÉO HENRY HENRY HENRY LÉO LÉO 90210 90210 TWIN PEAKS, TWIN TWIN PEAKS, TWIN « J’avais quinze ans lorsque j’ai découvert la série. À l’école, il en était tout le temps question : pas un jour qui « J’avaispassait quinze sans ans qu’il lorsque n’y ait j’ai au découvertmoins un lafragment série. Àde l’école, conversation il en était qui s’ytout réfère. le temps Ce phénomène question : depas la un reconnaissance jour qui passait sans qu’il n’y ait au moins un fragment de conversation qui s’y réfère. Ce phénomène de la reconnaissance E directe par les goûts partagés était un mécanisme extrêmement fort des années 1990. » E directe par les goûts partagés était un mécanisme extrêmement fort des années 1990. » 5 - Pacôme Thiellement 5 - Pacôme Thiellement Dans ce bref et lumineux Dans ce bref et lumineux essai, Léo Henry explore essai, Léo Henry explore les liens occultes qui les liens occultes qui unissent les séries Twin unissent les séries Twin Peaks et Beverly Hills, Peaks et Beverly Hills, 90210, pour mettre au 90210, pour mettre au jour un des complots les jour un des complots les mieux gardés de l’histoire mieux gardés de l’histoire de la télévision. de la télévision. Un jour, je vous dirai presque tout 1. Le crazy wall est le nom d’un cliché visuel, de nous positionner à mi-chemin du détec- omniprésent dans les films et les séries télé- tive de salon (Sherlock Holmes) et du spécula- visées depuis le milieu des années 2000. Il teur complotiste (Fox Mulder) ; qu’il n’y a plus s’agit d’un ou de plusieurs murs presque de réel que ce que nous parvenons à agencer entièrement recouverts de photos, de notes et à valider comme tel. et de cartes géographiques. Les éléments y Dans l’article qu’il consacre au crazy Conception graphique : Laure Afchain sont punaisés de façon à former une fresque, wall en janvier 2015 2, le journaliste Richard Illustration de couverture : Stéphane Perger puis reliés les uns aux autres, de préférence Benson propose comme origine à ce topos Relecture-correction : Valérie Nigdélian avec du fil de laine rouge. Depuis le 11 sep- le « Big Board » du film Docteur Folamour tembre 2001, le crazy wall est devenu dans les (Stanley Kubrick, 1964). Dans cette comédie, Dépôt légal avril 2018 fictions la mise en forme commune d’un âge qui caricature jusqu’au délire la gestion des ISBN 978-2-9564201-0-1 de l’information surabondante, dans lequel menaces de guerre nucléaire par l’armée la véritable clairvoyance consiste à faire sens états-unienne, cet objet figure ironiquement d’un foisonnement de données apparem- le contexte de secret et de paranoïa entre- ment chaotiques et infinies. Le mur donne tenu par les agences de renseignement. Le © Les Règles de la Nuit, 2018 à voir le désordre organisé de cette nouvelle « Big Board » est pourtant presque totalement 3 rue de Bâle, 67100 Strasbourg conscience du monde. Il prend acte du fait absent des décennies 1970 et 1980, marquées lesreglesdelanuit.net que, désormais, nous sommes tous contraints par le climax de la guerre froide et l’âge d’or 7 lesreglesdelanuit.net 3 rue de Bâle, 67100 Strasbourg 67100 Bâle, de rue 3 © Les Règles de la Nuit, 2018 Nuit, la de Règles Les © ISBN 978-2-9564201-0-1 ISBN Dépôt légal avril 2018 avril légal Dépôt : Valérie Nigdélian Valérie : Relecture-correction : Stéphane Perger Stéphane : couverture de Illustration : Laure Afchain Laure : graphique Conception LÉO HENRY LÉO des films d’espionnage. Ce n’est qu’au milieu générique de théorie du complot. La lecture des années 1990, avec la série The X-Files, que rétrospective de cette série faite par la jour- l’éclaircissement de mystères et la mise au naliste Heather Smith, adolescente à l’époque jour de vérités nécessitent à nouveau cette de sa diffusion, est très différente, et semble combinaison de documentation maniaque tracer les contours d’un fossé génération- et d’intuition psychotique. nel : « Au-delà de la question du conflit entre Au moment de son arrivée en France sous croyance et intellect, cette série était surtout le titre Aux frontières du réel (M6, 1994), la le véhicule d’une sensation – l’impression série de Chris Carter est vivement critiquée d’être constamment désorientés, entourés de pour le sous-texte politique que les journa- personnes plus âgées qui vous répétaient que listes croient y déceler. Tandis qu’une moitié vous ne comprendriez jamais rien à rien. En des épisodes continuent de fonctionner sous un mot, c’était une peinture assez conforme la forme éprouvée de l’anthology (des arcs de ce qu’étaient à la fois l’adolescence et les narratifs déployés sur un épisode unique), années 1990 4. » l’autre moitié de la série est consacrée à un J’écris ces mots en juin 2017. Seize mois récit suivi, adossé à une mythologie mêlant se sont écoulés depuis que j’ai été confronté présence extraterrestre secrète, actions pour la première fois via Facebook à l’image occultes des agences gouvernementales et d’où découle l’écriture de ce texte. Au cours desseins millénaires. Télérama s’insurge de la grosse année qui s’est écoulée depuis, contre l’exposition de notre jeunesse à ce j’ai parlé de ce projet à pas mal de gens dif- que l’on soupçonne alors être une vision férents. J’ai regardé des heures de films, de du monde d’extrême droite 3, et qui n’est séries, de vidéos sur YouTube. J’ai lu des livres, pas encore circonscrite sous l’expression en diagonale ou in extenso. J’ai pris des pages 8 et pour Line, ma sœur. ma Line, pour et Samuel frère mon Pour une narration suivie, chaque épisode se interprètes est présent au générique – pou- les associations d’idées des psychopathes de mise en relation paraissant relever du bon situant dans la continuité chronologique du vant prétendre à des évolutions dépassant un fiction, les rapports les plus délirants pouvant sens devait être systématiquement question- précédent. La densité de la narration ainsi arc de quarante minutes. Au fil de la première rapprocher ces deux séries avant de les pré- née. Il est plutôt ironique de constater que Le produite et son respect de la forme enquête saison, par exemple, Brandon multiplie les senter comme allant de soi. Ça aurait dû être Pendule de Foucault, thriller de sémioticien rendent compliqué le visionnage par frag- conquêtes amoureuses, dont le spectateur un récit pince-sans-rire sur la pop culture, consacré à démonter les systèmes derrière ments. Avec une légère avance historique, ce sait pertinemment qu’elles ne survivront comme ceux j’avais pu écrire autour de les théories du complot, a aussi bien pavé type de récit est celui de presque toutes les pas au générique de fin. À l’inverse, lorsque l’histoire des Beatles ou des adaptations au la voie de livres reprenant aveuglément ces séries postérieures à la diffusion du magné- Brenda s’amourache de Dylan, on devine que cinéma des récits de Philip K. Dick 7. schémas. Ainsi, loin de tirer le tapis sous les toscope puis du lecteur de DVD de salon. Il l’histoire se poursuivra, dans la mesure où ce En 1990 paraissait en français Le Pendule pieds des futurs auteurs de thrillers ésoté- exige du spectateur une assiduité méticu- dernier est l’un des personnages centraux de de Foucault, roman d’Umberto Eco publié en riques, il semble avoir a contrario préparé leuse, une attention constante, une forme la série. Italie en 1988. Inspirés de ce livre, deux étu- le succès colossal du Da Vinci Code de Dan de dévotion. À l’inverse, Beverly Hills, 90210 L’une et l’autre forme, pour différentes diants strasbourgeois 8 créèrent en 1997 un Brown, publié quinze ans plus tard. appartient à un genre sériel plus ancien et qu’elles paraissent de prime abord, sont for- fanzine intitulé Le Pendule, dont la rubrique Mes premières recherches autour des plus proprement télévisuel, dans lequel les tement liées par la similarité de leurs modes phare, « Le Défi », consistait à établir tous les liens pouvant unir Twin Peaks à Beverly Hills épisodes sont essentiellement autonomes les de production. Quel que puisse être le désir liens rationnels possibles entre deux objets m’ont mis face à un problème du même uns par rapport aux autres. Le temps de leur auteurisant d’un créateur de serial drama, la apparemment sans rapport et choisis arbi- ordre : là où je cherchais la distance, je n’ai narration calque celui de leur diffusion : des série télé reste dans les années 1990 un tra- trairement (le zéro et la bière, le couscous et trouvé que d’innombrables coïncidences. Je jours, des semaines peuvent s’écouler entre vail collectif, sur lequel le producteur garde le Rubik’s Cube, etc.). Au-delà de la griserie de savais que les deux séries appartenaient à les épisodes, qui suivent ici plus ou moins le la haute main. Pour finaliser des dizaines l’exercice d’érudition et de la prouesse litté- une même décennie, mais ignorais qu’elles rythme de l’année scolaire états-unienne. Les d’heures de fiction en quelques mois, scé- raire, ces textes tendaient à illustrer la vanité avaient été en réalité simultanées, certains arcs narratifs se déploient et se closent pour naristes et réalisateurs se succèdent sans de cette forme de démarche. S’il était possible épisodes diffusés le même jour, à la même l’essentiel à l’intérieur de chaque épisode, les pouvoir rendre chaque détail cohérent.
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