Dan hates his Nicer Self.
He does. He really, really does.
The kid is naïve, cocky, strong in the weirdest ways that don't make sense-
And he's such a busybody! Always helping, always jumping into things, and always saying that he's definitely not trying to be a hero.
It's annoying.
It's so annoying.
For instance, Phantom got called in by the JL for an all-hands-on-deck situation right before a super important test. Phantom accepted the call.
But the JL had dealt with threats like this before, a million times-there was literally no need to answer the call.
Yet the little dumbass had.
And now Dan was at home, staying on the other side of the room away from Vlad, and watching the fight on TV.
Phantom takes a hit. Then another. Then another.
Good; he'll learn not to jump when the JL says jump, then.
Phantom goes down, disappears behind some rubble.
Dan doesn't care. He doesn't. Let the kid learn a lesson.
Phantom doesn't get up.
Just like Jazz didn't get up.
Or Sam, or Tucker, or his mom or his dad-
Dan sees red.
He barely hears Vlad as he rips a portal to the fight and steps out, in his own ghost form, and decks the bad guy-some demon named Trigun or whatever, fucking weeb-so hard he knocks the guy back.
The fight pauses.
"You touched the twerp," Dan growls, voice distorting and allowing his powers to manifest at full capacity for the first time in years, "So you get to lose your head."
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fellas is it gay to lovingly caress your captains face as you remove his memories because you don’t want him to cry anymore. (he’s crying because he flirted with leonardo da vinci’s robot girlfriend too hard and she blew up fyi) just before this a mutual friend told you he pitied you because you had no capacity to love.
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there’s a great write up by someone on here that i will have to search for in which they discuss how the ultimate evil for david lynch is sexual violence against women (even more severe than murder, which is often auxiliary to that type of specific violence); twin peaks is incredibly soapy—on purpose! lynch and frost are playing with form and content on purpose to examine incredibly difficult subject matter through a (for lack of a better word) more palatable format—which most of the time i think works to its advantage and makes those moments of visible horror so much more effective (i use “visible” rather than “true” or other similar adjectives because the horror is always there, it’s embedded in the entire town, shows up in every generation we see in screen and we watch them grapple with it in different ways, but that’s a separate post)
however—and i’ve talked about this before—i find that once you’ve watched fire walk with me it is so much harder to watch the show because the ignorance of nearly every single member of the town (yes, including cooper) pervades the way the action unfolds. twin peaks viewers knew the premise of the show going in and we get to discover details and information alongside the characters. when albert rosenfield comes in as the only voice of reason and reality, it’s set up to be jarring to both the townspeople and to the viewer. why?
sheryl lee said in an interview, “fire walk with me was very difficult for me to watch… and, emotionally it’s a reminder: this is a movie, but this continues to happen every day and how can we stop it? when i watch fire walk with me now, as a mother, i watch it and i think look at all those signs that were being exhibited. this girl was in danger, and look at all these people that were in her life. what would have happened if someone, somewhere, somehow could have helped or stopped it? that’s hard to watch.”
much has been discussed critically about fire walk with me and whether or not it’s exploitative in the ways that it portrays sexual violence against women. while lynch does not shy away from making that violence visible, it is done so in an attempt to make the viewer examine their own relationship to that violence and how it shows up in their own lives. the audience is forced to think about the ways that they are complicit in how and why these violent acts occur and what they can do to stop it, which is why for many it is an uncomfortable watch. for others, it is a painful (and speaking from my own perspective) necessary watch because lynch didn’t make a horror movie, he made a documentary.
fire walk with me is necessary (in my humblest of opinions) to understand why the pieces that lynch and frost put into twin peaks work. there’s so much backstory to how they weren’t originally going to reveal who laura palmer’s killer was until ABC made them, lynch wasn’t around during much of the second season so things got a little off the rails storytelling-wise, etc. etc. but fire walk with me allows them to tie difficult, often horrifying threads (ben horne unknowingly attempting to have sex with his daughter, the townspeople’s distancing of albert, the hands of random townspeople trembling as BOB attempts to claw back into the material world, the list goes on and on) back to the central thesis of “sexual violence is the ultimate evil, it is completely avoidable, and you have a responsibility to recognize the signs and stop being complicit”
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