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9/11 and the Mandela Effect

9/11 and the Mandela Effect
You’ve probably seen the meme that says we’re living in the wrong timeline. While this sounds like a joke, there might be some truth to it. There are some researchers who claim what happened on 9/11 was a temporal event that caused our timeline to split in two. Supposedly there is a parallel world where the Twin Towers still exist and the apocalypse is being avoided. This is not to say I think we are living in the wrong timeline, but that is something I will get into in another thread. Just know that there is still hope.
Perhaps the darkest timeline is needed for some collective shadow work.
However, I do think our timeline has been altered and probably more times than once. While this is not something you can really prove, there are many oddities surrounding 9/11 as well as a synchronistic pattern hidden in pop culture that seems to point to this. In the movie Back to the Future, after the protagonist accidentally activates a time machine and alters the future, the Twin Pines Mall becomes the Lone Pine Mall. Notice how the clock reads 9:11 when flipped upside down.
134 reads like hel when flipped upside too. Are we living in a bardo state like in the movie Jacob's Ladder or the show The Good Place?
Was this a reference to the Mandela Effect and the Twin Towers becoming the One World Trade Center? In the second Back to the Future movie, the protagonists accidentally create a new timeline where a wealthy man named Biff takes over their town. Biff lives in a skyscraper casino and turns their town into a chaotic dystopia. According to the screenwriter Bob Gale, Biff was based on Donald Trump. This is not a political statement, I’m just saying it’s odd how things turned out.
I wonder if Bob Gale knew Trump would run for president?
In the Super Mario Bros. movie, a meteorite impact millions of years ago caused the universe to split into two timelines, the one we live in, and one where dinosaurs evolved into a humanoid race. President Koopa, a reptilian human hybrid, seems to be another caricature of Trump. President Koopa wants to merge his dimension with ours and attempts to rule Manhattan from the Twin Towers, which are portrayed as a gateway between worlds. The Super Mario franchise is strange when you think about shamans eating mushrooms to commune with serpent gods.
Looks kind of similar, right?
There are many more examples of the WTC acting as a gateway. In an episode of Teenage Mutant Ninja Turtles, the Twin Towers are used to transmit energy that propels the earth into another dimension. Take note of the sphere between the buildings, this will become relevant later. In the intro of Power Rangers: Time Force, a machine called the Time Shadow is seen standing on the towers. Take note of the moon in the background as well. This will become relevant too. During the final scene of Fringe season 1, the WTC is seen intact in a parallel universe. In the intro of Power Rangers: Time Force, a machine called the Time Shadow is seen standing on the towers. Take note of the moon in the background as well. This will become relevant too. During the final scene of Fringe season 1, the WTC is seen intact in a parallel universe.
I miss cartoons.
Another interesting example can be found in Star Trek. In the show, space explorers are sent back in time to stop an alien invasion in the 1940s that altered the outcome of WWII and allowed the Nazis to invade the US. Once they kill the alien leader, one of the characters tells the protagonist that the timeline has corrected itself just as an image of the Twin Towers burning passes in the background.
From Star Trek: Enterprise
The idea of a parallel world where the Nazis won WWII is very prominent in pop culture. But why is this? Is it possible creative people can intuitively sense other realities while absorbed in the act of creating? Philip K. Dick believed that’s what he did when he wrote The Man in the High Castle. He claimed:
"I in my stories and novels sometimes write about counterfeit worlds. Semi-real worlds as well as deranged private worlds, inhabited often by just one person…. At no time did I have a theoretical or conscious explanation for my preoccupation with these pluriform pseudo-worlds, but now I think I understand. What I was sensing was the manifold of partially actualized realities lying tangent to what evidently is the most actualized one—the one that the majority of us, by consensus gentium, agree on."
Coincidentally, Philip K. Dick was one of the first modern thinkers to predict the Mandela Effect. He once declared:
“we are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in our reality occurs.”
The Nazis were rumored to be in possession of a time machine known as Die Glocke, or in English, The Bell. They were supposedly taught how to build this device by extraterrestrials and the craft was said to be kept in a facility known as Der Riese, or The Giant. It sounds far fetched, but The Nazi Party was actually formed from The Thule Society, an occult group that dabbled in channeling and other magical practices. They were also known to use the Black Sun symbol, an esoteric representation of a gateway into another dimension.
https://en.wikipedia.org/wiki/Black_Sun_(symbol))
In Twin Peaks, a show about a small town caught in the midst of an interdimensional battle between good and evil, there seems to be a reference to Die Glocke. In season 8 there is a device that looks just like it, and at one point, a character called The Giant appears next to it.
A conception of Die Glocke compared to the mysterious bell device in Twin Peaks.
Twin Peaks is full of occult symbolism. In one episode a character is given instructions to find a portal that opens 253 yards east of Jack Rabbit’s Palace at 2:53 pm on October 1st. This portal is located in Washington. However, there is another in Las Vegas. Strangely enough, on October 1st, 2017, the Las Vegas shooting occurred in a lot 253 yards away from the Luxor Hotel, a giant black pyramid with the strongest beam of light in the world shooting out of it. Victims were mostly those attending the Route 91 Harvest music festival.
There's also black pyramids on the instructions.
But it gets stranger. Jason Aldean was one of the headliners. If you look at his tattoos, there’s a Jack card and an Ace card underneath a black sun, which as mentioned earlier, is an occult symbol that represents a portal. This card from the Illuminati game is almost identical. A Jack is worth 10 points. An Ace is worth 1 point. This odd coincidence seems to be a reference to the date 10/1. Keep in mind this date looks like the number 101. This will become relevant too. But was the Route 91 Harvest a literal harvest of souls meant to energize a portal?
This one is too much of a coincidence for me.
The name Twin Peaks seems to be a reference to the Twin Pillars, a Masonic concept that originated from the Biblical idea of Boaz and Jachin, two pillars that stood on the porch of King Solomon's Temple. The Twin Pillars can be found in ancient architecture all over the world and are sometimes used in Tarot. They are said to represent a doorway into a higher realm. In this Masonic artwork, you can see the Black Sun between them.
Jachin, Boaz, and the Black Sun.
The Twin Pillars and the gateway in between can be represented by the number 101. In Twin Peaks, the entrance to The Black Lodge, a place that exists in another dimension, is depicted as a rabbit hole between two trees, which resembles a zero between two ones. In George Orwell’s famous novel 1984, Room 101 is a place where people’s worst fears come true. In The Matrix, Neo’s apartment number is 101. Here it’s interesting to note that he escapes the matrix by going in room 303. This year marks 303 years since Freemasonry was founded. Perhaps they will make their getaway come December? Many occult researchers claim the Twin Towers were supposed to represent the Twin Pillars. There even used to be a statue called The Sphere placed in between them, making the buildings resemble the 101 Gateway.
The Black Lodge entrance from Twin Peaks and The Sphere centered between the Twin Towers.
Is it possible that the WTC‘s design was intended to create an interdimensional doorway using sacred geometry? Some say the Twin Towers even acted as a tuning fork. The buildings were wrapped in aluminum alloy with a resonant hollow interior. If you look at the picture above and to the right, you can kind of see how the sides of the towers even look like one. The Colgate Clock also once faced the WTC from across the water. If you’ve read my previous threads, you’ll probably notice it’s octagonal shape. Many portals in pop culture are portrayed as being 8 sided, like CERN, the largest particle collider in the world. Many conspiracy theorists speculate CERN is actually an interdimensional doorway. Some of the scientists working there have even said this. Why is there so much symbolism? Can it all really be just a coincidence at this point? Did 9/11 really alter our timeline?
The Colgate Clock compared to CERN.
According to many people, 9/11 is the reason the Statue of Liberty’s torch is closed. However, this isn’t true. Lady Liberty’s torch has been closed for over 100 years. Yet, there are some people who claim to have visited it. But according to official history, this is impossible. In this reality, The Black Tom Explosion was the reason the Lady Liberty’s torch closed. The explosion occurred in 1916 and was one of the first foreign attacks on US soil prior to Pearl Harbor. The explosion was also one of the largest non-nuclear explosions ever documented. The explosion was so powerful it caused the outer wall of Jersey City's city hall to crack and the Brooklyn Bridge to shake. Ironically, besides Lady Liberty’s torch, the explosion lodged shrapnel in the clock tower of The Jersey Journal building, stopping the clock at 2:12 am. It also caused windows miles away in Times Square to shatter. Perhaps the matrix was trying to tell us something. Was this a time shattering event?
https://en.wikipedia.org/wiki/Black_Tom_explosion
https://www.tripadvisor.com/ShowUserReviews-g60763-d103887-r126254125-Statue_of_Liberty-New_York_City_New_York.html
Some people also claim they remember the Statue of Liberty being on Ellis Island. However, it has always been on Liberty Island. Once again, this is not something I recall learning in school. I’m sure some people do, but if my theory is correct, it’s because only some people in this timeline are from the old one. However, you can still find what appears to be residue left over from the previous reality.
Residue from a previous reality?
There are references in pop culture that seem to hint at the connection between the Mandela Effect and Lady Liberty as well. In the video game Assassin’s Creed Unity, the protagonist must find an exit portal to get himself out of a simulation. He finds it on the statue’s torch. In the movie Men in Black II, the statue’s torch is actually a giant Neuralyzer, a handheld device that uses a bright white flash to wipe people’s minds. At the end of the movie, the torch is activated and it illuminates the sky, erasing the memory of everyone in New York City.
The scenes from Assassin's Creed and Men In Black II
In the Netflix series The OA, a show about people who can jump between parallel universes, the Statue of Liberty shows up a lot. It seems to play an important role that was never really explained due to the show’s sudden cancellation. Some fans have pointed out that in one scene, Lady Liberty is holding her torch in the wrong hand. Some say this was just an error while others think it may have a deeper meaning.
The Statue of Liberty scene from The OA.
In The OA, the protagonist searches for The Rose Window, an object she says acts like a portal to other dimensions. I find this very symbolic considering the Twin Pillar symbolism mentioned earlier. Many older cathedrals have huge rose windows centered between two tall towers.
Old cathedrals with 101 Gateway symbolism built into the architecture.
If you’ve read my previous threads, you might have already made the connection that the 101 Gateway is another version of the Saturn Stargate. If you’re not familiar with the theory, we live in a simulation controlled by Saturn and the Moon, and The Elite are tying to break out. Our simulated reality is sometimes represented by a cube, and some say The Kaaba is one of these symbolic structures. The Kaaba sits between two pillars underneath a clocktower with a crescent moon on top.
Kaaba at Mecca.
Ironically, Fritz Koenig, the artist who created The Sphere sculpture between the Twin Towers, said The Kaaba was the inspiration behind his art installation. We can see this symbolism repeated in much of our pop culture as well. In the video game Fortnite, a giant cube destroys a location called Tilted Towers then forms a portal in the sky. At another point in the game, it is revealed that the cube’s true form is a giant demon named the Storm King. His horns are reminiscent of a crescent moon.
The second time you fight the Storm King its at a location called Twine Peaks lmao.
But are there anymore significant Mandela Effects associated with the WTC? According to some people, Hurricane Erin never happened in their timeline. If you‘re unaware, like I was until recently, there was a massive hurricane headed right for New York on the morning of 9/11. Because of the events that occurred on 9/11, I understand how Hurricane Erin would be easy to forget. Nevertheless, the storm was strange. Hurricane Erin, which was slightly larger than Hurricane Katrina, received almost no media coverage as she charged toward New York City. On the morning of 9/11, just as the planes were about to hit, Hurricane Erin grew to her largest size, but slowed down and remained almost stationary off the East coast. But right after the WTC fell, she made a sharp right turn and headed back out to sea.
Hurricane Erin on September 11th, 2001.
Hurricane Erin’s name is also interesting. The name Erin originated from Ériu, a goddess typically seen by the sea playing a harp. I find this curious becau HAARP uses extremely powerful radio frequencies to heat up the ionosphere and create clouds of plasma. Not only does this affect the climate, but the electromagnetic waves produced by it could hypothetically mess with our minds, perhaps changing or even erasing our memories. se many conspiracy theorists blame HAARP for both weather manipulation and the Mandela Effect.
https://en.wikipedia.org/wiki/%C3%89riu
https://en.wikipedia.org/wiki/High-frequency_Active_Auroral_Research_Program
In my last thread, I talked about MH370. I believe it’s disappearance, like the events discussed in this thread, was a part of a Saturn Stargate ritual. A sacrifice to the god of time. Would it be beyond the god of the fourth dimension to grant someone access to a wormhole? Perhaps The Elite are not purposely creating Mandela Effects and branching timelines. Perhaps it is just a side effect of trying to beak the matrix. But I digress. At the end of my last thread I said I would talk more about rabbit symbolism and its association with time travel. However, before I talk about that, or the Law of One, I thought I should talk about this first. Thanks for reading.
Oh yeah, in case you did read my last thread, check this out. The fact that this article was posted 2 weeks after my MH370 conspiracy post has me kind of spooked lol.
https://nypost.com/2020/10/07/washed-up-debris-on-australian-beach-could-belong-to-missing-mh370/
submitted by nickhintonn333 to conspiracy [link] [comments]

Red v. Blue: Color Symbolism & Americana in Twin Peaks

Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me.
One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera Invitation to Love, allowing the show to reference its own stylized dramaturgy.

Jade & Emerald... Jade give two rides, hm?
Very specifically, I find the series loves to riddle blue and red, like one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel.
Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo.
The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma".
I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks.
The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie.
The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel.
You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out.
Ben and Jerry, at various times, switch between the two to complement each other much like the Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth.
Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being.
Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a Goethe color theory mindset, we can admit "Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks).
BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show.
Given the only color left to throw in is white (HMM,, White Lodge? Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's favorite country (we'll forget the agonizing French hookup leaving scene from The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie).
Great shot from Tim Hunter here.
Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor.
While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe?
Much like D.B. Cooper, Coop took a historic leap.
I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in The Return).
Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice.
Why Lincoln? I refer to it as The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in The Return - "There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test
Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern.
Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza. The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary.
Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good.
And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect. Blue Rose. Laura's cold lips in the Pilot. Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in Lost Highway.
Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free.
Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna.
Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three.
Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" - "Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?).
Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg.
Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past?
By the time of The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that The Return made extensive use of black & white footage. Eraserhead and The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor.
This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge.
The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision.
These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return.
There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!
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What's happening around town (Wed, Dec 16th - Tue, Dec 22nd)

Tulsa's event list. Combined from 12 sources

Ongoing

Wednesday, Dec 16th

Thursday, Dec 17th

  • Andy Woodhull (Loony Bin) Thru Sat, Dec 19th
  • Bringing Back Real R&b Live Review (The Shrine) Start Time: 10:00pm
  • Donny and Marie (The Joint - Catoosa) Start Time: 8:00pm Share this on
    777 West Cherokee Street,…
  • Donny & Marie in Concert (Hard Rock Hotel & Casino Tulsa - Catoosa) Start Time: 7:00pm …
  • Free Third Thursday: Print Action 2015 (Philbrook) Start Time: 5:30pm Thanks to the generosity of Jordan D.…
  • i'd die for lo-fi (The Soundpony Lounge) Start Time: 9:00pm
  • Illustrations in Oil by Mike Wimmer for Frank Keating’s children’s book “Will Rogers an American Legend (Will Rogers Memorial Museum - Claremore) 1 day left please include this in Exhibits? If you…
  • John Moreland (Mercury Lounge) Start Time: 10:00pm
    Thu Dec 17 10:00 PM
    John Moreland 
  • Living Nativity at Shepherd's Cross (Shepherd's Cross - Claremore) Thru Sat, Dec 19th Start Time: 10:00am Come to this Living Nativity event at…
  • Mt Eden et al. (Cain's Ballroom) Start Time: 8:00pm Doc Roc PresentsMt. EdenNoizmekka, NomadThu…
  • "The Nutcracker" (Tulsa Performing Arts Center) Thru Sun, Dec 20th Start Time: 7:00pm This December, Tulsa Ballet presents "The…
  • Open Studio for Adult Artists @ Zarrow (University of Tulsa) Start Time: 4:00pm Join local artists who are learning to paint,…
  • Woolaroc Wonderland of Lights (Woolaroc Museum & Wildlife Preserve - Bartlesville) Thru Sun, Dec 20th Embark on a winter adventure to the Woolaroc…
  • Wreck Tha Hallz Start Time: 7:00pm

Friday, Dec 18th

Saturday, Dec 19th

Sunday, Dec 20th

Monday, Dec 21st

  • Illustrations in Oil by Mike Wimmer for Frank Keating’s children’s book “Will Rogers an American Legend (Will Rogers Memorial Museum - Claremore) please include this in Exhibits? If you…
  • Winterfest Winterfest Event Date/Time Nov 27, 2015 to…

Tuesday, Dec 22nd

See Also

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