Titlebook: Return to Twin Peaks; New Approaches to Ma Jeffrey Andrew Weinstock,Catherine Spooner Book 2016 The Editor(s) (if applicable) and The Autho

昏暗

“The Owls Are Not What They Seem”: Animals and Nature in er cinema-have been extensively analyzed, comparatively little attention has been paid to the second of the Giant’s (Carel St r uycken) messages to Cooper, “the owls are not what they seem,” a message repeated, along with Cooper’s name, in the radio signals initially presumed to arrive from space. O

Electrolysis

“That Cherry Pie is Worth a Stop”: Food and Spaces of Consumption in of a local resident, popular high schooler and beauty queen, Laura Palmer (Sheryl Lee). As the investigation of the crime unfolds, food takes on an understated, yet central role, so ever-present in everyday events that it almost becomes an additional character in itself. From cherry pies to doughnut

慢跑鞋

Jacques Lacan, Walk with Me: On the Letterces” between David Lynch and Mark Frost), the most plausible one—for the formalist, at least—is that the story had arrived at its logical and inevitable conclusion. In the horrific finale at the Great Northern Hotel, Dale Cooper (Kyle MacLachlan) smashes his head against the bathroom mirror and, wit

Cardioversion

Lodged in a Fantasy Space: , and Hidden Obscenitieseminist critics take the show to task for employing the traditional sexist trope that the most beautiful woman is a dead woman and structuring its narrative around violence toward women. Not only that, but it also exculpates the murderer of Laura Palmer (Sheryl Lee) by depicting him possessed by a s

Cytokines

“Complementary Verses”: The Science Fiction of t Dale Cooper (Kyle MacLachlan) confesses a problem he faces simply in categorizing these events: “It would seem logic would dictate that these investigations be considered separate entities. However, I believe otherwise. I believe that these mysteries… are complementary verses of the same song. Now

condemn

“Doing Weird Things for the Sake of Being Weird”: Directing es’ production. Within TV drama, this role has increasingly become associated with the writer as the majority of showrunners enter television production from a writer’s background. For instance, of the 24 producers profiled and interviewed in James L. Longwor th Jr.’s two-part publication on ., 22 o

FLINT

“I’ll See You Again in 25 Years”: Paratextually Re-commodifying and Revisiting Anniversary n), but its status as a hyped and promoted commodity has been somewhat less well explored. This is something I will address here in relation to .s pa ratexts as part of the show’s ongoing commodification, and especially its re-commodification at anniversary moments. Paratextual analysis (Genette) is

推遲

Nightmare in Red? , Parody, Homage, Intertextuality, and Mashup might stand as flattering evidence of its status as an innovative, landmark television product—a show that, according to Robert J. Thompson, “changed the face of television” (152). In ., Shara Lorea Clark mentions a . (1975–present) sketch, two episodes of . (1989–present), and .s (1969 –present) “

BRAWL

Trapped in the Hysterical Sublime: ,, Postmodernism, and the Neoliberal Nowchiatric nurse, and an unemployed van driver. All in our twenties but with little else in common, we were an unlikely collection of housemates and most of the time we went our separate ways. Then . happened. . changed everything. Within a couple of weeks of taping the pilot episode, we had taken to

流浪

rate, a selective inhibitor of the synthesis of the high energy donor of sulfate, PAPS (3′-phosphoadénosine 5′-phosphosulfate), had previously revealed that PAPS synthesis is required for sulfation of HEV ligands and recognition by L-selectin. Therefore, we screened an HEV cDNA library in order to i