“The Past Dictates the Future” Finale Analysis – Part One

Coop

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return.

The two-part finale for Twin Peaks: The Return left many fans reeling, whether thrilled or dismayed. It’s taken a long time to process it, but now that I think I have some solid theories to present to you, let’s not waste any more time, and jump right into my analysis of Part 17, with a separate article analyzing Part 18 to come.

The episode begins where we left off with Gordon, Tammy, and Albert after the disappearance of the Diane Tulpa. Gordon has a moment of exposition so that he can retcon the ending of Season 2. He talks about Judy, who’s actually Jowday, and Phillip Jeffries’ involvement with her, or it. This leads to some seeming inconsistencies with the way Judy is referenced in Fire Walk With Me and The Missing Pieces, where we are strongly led to believe that Judy is a human woman. A way of explaining this away is that Jowday was an inhabiting spirit, which called itself “Judy” while it was possessing a female body.

Gordon also mentions that Phillip Jeffries “doesn’t really exist anymore, at least not in the normal sense.” Of course we know that Phillip Jeffries is inside some kind of machine now. I think this has something to do with the altered timeline, which has all but erased Jeffries from existence. That’s why Albert and Gordon barely remember him, and why Jeffries will later mention something about Gordon remembering “the unofficial version.” I believe this indicates that Gordon is, to an extent, aware of the altered timeline. The “official version” of the timeline is the one we see in the show: “The unofficial version” is the one we saw in Fire Walk With Me, which is being erased.

GordonThen comes a big reveal: The “two birds with one stone” line was actually said by Cooper 25 years ago to Gordon. He told Gordon that if he disappeared like Jeffries and Desmond, to do everything possible to find him. He said he was “trying to kill two birds with one stone.” This could mean Cooper was trying to take out both BOB and Jowday. This retcon calls into question just how much of the past events Agent Cooper has actually been in control of. It’s heavily implied that his entry into the Black Lodge was anticipated, and made part of his plan with Briggs and Cole. For unknown reasons, it was kept secret from Albert. However, Gordon says that he isn’t sure if the plan is unfolding properly, as he expected to hear from the real Cooper by now. I believe the setback to the plan was the unanticipated creation of Dougie by DoppelCoop, which hindered Cooper.

We return to the jail, where Naido and the drunk have finally fallen asleep, so Chad is able to execute his escape. Now, much has been made of the drunk and his potential connections to Chad, Billy, and Naido, and why he disappears later. I honestly don’t think we have enough information to go on with him. There’s a decent possibility that he’s Billy, but he may also just be a weird character put in by Lynch for his odd humor. Sort of like the sweeping scene, but a character instead. Admittedly, however, it is odd that, when the drunk wakes up, Chad is discouraged from his escape attempt, and, later, when the drunk passes out but everyone else is awake, Chad continues his escape attempt. Also, judging by his weird sores and injuries, he may be addicted to the Sparkle drug. It’s also very curious why he isn’t in a hospital…

Drunk.png

Meanwhile, Jerry turns up naked in Wyoming. This could just be for comedic effect, but the first thing it made me think was that he had been struck by lightning, which can sometimes knock the clothes off of people. Now, you may point out that, if it was lightning, there would have been obvious signs, and it would have been mentioned. I think there were no signs because it wasn’t literal lightning, but a spiritual lightning. In Native American lore, lightning represents a spiritual awakening, usually granted by a thunder bird. You can read more about the connection between the thunder birds and Twin Peaks here. Perhaps Jerry had an epiphany?

DoppelCoop’s coordinates take him to Jack Rabbit’s Palace. He approaches the pool of liquid gold next to the lone sycamore and time begins to skip as the portal opens. DoppelCoop makes it into the White Lodge, but Briggs has laid a trap for him. This is probably part of the plan he put together with Cooper 25 years ago. DoppelCoop is caught in a machine, and, instead of making it to the Palmer house like he planned, the Fireman sends DoppelCoop to the Sheriff’s Station, for the final confrontation. We see many of the dome-shaped machines working in a room, as DoppelCoop is transported away.

Trap.png

As he arrives, Naido sits bolt upright. When Andy and Lucy see him, they assume he’s Agent Cooper and are excited, until Andy remembers his vision from his meeting with the Fireman, in which he’s leading Lucy down the hallway. However, he doesn’t seem to know what to make of this. But once Agent Cooper refuses coffee, I think that clues Andy in that something’s wrong. He runs to get Hawk and tell him. Meanwhile, Chad is executing his big escape in the jail. Naido wakes up the drunk, who begins tearing the tube out of his nose angrily. Andy enters the jail, looking for Hawk, and gets held up by Chad, only to be rescued by Freddy. Upstairs, Lucy gets a call from Agent Cooper, and figures out how cell phones work.

This ongoing gag about Lucy and cell phones, I think, is a joke about Twin Peaks, both the show and the town, being perpetually stuck in the 1950s. It’s also a little play on the existence of Doppelgangers, and a person being in two places at once.

Anyway, Lucy turns bad ass and guns down DoppelCoop, which is what Andy’s vision was foretelling. The real Cooper, via phone call, warns Frank Truman not to touch the body, while Andy brings the occupants of the jail cell, Naido, James, and Freddie, but notably not the drunk, into the Sheriff’s office. He was probably previously instructed to do so by the Fireman.  Then, three Woodsmen show up and begin trying to resurrect DoppelCoop. I believe that the blood they rub on his face is actually a representation of Garmonbozia (remember, it was represented as blood during the ending of Fire Walk With Me). This should revitalize him, but it doesn’t work. Instead, just as the real Cooper arrives, the BOB tumor erupts from DoppelCoop’s stomach and attacks Cooper. Freddy steps forward and challenges BOB, narrowly defeating him, fulfilling his destiny.

Freddie

One of the most commonly raised complaints about Part 17 is the showdown between Freddie and the BOB tumor. Fans complained that it was ridiculous and mindless — too easy for the big showdown with BOB himself. This uncharacteristic anticlimax led fans to wonder if Lynch was making a joke, perhaps about superhero franchises, where problems are often solved by punching things. An interesting theory says that, had the series continued in the 90’s, Nadine, who had super strength at the time, would have been to one to punch BOB out. Once her story arc was altered, Freddie was supposedly created to fill the void.

But why is Freddie, the chosen warrior of the White Lodge, from England? It’s so seemingly out of the blue. However, I think there’s a reasonable explanation.

In the past, the Black Lodge has made good work of removing the agents of the White Lodge. They took Agents Jeffries, Desmond, Stanley, and even Cooper. They killed Bill Hastings when he started to talk. They took the real Diane and replaced her with a Tulpa agent. They killed Laura Palmer. They even took Audrey, who was a close friend of Agent Cooper’s and may have had a larger role to play. They possessed Sarah Palmer. They killed Major Briggs. The White Lodge needed to find agents that the Black Lodge wouldn’t see coming. They used Andy and Lucy, two of the last people who might be perceived of as a threat to the Black Lodge. They may have brought Laura Palmer back from the dead. So someone far from Twin Peaks, who the Black Lodge couldn’t get to and corrupt, was an ideal candidate.

NaidoAndAndy

Cooper puts the ring on his Doppelganger’s finger, and its body disappears. Cooper asks Frank for his old room key, saying that Major Briggs told him that “Sheriff Truman would have it.” This strengthens the idea that Briggs had some ability to time travel through his dealings with the White Lodge. As the FBI arrive, Cooper notices Naido, and his face becomes interposed over the following events. This is because Cooper, has dreamed all of this before. In effect, he already watched himself do all these things, that’s how he knows what will happen. The interposed face is the dreaming Cooper watching all of this happen.

Next is a moment that almost seems like exposition, but it’s all very confusing exposition. Bobby arrives, as do Albert, Gordon, and Tammy, and Cooper launches into a speech. He explains that Garland Briggs “was well-aware of what is going on today.”  He then says, “Now, there are some things that will change. The past dictates the future.” This is a fairly clear indication that Cooper intends to alter the timeline, or knows that someone else will. Naido runs over to Cooper and touches hands with him, and the curse placed on her by the Black Lodge burns away, with much black smoke. The facade cracks, revealing Diane, who has candy-red hair. It would seem that, after attacking her and taking her to the Black Lodge, DoppelCoop trapped Diane in the form of Naido, who could not communicate, and was disguised so Cooper couldn’t recognize her, then made a Tulpa to take her place in the outside world.

CoopNDiane.jpg

People have drawn a connection between Diane and Jack Parsons’s second wife, Marjorie Cameron, who also had neon red hair. Parsons believed that Marjorie was an “elemental” created by a ritual he’d performed, who was destined to help him with his magic.

Cooper and Diane kiss passionately, and the interposed image of Coop’s face disappears, suggesting this is where his dream ended. However, the face reappears a moment later. Coop asks Diane if she remembers everything, and she says she does. To me, this implies that she is also part of Cooper’s plan. Time starts glitching, as if it is stuck in one moment. With much distortion, the Cooper face says, “We live inside a dream.” The “regular” Cooper says to everyone that he hopes he sees them again, then stresses, “every one of you.” This suggests that he knows some of these characters do not exist in other timelines.

TP17.jpg

Then, everything fades to black. Coop and Gordon call out to each other, almost as if asking, “Are you ready?” because they next move is together, along with Diane. They walk through the darkness and enter what seems to be a basement, filled with machines, like James saw a few episodes ago. However, it’s all very dreamlike as this basement seems to be made up of various other environments. It’s reminiscent of the basement BOB appeared in in the original series, as well as the one James saw, and includes the door to Coop’s old room at the Great Northern. We also hear the hum that Ben and Beverly have been hearing, which apparently indicates the nearness of another dimension. Some have suggested that this is the basement of the Great Northern, and the old key was repurposed for a door down there once the switch was made to key cards.

Cooper’s face fades out, for good this time. We see many doors down here, which to me suggests different dimensions are accessible from here. Coop enters one door and tells Gordon and Diane not to follow him. He looks back and them and says, “I’ll see you at the curtain call,” a reference to his meeting with Diane at the portal of the Black Lodge, the “curtain call” obviously referring to the red curtains in the waiting room. It also has a more meta interpretation, as the curtain call can also indicate the part of a stage production, after the play when the curtains go down, and the actors come out to take a bow. I noticed also that the black paint near the door he enters is speckled with white and looks remarkably similar to the background when we see him falling through non-existence.

ImaLilTeapot

Cooper meets up with MIKE, who recites the Fire Walk With Me poem, which causes electricity to flash. They are transported to The Dutchman’s to visit Phillip Jeffries. We see the Jumping Man leave down the stairway, which may suggest some collusion between he and Jeffries.

Cooper gives Jeffries the date of Laura Palmer’s murder, and MIKE begins shaking his head. Perhaps he is sad, thinking of what happened, or perhaps he sees the folly of what Cooper is trying to do. Jeffries says he’ll find the date for them, and says, “It’s slippery in here.” The way he says it makes it clear that the two statements are connected, but what does the latter mean? I think it means that time is “slippery,” that it often glitches and is hard to keep hold of. He tells Cooper to say hi to Gordon, who will apparently “remember the unofficial version.” Read this as: “He will have residual memories of me from the erased timeline.”

Jeffries begins to spout some confusing dialog here.

This is where you’ll find Judy. There may be someone. Did you… ask me this?”

I’ll get back to that in the next article, though. Bear with me. He then shows them the Owl Cave insignia, which turns into an eight, then an infinity symbol, with a small dot traveling along it. This suggests an infinite loop, that Cooper has done this before. After the dot moves along the lemniscate for a moment, there’s a mechanical clank and it stops, as Jeffries finds the right time for Cooper. He says, “You can go in now,” mirroring when, in the Lodge, MIKE tells him, “You can go out now.” He then implores Cooper to remember, probably, to remember the alternate timeline, which holds some pertinent information. MIKE, who has been shaking his head all this time, says, “Electricity.” Right on queue, electricity crackles and time jumps as the energy is produced to transport Cooper back to the night Laura was murdered.

TakeMyHand

We see events replay. Laura leaving with James to the woods, then James leaving her. This time, Cooper is watching. He was all along. Laura even sees him, and screams. After James leaves and Laura is alone in the woods, Cooper appears to her. She recognizes him from her dreams, and takes his hand. Her body, wrapped in plastic, disappears from the shore. He tells her, “We’re going home,” suggesting that he plans on taking her back to her house.

We cut to the Palmer house in what seems to be the 25 years later time period, and Sarah Palmer, who’s been possessed by Jowday all along, grabs the iconic photo of Laura, and, wailing the whole time, attempts to destroy it with a broken liquor bottle. Time skips, and no matter how many times she tries to stab the photo, she can’t damage it. In short, Jowday wants Laura dead, but cannot harm her. Laura is protected.

However, as Cooper is leading Laura by the hand through the woods, periodically checking to make sure she’s still there, we hear the sounds that the Fireman played for Cooper at the beginning of Part 1, and Laura vanishes. We hear Laura’s death scream, and Cooper looks despondent. Jowday couldn’t kill Laura, so she took her.

But, where is Laura now? Will Coop see Gordon and Diane again? What was Phillip Jeffries talking about? Find out in the thrilling conclusion, when I analyze Part 18 of Twin Peaks: The Return!

TwinPeaks_SG_080.R.0

Advertisements

…On the Differing Opinions of the Finale…

Tammy&Albert

Written by Eden H. Roquelaire for Twin Peaks Freaks.

I’ve had a lot of requests for my review/analysis of the finale of The Return, and I promise you, it is coming, but there’s one thing I think I need to address before delving into such tempestuous waters.

The finale for The Return has been one of the most divisive ever, just as, if not more, controversial than the original cliffhanger for Twin Peaks‘ original run. I have my opinions. Everyone else has theirs. But no matter what your opinion is, I have a message for you. We need to stop fighting amongst ourselves, and be more understanding with those of differing opinions. Of course there will always be arguments and disagreements, but one thing that needs to end is this animosity between those who thought the finale was brilliant, and those who thought it had a lot of problems.

There’s a misconception about those who didn’t like the finale, that they need to “learn Lynch” (which is a condescending and elitist statement), and they just “didn’t get it.” Perhaps there are some this is true for, sure. Twin Peaks fans come from a varied bag. But overall, I see complaints coming from all walks of life, all kinds of fans, those who just loved Twin Peaks and those who are well-versed in film and Lynch’s other works. I want to make a statement now:

It is not one or the other. If you disliked the finale, it doesn’t mean you wanted a cliche Hollywood fairytale ending. Not everything your favorite director does is brilliant, nor are you compelled to love it regardless. I love Darren Aronofsky, but I didn’t enjoy The Wrestler or Noah. And you know, I absolutely love David Lynch’s work, but I have little interest in Wild At Heart. And that’s fine.

And if you liked the finale, that doesn’t mean you are just kissing ass. It doesn’t mean that you’ll eat whatever garbage you’re given “just because it’s Lynch.” Everyone is satisfied by different art. If you weren’t invested in seeing something conclusive, then the finale was an enjoyable trip into the bizarre, and groundbreaking television. It definitely was groundbreaking.

And guess what? It’s fine to be somewhere in the middle. I think I’ve enjoyed the analysis over the finale as much as watching it. I love to see peoples’ brains working, whether it’s an attempt to make sense of the story, or you’re analyzing what made it so revolutionary. It’s fine to be either or and neither. What’s not fine is being a rude and condescending to people who have a different opinion. Twin Peaks speaks to many different people on many different levels. It’s art, it’s soap opera, it’s intellectual, it’s campy. And the two-part finale ran the gamut of emotions and genres. It was overwhelming, to say the least. And it’s OK to hate it, and it’s OK to love it, and it’s OK to still be indecisive. Just be understanding with your fellow Peaks Freaks, please.

21034439_10154888357262742_2753073439674904097_n

All right. Now that that’s out of the way, I will be beginning work on my analysis of the finale. Thank you for being patient with me, it’s been quite a ride and I needed some time to recover. I’d like to get your opinions on how I should approach this analysis, if I should do a scene-by-scene breakdown, or go through all the arcs and and give an analytical overview? Or something else? Let me know what you’d like to see. Comment below.

And for some shameless self-promotion, I now have a paying gig over at Vocal, so you can check out my articles here. I have articles on Twin Peaks, video games, and television, with many more articles coming, so go and follow me there if you want to see even more content from me! In the meantime, I’ll see you again in 25 years. Meanwhile…

ED

…I’ll be trying to sort through all the emotions the finale brought up in me.

Too Dreamy: The Truth Behind the Disappearance of Audrey Horne

21034439_10154888357262742_2753073439674904097_n

Written by Eden. H Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return Parts 1 – 16.

Which will it be, Charlie? Hmm? Which one would you be? Charlie, help me. It’s like Ghostwood here.”

The absence and subsequent appearance of Audrey Horne has left many fans confused, angry, and saddened. However, what at first may have seemed just like a melodramatic plot shoehorned in for no good reason has turned out to be far more intriguing and possibly integral to the story line. Theories abound as to the truth behind her condition, either that she is in a coma, a mental hospital, is a tulpa, or that she is “the dreamer,” or something else. However, I believe I already know the answer, or at least most of it. First, let’s examine the clues in the case of the disappearance of Ms Audrey Horne.

First off, there’s the way that everyone talks about her, in that they don’t. So far, only Richard and Doc Hayward have even mentioned Audrey. Not even Ben, when he meets with Frank Truman to discuss Richard, says anything about Audrey. He only says regretfully that Richard “never had a father.” While this implies that Audrey has been around for some of her son’s upbringing, it makes it even stranger that she no longer is. This is one strike against the coma theory. But, if she was with Richard for a time, where did she go, and why did she leave?

So, Richard is one of the only people to mention Audrey, and what does he say about her, exactly?

RICHARD: I recognized you back at the farm. You’re FBI.

MR. C: How do you figure that?

RICHARD: ‘Cause I seen your picture in your fancy FBI suit.

MR. C: Don’t come any closer. Where’d you see that picture?

RICHARD: My mom had it.

MR. C: Who’s your mom?

RICHARD: Audrey Horne. And your name’s Cooper.

So, depending on whether or not you believe Audrey is still in a coma after 25 years, what likely happened was this: Richard, looking for clues as to his father’s identity, was going through some of his mother’s old things. He found the picture of Cooper, and brought it either to Audrey or Ben, who must have told him Cooper’s name. We can try to derive some info out of Richard’s phrasing, “my mom had it,” but, in truth, it’s fairly vague. The past-tense is only indicative of her having the photo in the past, and he is probably using past-tense to refer to the fact that he found it with her old belongings, which says nothing about the condition of Audrey herself.

twin-peaks-audrey-horne-dale-cooper

What about Doc Hayward? He mentions her when questioned about his last encounter with “Agent Cooper.”

“I thought at the time he might have been looking in on Audrey Horne.
That terrible business at the bank, and… She was in a coma.”

While this is arguably as vague as Richard’s wording, I would say this gives us a much more clear cut idea. “She was in a coma” implies that she is no longer in a coma. If she was still in the coma, Doc would probably have used language more like, “She fell into that coma,” or “She entered a coma.”

If Audrey were present, wouldn’t Ben mention her to Frank? Better yet, wouldn’t Frank have gone to see Audrey? Wouldn’t Sylvia have called Audrey when Richard assaulted her? All this leaves us with one conclusion: Audrey is gone. And since no one is really making a fuss about it, she has probably been gone a long time. The only question is, how long? I’ll admit that the theory of her being in a coma is thematically congruent, and could even potentially tie in with the real Cooper’s story line. However, there are enough plot holes that this could be argued against. And, though we are in the television world where anything is possible, in reality, people rarely stay in comas for such a long time.

21192986_10155849821523109_2014702129703087231_n

Next, let’s look at what we do know about Audrey’s current state. The many unfamiliar names thrown at us in her first scene is daunting, but I think it we cut away a lot of the extraneous elements and focus on what we do know, some interesting things will come to light. It has been noted that there are no establishing shots for Audrey’s location. It would seem that she’s cut off from the rest of Twin Peaks. However, we pretty much know that Billy and Tina are people in the real world, even if Charlie’s phone call to Tina might have been faked (It probably was). Someone looking for Billy enters the Double R, and a girl at the Roadhouse says that her mother’s name is Tina. So this is another strike against the coma theory.

The first scene is very confusing, but in Part 13, we are actually given a bombshell, hidden in plain sight: After saying she doesn’t feel like herself, Audrey mentions, “It’s like Ghostwood here.”

Let that sink in for a minute. It’s a confusing line, and one you might have missed. But it’s the most important thing we’ve heard from her so far. Because later, in Part 15, when DoppelCoop goes with the Woodsman to see Philip Jeffries, where do we see them? Walking through a hallway that fades in and out with the woods.

This other dimension overlaps the woods around Twin Peaks, a.k.a., the Ghostwood Forest. This is probably what Jerry was seeing when he was high and freaking out in the woods. It seemed like a Dugpa was even trying to possess his leg (what is it with Dugpas and limbs, by the way?). Why would Audrey say that it was like Ghostwood where she was? Because she IS IN the Ghostwood, but in another dimension. So, what does this say about the rest of the story?

21106846_588770191513232_7519366898463467165_n

Let’s make a rough outline of events. After the bank explosion, Audrey falls into a coma. Whilst in the coma, she is visited by Mr. C masquerading as Cooper, who rapes her while she is unconscious. When she wakes up from the coma, she discovers she is pregnant. She may suspect Jack Wheeler as the father, but perhaps DNA testing proves this wrong. Audrey raises Richard for some of his boyhood, but, one day…

She vanishes.

Now, here is the gap. And within the gap, there is a truth which must be revealed, and when it is, I’m sure it will play a large role in the finale. I have speculations, but no answers. That said, here is my best guess, as a literary student and as a fan, at what happened to Audrey: Mr. C returns for her. He kidnaps Audrey and seals her in the Black Lodge. He puts Charlie, a lesser spirit, in charge of her. His job is to keep her compliant and confused, so she won’t suspect what’s going on, or try escaping, or cause trouble for the other Lodge dwellers. To do so, Charlie creates a fantasy world for her, where they live in a nice, large house, and she can go anywhere she wants — Charlie just has to dream it up for her. Charlie becomes infatuated with the beautiful Audrey, and casts himself as her husband. He plays music for her so she can dance for him. Either Charlie or Mr. C also bring other prisoners to this dimension, one of which is Billy, whom Audrey begins to have an affair with. Charlie allows it because it keeps Audrey distracted. All this keeps Audrey confused, but it only works for so long. Audrey eventually begins to break through the fantasy. When she goes to the Roadhouse to look for Billy, she starts to realize it is all a dream, so Charlie creates a scene, a bar fight, to frighten Audrey, so she asks to be taken back. She ends up in a white room with a mirror. I believe this is the “blank slate” of this dream dimension: This is what it looks like before Charlie projects scenes and places onto it.

21270775_588769894846595_161136888037647102_n

There is also a darker possibility. Audrey’s “I don’t know who I am” speech is reminiscent of Tulpa Diane’s right before she tries to shoot Albert and Tammy. This has led to the theory that Audrey is also a tulpa, which suggests that our Audrey is elsewhere, and, as her fate seems to eerily mirror Diane’s, it’s probable that she was murdered. That leaves the question: If the Audrey we’re seeing is a tulpa, what was she manufactured for? All the tulpas we’ve seen so far have a purpose. What could Audrey’s be?

However she ended up there, and whether this is the “real” Audrey or not, there is no doubt in my mind that she is trapped in the Black Lodge, a dimension overlapping the Ghostwood. Perhaps Mr. C took her, or maybe she even went in looking for Cooper and got trapped. Whatever the case may be, I think by focusing on what we do know, and setting aside everything else until later, when things become clearer, we will have a better shot at deciphering the many remaining mysteries of Twin Peaks: The Return.

The Dark Truth Behind Candie Revealed

640

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return parts 1 – 11.

A lot of questions have been asked about Candie, one of the three Vegas girls (along with Mandie and Sandie) who accompanies the Mitchum brothers. Actress Amy Shiels has her own explanation for why Candie acts the way she does, and it’s a valid idea. But I think there might be a much more significant secret behind the innocuous-seeming girl, and I may have uncovered it when I noticed something hiding in plain sight.

Candie, as I mentioned before, is played by Amy Shiels, who voiced Agent “T.P.” Tammy Preston for The Secret History of Twin Peaks audiobook. As we know, it’s not Shiels, but Chrysta Bell who plays Agent Preston in the show. Why would Lynch replace Shiels, just to have her play an entirely different character? Could this be another clue for the existence of alternate timelines in The Return? Could he maybe have just changed his mind about who worked best for the role? Nonsense, I say! These other possibilities are just red herrings disguising the deep, dark truth: Amy Shiels is still playing Agent Preston, but we just haven’t realized it yet.

Tammy

Many fans have had mixed feelings about Chrysta Bell’s portrayal of Agent Preston, citing her stylistic acting as unrealistic and distracting (although, in my honest opinion, this fits right in with Lynch’s surreal film noir style). There could, however, be an in-universe explanation for Tammy’s odd behavior: She’s not Agent Preston at all, she’s a decoy.

My theory: Agent Preston, played by Amy Shiels, has gone deep undercover to take down a drug network, which starts in Canada, goes through Twin Peaks, to Vegas, where the Mitchum brothers help distribute it, through Buckhorn, and ends in New York. In order for her to penetrate the network, she had to pose as a down-on-her-luck girl looking for work in the Mitchum Brothers’ casino, and become their trusted companion, all the while acting like a “dumb blonde” so that no suspicion is put upon her. However, what if someone noticed that Agent Preston coincidentally went missing at the exact same time that “Candie” showed up? That’s why they needed a decoy. (Who would notice this, you ask? Shut up, I say. Go along with it.)

Enter Chrysta Bell, a lower-level FBI agent and friend of the real Agent Preston. She’s not the best agent, and she’s a bit of an oddball, but she’s clever, and trustworthy. So Cole arranges for her to temporarily take Preston’s place while they infiltrate the drug network. In the meantime, Cole, sensing promise in Tammy, decides to take her under his wing and help her learn the ropes. Of course, he does this by taking her on the most dangerous case yet. This is sort of like tossing someone into the ocean so they can learn to swim, which is a flawless, time-tested method of teaching.

tumblr_otkrr1vpxz1vrzc1uo1_1280

So, where do I think all this is going? Well, clearly, it’s not a coincidence that Agent Preston should happen to be where Agent Cooper shows up. I think it’s obvious that she’s going to recognize him, and try to get him back to Cole. In the process, however, she will blow her cover to the Mitchum brothers, who will attempt to kill both her and Cooper for betraying them, forcing Cooper to wake from his stupor and rescue them both. Slapping on a pair of shades and grabbing a gun, he will say, “Let’s rock,” and take down the Mitchum Brothers, action hero style. He will then convince Agent Preston to return to Twin Peaks with him, to bring the story back around full circle.

Meanwhile, it will turn out that Cole’s hunch about Chrysta Bell was actually him sensing that she was, in fact, a human manufactured by the White Lodge, who is destined to finally kill BOB. So they go to Twin Peaks, where they run into Cooper and Preston and the whole truth is revealed. Before departing this realm, Chrysta Bell will give Cole the dossier that comprises The Secret History of Twin Peaks, and tells him that “Tammy will know what to do with this.” She will then return to the White Lodge, just before the final showdown ensues: Janey-E, Audrey Horne (in her one and only appearance in this season), and Diane all fight for the love of Agent Cooper, who is too busy spending time with his true love, which is the coffee at the Double R Diner.

(Editor’s note: It has been called to my attention that Amy Shiels voiced literally all the women in The Secret History of Twin Peaks audiobook, with the exception of Agent T. P., who was voiced by Annie Wersching. The fact that I remember differently is clearly evidence of an alternate timeline.)

david_lynch_twin_peaks_sdcc_500_281_81_s_c1

Whew. So, I think I may have taken one or two liberties there, but overall I think my theory is pretty solid and explains everything about Candie and Tammy. What do you think about these characters? What do you think will happen in the remaining episodes? Also, how did you enjoy my first ever parody article? Leave a comment below.

 

(Edit: Yes, this was in fact a joke. I really hope you didn’t read through that whole thing taking it seriously.)

Announcement: Quality Control

twinpeaksdougiejones.0

Hello to my much-appreciated readers. I have an issue I feel I must address.

You may have noticed I am embarrassingly behind on my reviews. There’s a simple, perhaps unprofessional reason for that.

I simply don’t want to do them.

Twin Peaks: The Return has been groundbreaking television. It isn’t like Lost or True Detective or anything else that has emulated the original iteration of the series. It defies the isolation of a single episode, and therefore, in its incomplete state, is pointless (in my mind) to review traditionally. Analysis, even, is difficult, as it has become clear at this point in the series, that all the disparate threads are coming together slowly but surely, and the series has been so unpredictable that I think many theories are going to fall flat on their faces.

I have seen many theories popping up, from many sources. It’s great that Twin Peaks is around once more to make people think like they never have before. It’s difficult to wait each week for the new episode, and so speculation, I feel, has run rampant before all the information can be gathered. I, for sure, would have looked like an idiot had I put some of my theories out there before seeing the next episode. And that’s my biggest issue right now.

Quality control.

rr-01002-r

Since its inception in 2014, I have held this blog to a very high standard. I attempt not to post information that has been covered ad nauseum before, at least not without having my own spin on it. I try to have original ideas that will help you see your favorite series in a new light, and hopefully get you thinking, too, about what all these mysteries and symbols could be. I don’t want to throw out half-baked theories that are disproved by the next episode. I don’t want to do a recap and tell you what you just watched an hour earlier. In sum, I don’t want to publish something that will insult your intelligence. I know that you can think for yourself, and I know that these posts will still be up years later, after the new series has aired and all these half-baked ideas look silly.

So, what? Do I wait until after the series airs to publish another theory? It may be worth waiting. I do have theories. I do have things I’ve noticed that seem important. Running themes, certain episodes that seem to focus on one recurring motif. I probably will not be able to wait the entire series to publish something, but if I publish something, I want it to be quality. I want it to be something that adds to your experience and makes you think. I don’t want to jump on the bandwagon and throw out what I think based on a single freeze-frame of a document that was shown for 1.32 seconds. (Although I’m also not putting anyone down who does so; I have jumped further lengths for theories.) So, what to do?

I may not focus on Twin Peaks for a while. I do have my Inland Empire analysis, which is proving as tortuous a journey as the film itself. Or, I may publish a brief list article doing a quick summary of things I find to be significant in the news series and what it might mean. But I don’t want to repeat things you already know.

rr-22349-bw-r-e1495436956954

Twin Peaks is more popular now than ever. And that means we have many people covering it, from independent bloggers like myself, to bigger names like Slate and TV Guide. I, personally, have found discussion forums to be a goldmine of Twin Peaks theories, from Facebook to Reddit. If you’re looking to share ideas, or get your own brain working, I recommend checking them out.

I look forward to sharing my ideas with you soon.

ED

5 Final Predictions for Twin Peaks: The Return

 

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for The Secret History of Twin Peaks.

tumblr_ona1yl1ig51td5o0do1_1280

As we prepare to delve back into the strange and wonderful world of Twin Peaks, we all have our anticipations, our hopes, and our assumptions. If you are looking for some last-minute theories to get you revved up for the premiere this Sunday, look no further. Here are my final predictions for Twin Peaks: The Return.

ED

5. Big Ed stayed with Nadine

In the recent trailer released from Showtime, Big Ed is seen, presumably at the desk of his Gas Farm, looking pretty sullen. Many fans hoped that 2017 would see Big Ed Hurley finally united with his long-time sweetheart, Norma Jennings. But from the looks of this clip, either things have gone wrong with Norma, or he has stayed in his unhappy marriage to Nadine. Alternately, he may have lost both women. When Nadine comes out of her teenage fantasy, she finally realizes that she has truly lost Ed to Norma. She may have been too heartbroken to go back to Ed, and Norma may have been too tired of Ed’s inability to leave Nadine to stay with him.

twin-peaks-dale-cooper

4. There are two Dale Coopers

“My name is Annie, and I’ve been with Laura and Dale. The good Dale is in the Lodge, and he can’t leave. Write it in your diary.”

-Annie Blackburn, Fire Walk With Me

At the end of Twin Peaks Season 2, viewers discovered the worst had happened when Agent Cooper, acting a little oddly after escaping from the Black Lodge, looked into the mirror and saw BOB in the reflection. This left us with an agonizing and iconic cliffhanger, and it would be a shame to not deliver on the 26-year-old promise of seeing an “Evil Dale Cooper.” This cliffhanger was referenced again in Fire Walk With Me when Annie Blackburn, who had also been in the Black Lodge with Cooper, appears to Laura Palmer and tells her that “The good Dale is in the Lodge and he can’t leave.” While it is a confusing situation at best, it would seem to imply that Cooper has become spiritually bisected, leaving his “good” self in the Black Lodge, while his body, possessed by killer BOB, returned to Twin Peaks.

There are many possible approaches that could be taken to this situation, as some fans theorize that the body we see possessed by BOB is actually that of Cooper’s Doppelganger, and not the original Cooper we know and love. Perhaps the Good Dale has finally escaped the Black Lodge, 25 years later, and is hunting down his Doppelganger, or perhaps he still needs to be rescued. If the body is his, and not the Doppelganger’s, then it is possible he will not be able to leave the Black Lodge until his body is returned to him. Perhaps, until that time comes, he will be exploring the various dimensions of the Lodges…

JuleeCruise

3. Return to the Roadhouse

When the official cast list for Twin Peaks: The Return was released last year, it was obvious that the new series had enough musicians to fill their 18 episodes, and then some. These musicians include previous Lynch collaborators Julee Cruise, Chrysta Bell, and Trent Reznor, as well as some surprising newcomers like Pearl Jam frontman Eddie Vedder. While it’s not clear if these musicians are simply listed as collaborators on the soundtrack, or will be making an appearance in the show, it would be a lovely treat and in keeping with the original series to include some haunting musical performances on the stage of the Roadhouse.

18624600_10155383318062372_341070154_n

2. I’m not saying it’s aliens…

I don’t think we will ever see a spaceship in Twin Peaks. I do think further discussion of Project Blue Book, and blatant addressing of the subject of aliens, is unavoidable in order to progress certain plot elements. But Twin Peaks will never be a sci-fi story. I don’t think Mark Frost or David Lynch want to do that by any means. I don’t think we will ever hear it definitively said that the owls are alien spies, or that the Dugpas are from another planet, as some have speculated. In true enigmatic form, I think it will be left up for interpretation, and implied that the Dugpas are not spirits, or Native American gods, or extraterrestrials, but something beyond our comprehension, and far more terrifying.

Blue Rose

1. The Blue Rose is code for Listening Post Alpha

More than anything else, when the photos for the Entertainment Weekly photo shoot came out earlier this year, I think I was most stunned by the appearance of a blue rose, right there on the table between Audrey and Shelly. One of the enduring mysteries of Twin Peaks is that of the Blue Rose. It only appeared in FWWM, but it made a huge impression on fans. Agent Cooper refers to Teresa Banks’ murder as “one of Gordon Cole’s Blue Rose cases,” and Agent Desmond says that he can’t talk about the Blue Rose with Agent Stanley. With no further information, fans analyzed the symbol as best they could, and came up with some interesting theories. The most popular and most believable of these theories is that the Blue Rose is code for Project Blue Book, due to 1) color association, 2) apparent ties to the government, and 3) the fact that blue roses do not exist in nature, suggesting an “otherworldly” element to them. After reading The Secret History of Twin Peaks, I am convinced more than ever that this theory is very near the mark.

While the Blue Rose itself is never mentioned in The Secret History, we are given more background on Project Blue Book’s connection with the rest of the Twin Peaks mythology. It turns out that newspaper mogul Douglas Milford was, in his younger days, an agent working on Project Blue Book under then-President Richard Nixon. He was, in a manner of speaking, one of the “men in black,” appearing to investigate UFO cases, and other bizarre phenomena for the government. After Nixon’s death, Milford was spurred to create his own successor to Project Blue Book in Twin Peaks itself, known as Listening Post Alpha (LPA). He also recruited Major Garland Briggs to help him, and this is most likely the job that prompted him to so commonly quip, “That’s classified.” Milford then dies, suspected to have been murdered by his wife, possible assassin Lana Budding. He leaves Briggs a letter, philosophizing about the nature of the strange phenomena surrounding Twin Peaks, and concluding by telling Briggs to wait until his “next control arrives.”

Briggs, now in charge of LPA, believes that Agent Cooper has been sent by Gordon Cole to be his aid in these endeavors. This raises an eyebrow. Also contained in the dossier that comprises The Secret History is a list containing the names of FBI agents Cooper, Cole, Desmond, Stanley, Rosenfield, and Jeffries. The nature of this list is never revealed, but it is clearly important. Briggs and Milford must have been working with Cole on some level, otherwise there’s no reason for him to believe that Cole would “send” anyone to Briggs.

Remember how Cooper referred to the Blue Rose cases as being Cole’s? And which agents has Cole assigned to his Blue Rose cases? Agents Cooper, Desmond, Stanley, Rosenfield, and, in all probability, Jeffries. So it isn’t that big of a leap to suspect that the Blue Rose cases are linked to LPA, if not specifically code for LPA and its interests. Adding to this connection is the discovery by one sharp-eyed fan of a blue flower prop in Major Briggs’ house. While it appears to be a tulip, and not a rose, the similarities are distinctly there.

BlueTulip

I could of course be wrong about all of this. After all, the owls are not what they seem, and Lynch and Frost have kept us guessing from the very beginning, and the mystery they created together has lasted 27 long years. Only time will tell what truths are to be unveiled, and what mysteries are to be left uncertain forevermore.

What do you think will happen in the new series? What’s your favorite mystery from the show or the movie? How will you be celebrating the return of Twin Peaks? Post a comment below!

The Mysteries of Love: The Transformative Nature of Sex in Lynchian Cinema

still-of-laura-dern-isabella-rossellini-and-kyle-maclachlan-in-blue-velvet-1986-large-picture

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Eraserhead, Blue Velvet, Mulholland Drive and Inland Empire. Also, while not graphic, this article does deal with mature themes revolving around sex, so read at your own discretion.

Anyone who has seen David Lynch’s movies knows that sex has a potent presence in each one. Sometimes, it takes the form of beautiful love scenes; other times they are grotesque and debased, but they always have a purpose. Mulholland Drive, Inland Empire, and Eraserhead all use sex during vital transformative scenes, and The Diary of Laura Palmer draws a distinct line between Laura’s sexuality and BOB’s arrival. In this article, I will analyze the use of sex and sexual imagery in each of Lynch’s films, and uncover some of the secrets behind the Mysteries of Love.

Note: I will be excluding Lost Highway and Wild At Heart from this article, as those films, I feel, require very specific and individual analysis.

quote-David-Lynch-sex-is-a-doorway-to-something-so-142781_1

One of the oldest forms of ritual is sex: In ancient Babylon, temples dedicated to the Goddess Ishtar employed “sacred prostitutes,” who were priestesses who doubled as sex workers, and often used sex as part of their religious rituals. These women would serve as representations of the Goddess when a new King was crowned, so that he might be wed to her and receive her divine blessing. Mother Goddesses, such as Ishtar/Inanna, were usually fertility Goddesses, presiding over sex and reproduction, so it only makes sense for the worship of such deities to be sexual in nature.

Aleister Crowley, who was recently mentioned in Mark Frost’s tie-in novel The Secret History of Twin Peaks, made sexuality a large part of his doctrines and rituals, in which the energy released during copulation is used to give power to whatever spell is being cast. Nontheistic Satanist Anton LaVey, founder of the Church of Satan, placed sex in high importance in his ideology. LaVey believed that discovery of one’s sexuality, and having full control over one’s sexual power and identity (whatever it may be) was the key to having agency over one’s life, and, ultimately, finding fulfillment and success. He believed that sex and ritual was one of the most powerful ways to affect an individual’s psychology and direct energy. Sex is a powerful force, easily able to raise emotional energy, which can then be utilized through ritual.

immagine_mulholland-drive_12441

Sex in the Lynchian Universe is used in a similar way: It commonly heralds a moment of profound transformation, where either two characters become merged, or a character moves into a strange, alternate dimension.

Throughout the first half of Mulholland Drive, it is clear that Betty and Rita are slowly merging into one being, but it is only after they make love that they become virtually indistinguishable. After they merge, Betty and Rita are able to enter the otherworldly Club Silencio and receive the answers to the mystery. In Eraserhead, a sex scene between Henry and the neighbor immediately precedes a disjointed dream sequence; a so-called “down the rabbit hole” moment. We see the couple sinking into a smoking pit of milk, and disappearing into another world. This relates to Henry’s desire for escape from the nightmare of his life.

In Inland Empire, a particularly interesting scene is the love scene between Devon Burke and Nikki Grace, wherein they begin to slip into their alternate personae, Billy and Sue. Immediately afterwards, Nikki/Sue discovers the portal into the alternate dimension. She has undergone a ritual in which she allowed her Nikki persona to be consumed by the film persona. She was transformed into Sue, through a Sex Magick with Billy (or Devon, who thought he was Billy). A recurring motif of the film is prostitution. For the most part, in Inland Empire, this motif seems to represent sexual oppression and enslavement, as there are recurring references to rape through mind control. The prostitutes appear to be under the Phantom’s control. However, I believe they also represent various parts of Nikki/Sue’s psyche, voicing her internal dialogues and performing rituals with her, as she slowly builds up the power she needs to face the Phantom. They are the oppressed parts of Nikki’s personality, which are brought together to become stronger and eventually break the bonds placed on them by the Phantom. The dancing sequences in the film conjure up images of Pagan rituals and Faerie circles. In short, they tell us that Magick is being performed.

primary_EB19861002PEOPLE41216001AR

Sex is a centrifugal element of the film Blue Velvet, and is the catalyst for Jeffrey Beaumont’s trip down the rabbit hole. Dorothy Valens has been transformed through the sexual abuse Frank Booth has subjected her to; he “put his disease” in her, infecting her with his violent sexual obsessions. When she and Jeffrey begin a sexual relationship, she asks Jeffrey to hit her, like Frank does. She has become so used to the abuse, that she cannot enjoy sex without it. Eventually, Jeffrey breaks down, and hits her. Later, he regrets his actions, and begins to cry in guilt. He is afraid of being turned into Frank Booth, being sucked into his darkness, ending up spiritually mutated and morally weakened. He does not want to wind up using Dorothy the way that Frank does. His salvation is the love he finds with Sandy, which goes beyond the basic lust he felt for Dorothy. And in the end, it is not through Jeffrey, or her husband, that Dorothy finds healing, but through her pure love for her son.

Blue Velvet serves, perhaps, as Lynch’s ultimate parable regarding the dichotomy between sex and love, and where the two meet. There is depraved sex, and there is sacred sex. There is selfish love, and there is pure love. Lynch has said in interviews that Frank Booth is a man in love, suggesting that his desire for Dorothy is not as black-and-white as it at first seems. It isn’t just lust that compels him, but a sick kind of love – the only way Frank can perceive it.

blue-velvet-7

“Do me a favor: Stay away from Dorothy. Don’t be a good neighbor to her anymore. Or I’ll send you a love letter, straight from my heart, fucker! Do you know what a love letter is? It’s a bullet from a fucking gun, fucker! You receive a love letter from me, and you’re fucked forever! Do you understand, fuck? I’ll send you straight to hell, fucker!”

-Frank Booth, Blue Velvet

In Lynch’s other works, sex has many different meanings, sometimes within a single film. In Twin Peaks, sex is not portrayed as bad nor good, but a facet of natural human life, though the circumstances surrounding it can be beautiful, or dire. However, a darker layer of this sexuality was hinted at even from the pilot, and as the mystery was slowly unveiled in Season 2 and Fire Walk with Me, the shadow of sexuality which loomed in the background was brought forward: A sexuality that, like Frank Booth, was all about possession, violence, and power.

The two sides of Laura’s identity are, in one way, portrayed by her dualistic relationships with James and Bobby. Her love for James is more of an idealistic, innocent love, whereas her relationship with Bobby is one of manipulation. On the same side of the coin as Bobby, though much deeper and darker, is her “relationship” with BOB; a shadowy, violent figure who Laura remains sexually attracted to in spite of the risk to her sanity and life. This lust is portrayed as a base desire, animalistic, like hunger, which drives its victims to endlessly consume, or die.

A Buddhist belief says that all acts are acts of either love or fear, and all other emotions spring from one of these two. In Twin Peaks, it is again told to use that love is the ultimate salvation, as Laura’s spirit forgives Leland, her abuser and murderer, upon his death — forgiveness, being an act of love. This is in keeping with the theme set by Blue Velvet. However, things are a little shakier in Mulholland Drive, wherein love can do nothing to save our heroines, and, in fact, pushes them closer and closer to the edge. Without going too far down the rabbit hole that is Mulholland Drive, notice the extreme differences between the two sex scenes: The first, between Betty and Rita, is tender, and very loving. The second, between Diane and Camilla, which is arguably the reality of the matter, is sleazy, with a definite tension between the two women. Diane is stricken with fear of losing Camilla, and this is what ultimately orchestrates their downfall. In a way, Diane is becoming like Frank Booth, Lynch’s prime representation of the evil that can seep into a sexual relationship — the need for dominance and power, above anything else.

tp-condemned-woman-review

Well, that was some heavy content. If you need to lighten up, here‘s a link where you can watch Kyle MacLachlan’s Saturday Night Live monologue back in 1990. Until next time, make sure those grapefruits are freshly squeezed.