“What is Your Name?” – Finale Analysis – Part 2

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return, all episodes. But you really shouldn’t be shocked by that.

The final episode of The Return was met with much controversy, with some heralding it as visionary, and others left feeling angry and cheated. Undoubtedly there were many vagaries and gray areas that people have been pondering ever since. Without further ado, let’s delve into the mysteries lying within Part 18 of Twin Peaks: The Return.

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Cooper’s Doppelganger sits in the Black Lodge, stiff, his eyes milky, his body smoldering and engulfed in flames, yet unburnt. He is trapped back in the Lodge and being punished for attempting to avoid returning to the Lodge, as his fate was meant to be by some unknown decree. Meanwhile, MIKE uses electricity to make a copy of Dougie from Cooper.

An important thing to note: The original Dougie was presumably made from the DNA of DoppelCoop, and took on his negative personality traits. However, this version of Dougie was made from the DNA of the Good Dale, and therefore we can conclude that he will be a better father for Sonny Jim and a better husband to Janey-E, who he returns to, as Cooper promised them previously. There is debate in the fan community about whether it really is Dougie who returns to the Joneses, or if it might be the real Cooper, leaving a tulpa in his place. I don’t buy into this theory mostly because I think it would be out-of-character for Cooper to abandon his mission. With all the Doppelgangers and tulpas running around, it can be difficult to keep track of who is who or what, but I think here is a moment where David Lynch was straightforward in giving us a conclusion to the Joneses story.

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Let’s take a moment to talk about the Golden Sphere, without going too deep into it as it could fill up several articles of its own. It is interesting to note that both Laura and Dougie are made from golden spheres, though Laura’s is much larger than Dougie’s (But does size really matter?). As Dougie is a tulpa, does this mean Laura is also a tulpa? Does that mean that tulpas can be born the same as ordinary humans? Or does the golden sphere not necessarily denote the creation of a tulpa? Can a being created by one of these spheres also be a human?

As Dougie is embraced by Janey-E and Sonny Jim, the only word he utters in his state of joy is, “Home.” This is a powerful underlying theme of Season 3; returning home. Going back to where it began. And it all began with Laura.

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We once again see Cooper leading Laura through the woods, only to hear the sound from Part 1, which heralds Laura’s disappearance. But why? What is this noise? In Part 1, the Fireman plays the sound for Cooper and warns him, “It is in our house now.” This suggests that the sound is caused by whatever is “in our house.” The house could either be the White Lodge, or the Palmer residence. I believe it refers to Judy/Joudy/Jowday being in possession of Sarah Palmer, the house being the Palmer house. If my hunch is correct, this further implies that Judy found Laura, and took her, rather than BOB finding her and murdering her. After Laura vanishes, we hear the same scream from when she vanished within the Black Lodge.

Next, Cooper is back in the Black Lodge, talking to MIKE, which suggests that a time loop is in play here. Has Cooper repeated this mission multiple times? “Is it future, or is it past?” That is the question. MIKE disappears, then reappears, or another version of him appears, in the corner of the room, beckoning to Cooper. They walk through the curtains and meet up again with the Evolution of the Arm, which asks, “Is it the story of the little girl who lived down the lane?” which is a repetition of one of Audrey’s lines, suggesting she has a bigger part in this than is immediately evident. Just what that is remains to be seen. It is also reminiscent of the line from Fire Walk With Me, when the man in the diner asks Agents Desmond and Stanley, “You talking about that little girl that was murdered?”

Cooper does not answer the Arm, and it presses on, “Is it?” We then see the scene of Laura whispering in Cooper’s ear. This might suggest that she is “the little girl who lived down the lane,” but it is not definitive proof. The phrase “little girl” could also be connected to Teresa, Annie, or maybe Audrey. The film The Little Girl Who Lived Down the Lane is about a young teenager who covers up the murder of her mother and lives by herself in an isolated house, until her landlord’s son discovers her secret and attempts to prey upon her. It contains the Lynchian themes of isolation, small-town mystery, and women in trouble who try to fight their way out. The little girl who lived down the lane could be a blanket statement referring to the women who were sacrifices to the Black Lodge. Audrey’s reference could be coincidental, otherwise she could know something about the Lodge’s rites.

Back in the Black Lodge, Laura vanishes, just like before, and Cooper runs into Leland, who implores him to find Laura. Cooper then walks down the hallway, his hand extended in front of him in a manner stunningly reminiscent of a similar scene in Inland Empire. He seems to be feeling for an exit. He finds one, and leaves the Lodge, emerging in Glastonbury Grove, where Diane is waiting for him. This is the “curtain call” Cooper referred to in the previous episode. He assures her that it is really him, and he asks if it’s really her. This really drives home the frightening fact that you don’t know who you can trust anymore, as there are so many duplicates of people including Doppelgangers, tulpas, and time travel replications. It has been suggested that there is some time-warping here, and this actually happens after the final events of the episode, and is the true ending of Twin Peaks.

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It suddenly feels like we’re in another David Lynch movie altogether. Cooper and Diane drive to a desert, and Cooper says he drove 430 miles (although he doesn’t specify the starting point, nor where they ended up). Diane is nervous and repeatedly asks Cooper if he wants to go through with what they’re about to do. Presumably, he told her everything during the car ride, but what we can’t be sure of is what exactly he told her or where he even got the idea from (I’ll get pack to that in a minute, though). He gets out and checks the area, seeming to be feeling the atmosphere for electrical pulses which would be indicative of the presence of a portal. Satisfied, he goes back to the car.

He asks Diane to kiss him, and says, “Once we cross, it could all be different.” After kissing passionately, they begin to drive forward slowly, and electricity begins to pulse and flash, and they go through the portal. Suddenly, it is night. They are driving along the same (more or less) stretch of road. Then, everything goes black. Fade in, exterior of a motel, night. Coop & Diane drive up. He gets out and enters the office, while she waits in the car. Staring out into the desert, Diane sees a duplicate of herself emerge from behind a pillar. Notably, this is another red-haired Diane, not the white-haired tulpa Diane. Could this be Diane’s Doppelganger? Diane seems quite unperturbed. It’s almost as if she knew this would happen. Perhaps because that is not a different Diane, but the same Diane we are following. Let me see if I can put this straight: This is Diane, looking at herself from either earlier or later in the timeline, and she knew this would happen because she has already experienced coming out from behind the pillar and seeing herself in the car. The Fireman very importantly told Cooper, “Remember Richard and Linda.” The word “remember” is important here, as it clearly specifies that this has happened before, and will happen again. Season 3 is one big time loop, everything is recurring and recurring and changing and doubling up on itself. This is most likely why Cooper and Diane know what will happen, they “remember” it from a previous time loop. They “remember” being Richard and Linda.

When Coop exits the office, the other Diane is gone. They then go to a motel and have sex while “My Prayer” by The Platters plays. It is theorized that Cooper and Diane are performing a sex magick ritual, a type of magick often utilized by Jack Parsons and Anton LaVey. In this case, Diane, with her shockingly red hair, would be acting as Cooper’s Scarlet Woman. Some have noted her resemblance to Parsons’s own Scarlet Woman, Marjorie Cameron.

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Diane Evans (left) and Marjorie Cameron (right), the Scarlet Women.

The inclusion of the song “My Prayer” adds a tinge of ritual here, and if you’re familiar with my theories on Lynch’s use of sex in film, then you’ll know that Lynchian love scenes have much more than what is on the surface. Obviously apprehensive, Cooper and Diane clearly knew what they were doing and what would happen. They knew they were performing a ritual, and that it would transport them to another world. The implication here is that everything happening in this scene is tied to what the Fireman says in Part 1. He bids Coop to “Remember Richard and Linda” and “430,” as in, remember this event that has technically already happened. This is what you have to go back and do (More confusing time paradox logic here).

Diane is understandably upset while she and Coop are having sex, and covers her face. This is because she remembers the trauma she suffered at the hands of his Doppelganger and is trying not to think about it, but the darkness seeps in, anyway. In the morning, she is gone, and Cooper finds only a note, which reads the following:

“Dear Richard, when you read this, I’ll be gone. Please don’t try to find me. I don’t recognize you anymore. Whatever it was we had together is over. -Linda.”

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The implication here is the following: Coop and Diane used sex magick to open a portal to a parallel world, in which versions of them exist, named Richard and Linda. By entering this other world, they have actually merged with their other selves, hence the loss of memory. Lack of recognition is a recurring element in The Return, as well as David Lynch’s other works, most notably Lost Highway where the Mystery Man asks point blank of the protagonist, “What the fuck is your name?” The Return shares many elements with Lost Highway which are worth exploring, but we don’t really have time to get into here. Just take note of the fact that both Lost Highway and The Return have shown us characters having sex in the desert and then switching with parallel versions of themselves. Loss of memory and the inability to recognize familiar people could point to characters merging with these other versions of themselves, causing them to become confused by memories of other lives in other realities. Linda doesn’t recognize Richard anymore because he’s not just Richard anymore, he’s also Cooper, and she’s now also Diane. Even “Richard” seems confused, probably by all these conflicting memories circulating in his mind. People who travel between dimensions, when not Lodge spirits, seem very confused. Just think of Philip Jeffries’ confusion when he appeared in Cole’s office.

[Note: To avoid further confusion, I will continue to call this version of Cooper “Cooper,” rather than Richard. According to the theory I just posited, both are technically accurate, so… let’s just go with that.]

Cooper leaves the hotel, which is different from before, and drives to Odessa, Texas, where he stops at a cafe called Judy’s. Inside, he asks the waitress is there’s “another waitress” who works there. The waitress says there is, but it’s “her third day off,” implying that she’s been missing for three days. Cooper then gets into a fight with three aggressive men with guns, and dispatches them by kicking one in the groin and shooting one in the foot. His behavior here is a bit confusing, as it’s hard to imagine Agent Cooper being so violent. However, he shows kindness to the waitress that is characteristic of Cooper, leading some to posit that this “Richard” version of Coop is a fusion of Agent Cooper and Mr. C. If true, this further suggests that all versions of Cooper are merging, perhaps including ones we’ve never heard of before, like Richard.

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Cooper then goes to visit the other waitress at her address (provided by the waitress at the diner). In front of the house is an electrical pole with the number 6 on it, just like the one at the Fat Trout Trailer Park, suggesting a sort of tie between dimensions. Perhaps this is the other world’s version of the Fat Trout Trailer Park? Or, could one use a portal at Fat Trout to get here? There are some odd objects in the front yard as well, including what looks like a noose and a small bronze orb. When Coop knocks at the door, it is answered by Carrie Page, who looks just like the older Laura Palmer we saw in the Black Lodge. Coop says he’s with the FBI and Carrie asks “Did you find him?” It’s never explained who she might be looking for, a lover, a family member, a friend… However, it’s very clear that she’s in some serious trouble, as, when she invites Cooper in, there’s the corpse of a man dead of a gunshot to the head sitting in her chair. She says she has no idea who Laura Palmer is, but seems to agree that her parents are named Sarah and Leland (though this is open to interpretation). Coop tells her he wants to take her to her mother’s house, which was her house, “at one time.” This reminds us of Ronette Pulaski/American Girl in an earlier episode warning Cooper, “My mother is coming.” This strengthens the idea that the “mother” is Judy, who is possessing Sarah Palmer. In any case, Carrie agrees to go with Coop because she’s “got to get out of Dodge anyway.”

Carrie Page’s name is very interesting, because it seems to be tied to the third still-missing page of Laura Palmer’s diary. In a sense, Carrie Page is “the missing page.” The identity of the dead man in the chair is up in the air. Carrie also mentioned to Cooper, “Somebody like you comes around, and I tell him to fuck off.” What does that mean? Who has been coming around? FBI agents? Have other parallel Cooper’s been showing up looking for her, from other dimensions? Or is someone else trying to hunt her down for unknown reasons? Have they been sending hitmen after her? Perhaps she told the man in the chair “to fuck off,” in a sense. It is worth noting that the dead man seems to have a mass on his stomach, which could be a BOB-tumor emerging, suggesting that the man was the host of this world’s BOB, meaning that BOB is potentially defeated in both Coop’s world and Richard’s.

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Here’s where things get very, very, very confusing. Very. Coop and Carrie drive to this world’s version of the Palmer house, only to be met by a woman neither of them recognize, played by the woman who owns the house in real life. She doesn’t know who Sarah Palmer is, and says the house was previously owned by a Mrs. Chalfont, and that her name is Alice Tremond. There are a couple of things to note here. Firstly, the name Alice is also used in Lost Highway for the parallel dimension version of Renee. The name is, in both cases, a reference to Alice in Wonderland, a story in which a girl named Alice travels to another, fantastical world, and has trouble holding onto who she is. The names further reinforce the importance of interdimensional travel, as the Tremonds/Chalfonts are heavily involved in characters traveling from their worlds into the Black Lodge. They give Laura the painting that makes her dream of the Black Lodge, they own the trailer under which Chet Desmond finds the Owl Ring before disappearing, and Donna speaks with them in what seems to be an alternate dimension version of a house she visits while working for Meals on Wheels. In short, the Tremonds/Chalfonts are proficient dimensional travelers, which is important here. Portals seem to be near whenever the Chalfonts and Tremonds are.

After chatting with Alice, Cooper and Carrie turn away and walk back towards the street. Cooper suddenly seems disturbed, and asks, “What year is this?” More of the confusion from traveling between dimensions, as this is highly reminiscent of Philip Jeffries in Fire Walk With Me, asking, “May? 1989?” Then, we heard Sarah Palmer’s distorted voice calling for Laura from the house they just left. Carrie turns and looks, and, in that moment, it seems that all of Laura’s memories come flooding into her, and she screams in horror at the revelation. All of the lights in the house go off, and fade to black.

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Now, what does this mean? Did Cooper succeed? Did he fail? Is Judy defeated? Is everyone a tulpa? Electricity is of course an important part of the Twin Peaks mythos, and the fact that the electricity shorts out the moment Carrie screams is significant. It implies a loss of power to the Lodge spirits. However, even inferring this leaves us with many questions. What is this dimension, exactly? Is it an alternate timeline? Is it a dimension created to trap Laura? Is it our world? An illusion? None of the above? The episode ends with Laura (or Carrie?) whispering in Cooper’s ear in the Black Lodge, and we still can’t hear what she said.

I think this finale was purposefully constructed to be confusing and inconclusive, to keep the mystery alive, and encourage us to believe that the spirit of Twin Peaks will never really end. I think Lynch and Frost want us to continue theorizing, and, especially in Lynch’s case, believe that what’s important is not definitive answers, but what the show means to us as viewers, as we are taking the journey with the characters, and experiencing their trials, their joys, their failures and victories, loves and heartbreaks, with them. Done right, film and television can change peoples’ lives, and I believe that this was Lynch’s true goal for The Return, and the finale in particular. I don’t know what my conclusive belief is about the ending. I have my clues, my leads, my theories, and here they are for you, to help guide you, should you want them to, to your own conclusions. This has been an incredible journey we have all taken, and, in our various ways, we have all been changed by it. Here’s to keeping the mystery alive.

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

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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…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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!

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

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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.

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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.

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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.

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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.

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“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.

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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.

Moving Through Time: Discovering the Secret History of Twin Peaks

Written by Eden H. Roquelaire for Twin Peaks Freaks.

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The trailer for Mark Frost’s upcoming novel, The Secret History of Twin Peaks, is a journey in and of itself, starting in the distant past and working its way up to just three weeks ago. It has already presented us with some fascinating mysteries in the form of various pages. These pages give us a glimpse into the secrets in store for us. So, without further ado, let us examine these pages in more detail.

First, we are shown a photograph of a Native American man in a feathered headdress, which is our first indication the we will finally be doing more exploring into Twin Peaks’ distant past and its connection to Native history.

Two pages, seen immediately after the photo of the Native man, tell of two men, a few days’ walk from Spokane, searching for a mine full of gold with the guidance of a strange map, reportedly obtained from some “Injuns.” One of the men is called “Denver Bob,” which is abbreviated as “D.B.” This may be a reference to the infamous D. B. Cooper, who disappeared after stealing a large sum of money from a plane. The search for him, and the money he stole, became one of the most well-known mysteries of the 20th Century. Agent Dale Bartholomew Cooper was intentionally given the same initials and last name. With this in mind, “Denver Bob,” or, “D.B.,” seems an interesting amalgamation of Agent Cooper and Killer BOB. Perhaps Denver Bob will become an early vessel for Killer BOB, or perhaps he is an ancestor of the Robertsons. Perhaps both. Once these men find the mine, it may be that they find Killer BOB’s spirit dwelling there, and Denver Bob becomes possessed, and proceeds to pass the evil spirit on to his descendants, who become the Robertsons.

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The mine they are searching for may be Owl Cave, and there is a possibility that the map they are using is the same or similar to the one seen on the wall of the cave. During their search for it, the unnamed narrator mentions seeing some “strange shit.” He specifically mentions raised wooden platforms, covered in leather, some of which have decayed corpses draped on top. Perhaps these were sacrifices to the Dugpas? Or were they harvested by the Dugpas themselves?

After the cup of coffee, there is a record of a car being sold to Douglas Milford back in 1947. Of course, he eventually becomes a respected news paper publisher in Twin Peaks.

The next two pages are of greater interest. They would seem to be from Project Blue Book, and they detail reports of UFOs, including their flight patterns, shapes, and colors. After the slice of cherry pie, we see another UFO report, this time regarding the historical sighting reported by Kenneth Arnold. Arnold claimed that, in the middle of the afternoon on June 24th, 1947, near Mount Rainier, he saw 9 UFOs flying in the sky.

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Kenneth Arnold with an artist’s rendition of the craft he reportedly saw.

Next is a doctor’s report, also from 1947, on a 7-year-old patient named Margaret “Maggie” Coulson. Maggie was found in the woods, with a “seemingly unquenchable thirst,” and a mysterious mark on the back of her right knee. This patient is the Log Lady, Margaret Lanterman, as a child, and is a reference to the incident she mentions where she was taken by some force in the woods, and afterwards found a marking of three triangles on her leg.

Next is an enlistment form for the U.S. Air Force, filled out by Douglas Milford. This lends some previously unseen intrigue to his character. If he was in the Air Force, he may have worked with Major Garland Briggs. They may have both been a part of Project Blue Book, and known about the strange goings-on in Twin Peaks.

Next, we jump to 1969 via a postcard from Hollywood, which, when flipped over, turns out to be from Norma to her parents, Mr. and Mrs. Lindstrom. However, this raises an interesting question/potential plot hole, as Annie’s last name is Blackburn. Annie is Norma’s sister, and was married, so she and Norma’s parents would, presumably, have the same last name. Perhaps their mother remarried after 1969, married Mr. Blackburn, and had Annie? Turning our attention back to the post card, Norma details her trip to Hollywood with Hank, possibly on their honeymoon. She mentions seeing Johnny Carson’s show live, and seeing Sammy Davis, Jr. perform there. This could be a point of interest, or probably at least a deliberate choice on Lynch and Frost’s part, since Sammy Davis, Jr. was a major part of the seedy Hollywood underbelly that Lynch loves so much to portray.

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Sammy Davis Jr. with Michael Aquino, founder of the Temple of Set, and Anton LaVey, founder of the Church of Satan.

The final page of the trailer takes us to modern day, with a letter written by Deputy Director Gordon Cole (who was played by David Lynch) to an unknown Special Agent who has been working a case. Cole mentions the recovery of a dossier from a crime scene on July 17th, 2016 (Just a few weeks ago!), which he says has some apparent connection to Agent Cooper’s investigation of Twin Peaks back in 1989. He tells the agent that this may have some bearing on his/her case, and, because of this s/he is being given access to Agent Cooper’s files. The agent addressed by Cole is most likely the agent reportedly played by Jennifer Jason Leigh. He also expresses the great need to discover who wrote the dossier, and says to take “Code Red measures.”

It has been speculated that the new season of Twin Peaks will involve time travel, and, while this trailer far from confirms the theory, it puts forth a potential date: 1947. While other dates are shown in the trailer, 1947 pops up multiple times. Harry S. Truman was president, the Black Dahlia murder (a point of fascination for Lynch) occurred, and there were multiple UFO sightings, including the famous crash in Roswell, New Mexico, as well as the first modern report of a “Men in Black” sighting. That seems to be fertile ground for some time travel.

Thus far, it’s looking like we’ll be delving deeper into Project Blue Book, Owl Cave, and Native American lore in this book.It will be hard to wait until October to find out the rest of it!

HEADLINE: Twin Peaks Season 3 Cast Revealed

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

Yesterday morning (April 25th, 2016), the official Facebook page for Twin Peaks released the final line-up for the cast of the long-awaited Season 3. There are many familiar faces, and many new faces to be excited about, as well as some names that are painfully absent. Below is an exact quote from Twin Peaks‘s official page, followed by a quick Who’s Who of some of the cast members.

DO NOT read below if you don’t want to know! This is your last warning to turn back. For everyone else, it is my pleasure to pass the happy news on to you:

The cameras have stopped rolling.
A key piece of the mystery is revealed.
Welcome back* to Twin Peaks.

Jay Aaseng
Alon Aboutboul
Jane Adams
Joe Adler
Kate Alden
Stephanie Allynne
Mädchen Amick*
Eric Ray Anderson
Finn Andrews
Elizabeth Anwies
Dana Ashbrook*
Joe Auger
Phoebe Augustine*
Melissa Bailey
Tammie Baird
Matt Battaglia
Chrysta Bell
Monica Bellucci
Jim Belushi
Leslie Berger
Richard Beymer*
John Billingsley
Michael Bisping
Ronnie Gene Blevins
Kelsey Bohlen
Sean Bolger
Rachael Bower
Brent Briscoe
Robert Broski
Wes Brown
Richard Bucher
Page Burkum
Scott Cameron
Juan Carlos Cantu
Gia Carides
Vincent Castellanos
Michael Cera
Richard Chamberlain
Bailey Chase
Johnny Chavez
Candy Clark
Larry Clarke
Scott Coffey*
Frank Collison
Lisa Coronado
Catherine E. Coulson*
Grace Victoria Cox
Jonny Coyne
James Croak
Julee Cruise*
Heather D’Angelo
Jan D’Arcy*
David Dastmalchian
Jeremy Davies
Owain Rhys Davies
Ana de la Reguera
Rebekah Del Rio
Laura Dern
Neil Dickson
Hugh Dillon
Cullen Douglas
Edward “Ted” Dowlin
Judith Drake
David Duchovny*
Christopher Durbin
Francesca Eastwood
Eric Edelstein
John Ennis
Josh Fadem
Tikaeni Faircrest
Eamon Farren
Sherilyn Fenn*
Jay R. Ferguson
Sky Ferreira
Miguel Ferrer*
Rebecca Field
Robin Finck
Brian Finney
Patrick Fischler
Erika Forster
Robert Forster
Meg Foster
Travis Frost
Warren Frost*
Pierce Gagnon
Allen Galli
Hailey Gates
Brett Gelman
Ivy George
Balthazar Getty
James Giordano
Harry Goaz*
Grant Goodeve
George Griffith
Tad Griffith
James Grixoni
Cornelia Guest
Travis Hammer
Hank Harris
Annie Hart
Andrea Hays*
Stephen Heath
Heath Hensley
Gary Hershberger*
Michael Horse*
Ernie Hudson
Jay Jee
Jesse Johnson
Caleb Landry Jones
Ashley Judd
Luke Judy
Stephen Kearin
David Patrick Kelly*
Laura Kenny
Dep Kirkland
Robert Knepper
David Koechner
Virginia Kull
Nicole LaLiberte
Jay Larson
Sheryl Lee*
Jennifer Jason Leigh
Jane Levy
Matthew Lillard
Jeremy Lindholm
Peggy Lipton*
Bellina Martin Logan*
Sarah Jean Long
David Lynch*
Riley Lynch
Shane Lynch
Kyle MacLachlan*
Mark Mahoney
Karl Makinen
Malone
Xolo Maridueña
Berenice Marlohe
Rob Mars
James Marshall*
Elisabeth Maurus
Josh McDermitt
Everett McGill*
Zoe McLane
Derek Mears
Clark Middleton
Greg Mills
James Morrison
Christopher Murray
Don Murray
Joy Nash
Priya Diane Niehaus
Bill O’Dell
Casey O’Neill
Johnny Ochsner
Walter Olkewicz*
Charity Parenzini
Elias Nelson Parenzini
John Paulsen
Sara Paxton
Max Perlich
Linas Phillips
Tracy Phillips
John Pirruccello
Linda Porter
Jelani Quinn
Ruth Radelet
Mary Reber
Adele René
Mariqueen Reznor
Trent Reznor
Carolyn P. Riggs
Kimmy Robertson*
Wendy Robie*
Erik L. Rondell
Marv Rosand*
Ben Rosenfield
Tim Roth
Rod Rowland
Carlton Lee Russell*
Elena Satine
John Savage
Amanda Seyfried
Amy Shiels
Sawyer Shipman
Tom Sizemore
Sara Sohn
Malachy Sreenan
Harry Dean Stanton*
J.R. Starr
Bob Stephenson
Charlotte Stewart*
Emily Stofle
Al Strobel*
Carel Struycken*
Ethan Suplee
Sabrina S. Sutherland
Jessica Szohr
Russ Tamblyn*
Bill Tangradi
Cynthia Lauren Tewes
Jodee Thelen
Jack Torrey
Sharon Van Etten
Eddie Vedder
Greg Vrotsos
Jake Wardle
Naomi Watts
Nafessa Williams
Ray Wise*
Alicia Witt*
Karolina Wydra
Charlyne Yi
Nae Yuuki
Grace Zabriskie*
Christophe Zajac-Denek
Madeline Zima
Blake Zingale

You’ll notice many returning cast members (as indicated by an asterisk*), which means we can (most likely) expect these characters in Season 3: Shelly Briggs (formerly Johnson), Bobby Briggs, Ronette Pulaski, a cop played by Matt Battaglia, Benjamin Horne, Margaret Lanterman a.k.a. the Log Lady, Sylvia Horne, Julee Cruise, Dennis/Denise Bryson, Albert Rosenfield, Doc Hayward, Audrey Horne, a trucker played by Brian T. Finney, Andy Brennan, Heidi the German Waitress, Mike Nelson, Jerry Horne, Laura Palmer/Maddy Ferguson, Norma Jennings, the Great Northern Desk Clerk (played by Bellina Martin Logan), Gordon Cole, Dale Cooper, James Hurley, “Big” Ed Hurley, Jacques Renault, Lucy Moran, Nadine Hurley, Cook (at the Double R Diner), the Jumping Man, Carl Rodd, Betty Briggs, Philip Gerard/MIKE, the Giant, Dr Jacoby, Leland Palmer, Gersten Hayward, and Sarah Palmer.

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Notably absent are either Lara Flynn Boyle are Moira Kelly, which would imply that Donna is not going to appear in the season, unless, as speculated by some fans, the character is recast once again. Her sister, the pianist Gersten, is going to be present. This should be quite a treat, as actress Alicia Witt has been honing her acting skills, giving amazing performances on television series, most recently as a guest star on The Walking Dead.

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Heather Graham, who played Annie, is also absent, leaving questions as to how Lynch and Frost plan on wrapping up her story. Last we saw Annie, she was comatose in a hospital, wearing the Owl Ring (until it was taken by the nurse). Her fate is one of many that has been left up in the air for the last 26 years, along with Leo Johnson, and, with Eric Da Re’s name missing from the list, it looks like we’re not going to get to see what happened with him either. It also looks as though Billy Zane’s character, Jack, isn’t coming back from South America.

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Despite the grim prospects of his character’s survival in the final episode of season 2, many fans hoped to see Kenneth Walsh reprise his role as Windom Earle, and find out what happened after BOB stole his soul.

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One of my personal disappointments was the lack of Joan Chen, who portrayed Josie Packard, and recently has done amazing work on the series Marco Polo as Chabi. Her rival Catherine Martell doesn’t look to be around either, with actress Piper Laurie sadly missing from the list. Neither Chris Isaak or Kiefer Sutherland are set to reprise their roles as the ill-fated detectives from Fire Walk with Me, leaving their fates in question. It also seems that Norma finally settled her issues with Hank, as actor Chris Mulkey is not included on the list.

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Perhaps the most disappointing of all, however, is the apparent confirmation that Michael Ontkean, who played Sheriff Harry S. Truman, will not be reprising his role, which is rumored to have been recast with Robert Forster. This has gained mixed reactions from fans, but overall, his presence in Twin Peaks and unique back-and-forth with Kyle MacLachlan will be sorely missed.

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Another blow for fans is the lack of an appearance by Michael Anderson, who played the Man from Another Place; easily one of the most iconic characters from the original series. It is possible that his role will be replaced by the Jumping Man, who appeared in Fire Walk With Me, wearing an identical red suit, and proving to be just as mysterious.

There are quite a few newcomers of note, as well, many of whom have collaborated with David Lynch in the past:

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Laura Dern is set to appear, generating much speculation by fans as to who she will be playing, the most popular theory being that she will play the infamous Diane. Dern began her career with Lynch at age 19, playing Sandy Williams alongside Kyle MacLachlan in Blue Velvet. She then reappeared in Lynch’s works Industrial Symphony, Wild At Heart, and Inland Empire, for which Lynch campaigned to win her an Oscar.

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Naomi Watts is another exciting addition to the cast. She, of course, starred in Mulholland Drive, playing the dual roles of Betty Elms and Diane Selwyn. Her amazing performance catapulted her career, earning her roles in well-known films such as King Kong (2005) and the Ring. Her most recent work with David Lynch was providing the voice of Suzie Rabbit for the Rabbits series and Inland Empire.

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Balthazar Getty is another previous Lynch collaborator to appear on the list. He played Pete Dayton in Lost Highway, which makes his inclusion all the more intriguing, as Lynch has said that the film takes place in the same universe as Twin Peaks. Is it possible that Getty will be reprising his role?

Other Mulholland Drive cast members are set to appear. Brent Briscoe, who played on of the detectives seen at the beginning of the film, Scott Coffey, who played Wilkins, a character whose role was greatly cut back when Mulholland Drive became a film, Vincent Castellanos, whose character Ed stole the notorious “Black Book” before being taken out by a hit man, and Patrick Fischler, who played the dreamer Dan from the infamous diner scene, are all confirmed as cast members in Twin Peaks Season 3. Frank Collison (Wild At Heart), Neil Dickson, Emily Stofle and Nae Yuuki (Inland Empire) are other previous Lynch collaborators to appear this season.

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Several musicians are slated to appear, some of whom have worked with Lynch previously: Chrysta Bell sang on the Inland Empire soundtrack, and collaborated with Lynch on her album This Train. Rebekah Del Rio made an infamous appearance singing “Llorando,” a Spanish version of Roy Orbison’s song “Crying,” in Club Silencio for Mulholland Drive. Trent Reznor, who collaborated with Lynch on the Lost Highway soundtrack, and a video for his song “Came Back Haunted,” will be lending his talents in some way, along with his wife, singer Mariqueen. Robin Finck, a guitarist who has worked with Reznor’s band Nine Inch Nails since the early 1990s, is also on the list, as is Pearl Jam frontman Eddie Vedder. Page Burkum, Finn Andrews, Heather D’Angelo, Sky Ferreira, Erika Forster, Shane Lynch (no relation to David), Elisabeth Maurus, Ruth Radelet, Jack Torrey, and Sharon Van Etten are other musicians attached to the project.

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However, not all of the actors listed are Twin Peaks vets, and actually several are pretty big name actors. Some of the more famous names included on the list:

  • Monica Bellucci, the famous Italian actress and model.
  • Comedic actor Jim Belushi, brother of infamous Saturday Night Live star John Belushi.
  • John Billingsley, best known perhaps for his roles in sci-fi such as Star Trek: Enterprise and The Man From Earth.
  • Michael Cera is an interesting inclusion on the list. He is mostly known for him comedic roles in television and film such as Arrested Development, Scott Pilgrim vs. the World and Superbad.
  • Ernie Hudson, who played Winston Zeddemore in Ghostbusters, is also slated to appear. Perhaps he can use his Proton Pack to get BOB out of Agent Cooper?
  • Actress and activist Ashley Judd.
  • Jennifer Jason Lee, who recently garnered mass critical acclaim with her performance in Quentin Tarantino’s The Hateful Eight, is rumored to be playing an FBI Agent, and was reported by Kyle MacLachlan to be filming scenes with him in Death Valley.
  • Josh McDermitt, who played Eugene in 37 episodes of The Walking Dead, is a fitting choice, considering his previous experience with the horror/drama television genre, and worked with Jennifer Chambers Lynch on the show.
  • Tim Roth, who has appeared in multiple works by Quentin Tarantino.
  • Award winning-actress Amanda Seyfried is rumored to be playing the daughter of Shelly and Bobby Briggs, and reportedly filmed scenes with Madchen Amick and Harry Dean Stanton at the Fat Trout Trailer Park.

MMA fighter Michael Bisping, stuntmen Richard Bucher and Tad Griffith, Abraham Lincoln impersonator Robert Broski, visual artist James Croak, voice actor Oawin Rhys Davies, Francesca Eastwood (daughter of Clint), child actors Pierce Gagnon and Ivy George, voice actor Stephen Kearin, David Lynch’s son Riley Lynch, Christopher Murray (son of Peyton Place and Blue Velvet actress Hope Lange) and his dad Don Murray, and prolific television character actress Linda Porter, are all interesting additions to the cast, whose roles we can thus far only guess at.

This list would also seem to include crew members behind the camera (Jay Aaseng, Joe Auger, and Sabrina S. Sutherland). The rest of the cast is made up of a great variety of talent. Some are veterans like Meg Foster and Grant Goodeve, some are new to acting, like James David Grixoni and Travis Hammer. There are several comedic actors (Heath Hensley, David Koechner, lending their talents as well, presumably helping to lift the heavy mood. Quite a few stuntmen have been cast for the new season. What kind of wild action could we be in store for? Another interesting thing to note is a proliferation of child actors. Is it possible we will be seeing some flashbacks? Cooper as a child? When Leland met BOB at the Summer house on Pearl Lakes? Maybe some scenes from Laura’s Secret Diary?

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Many fans wonder if Sheryl Lee will be playing neither Laura nor Maddy, but a third character, a redhead, as was allegedly planned for the potential season 3 back in 1991. It’s also up in the air as to how returning cast members with deceased characters such as Ray Wise (Leland Palmer) and Walter Olkewicz (Jacques Renault) will be written in. Will they be playing inexplicably aged ghosts? Doppelgangers? Lookalikes?

While on the subjects of deaths, there are several characters whose actors have died, forcing their exclusion in the new season, despite the importance of their characters. The Log Lady’s actress, Catherine Coulson, is known to have shot some footage before passing away in 2015, but it is unknown how much footage she was able to film, and if she was able to complete the role written for her. Jack Nance, who played Pete Martell and was a long-time collaborator with David Lynch, died in 1996 after filming Lost Highway. While Pete most likely would have been slated to survive the fateful bank explosion had the series continued in 1992, his character will most likely be written off as having died as a result of the blast. Don Davis’s character Major Garland Briggs was originally planned to play a large role in season 3, going with Sheriff Truman and the One-Armed Man to rescue Cooper from the Black Lodge. However, Davis sadly passed away in 2008 of a heart-attack. His character’s role will most likely be re-written for Bobby Briggs, who is rumored to be part of the Twin Peaks law enforcement.

One of the most hotly debated points is who will play BOB, after the death of actor Frank Silva in 1995. Some fans have speculated that BOB could be recreated using CGI, or simply recast (musician Andrew WK kindly volunteered for the role). My personal opinion has always been that BOB will be portrayed by Kyle MacLachlan, playing a fusion of Evil Dale/Killer BOB.

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The new lineup contains an array of talent, and many possibilities we can only speculate upon. One point that particularly fascinates me is the fact that the new season contains at least one actor from every David Lynch movie to date, opening the possibility of some kind of Lynchverse crossover. I have long suspected that all of Lynch’s movies are linked through the Black Lodge, and now may be the perfect time for that to come to light.

What do you think? Are you happy with the lineup? Who do you think the newcomers will play? Do you have any other speculations about the new season? Let me know in the comments below!

The Owls Are Not What They Seem

Written by Eden H. Roquelaire for Twin Peaks Freaks.

THE GIANT: I will tell you three things. If I tell them to you and they come true, then will you believe me?

COOPER: Who’s that?

THE GIANT: Think of me as a friend.

COOPER: Where do you come from?

THE GIANT: The question is, where have you gone? The first thing I will tell you is: There’s a man in a smiling bag.

COOPER: A man in a smiling bag…

THE GIANT: The second thing is: The owls are not what they seem. The third thing is: Without chemicals, he points.

COOPER: What do these things mean?

THE GIANT: This is all I am permitted to say.

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The phrase, “The owls are not what they seem,” is one of the most notorious and highly debated taglines of the Twin Peaks series. While most theorists are able to come to some general consensus about the meaning behind it, not everyone is able to agree on a deeper meaning. So, the owls are not what they seem… but what exactly are they? Dugpas? Demons? Angels? Aliens? Spies? Or something else? In this article, I will delve into the various theories and examine the evidence for each one.

After the Giant relays the ominous message to Cooper, it turns up again when Major Briggs arrives at Coop’s hotel room, bearing a piece of paper containing code. The code was read by “deep space monitors,” which we later learn are actually pointed at the woods in Twin Peaks. Most of the code is “radio waves and gibberish,” except for the phrase, “The owls are not what they seem,” and Cooper’s name repeated. This message was received at roughly the same time Cooper was shot, perhaps right as he was being visited by the Giant, who also relays the message. At first, we are sort of tricked into thinking this message came from aliens in outer space. We only later on learn that these monitors were actually pointed towards Ghostwood, which some branch of the government has apparently been researching as part of Project Blue Book. This last bit of information, of course, is revealed to us during the most hectic days for the Twin Peaks writing staff, about midway through season 2, when both David Lynch and Mark Frost were interested in other projects and the remaining writers were left to patch together the rest of the path based on rough drafts, guesswork, and their own ideas. This has caused certain fans to write it off, though it remains, in fact, canonical.

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Owl-like aliens seen on the cover of Whitley Strieber’s Communion

One popular theory, and the one that fits the best with the Project Blue Book storyline, is that the owls are aliens, as is written by Whitley Strieber in his novel Communion. In this novel, the author says he struggled with suppressed memories of alien abduction, and that, before he unlocked these memories clearly, all he could remember was the image of owls staring at him through his window. He later finds that the owls are a disguise used by the aliens, ergo, they are not what they seem.

If the owls are aliens (of some sort), then the involvement of Major Briggs and Project Blue Book amidst Native American mythology and Tibetan Buddhist spirituality seems a little less inexplicable.

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Another theory is that the owls are possessed by BOB and/or other Dugpas. This theory fits the infamous image of BOB, crouched behind Laura’s bed, with an overlay of an owl face. It also nicely explains how BOB is able to learn some secrets of the townsfolk, as he would be able to spy on them in disguise. Some further supporting points can be discovered by delving into mythology and folklore, which may have been drawn upon by Mark Frost, who would commonly weave such symbols into the mythos of Twin Peaks.

At one point, MIKE refers to BOB as his “familiar.” In black magic lore, a familiar is a demon that takes the form of an animal. In this case, the demon is BOB, and the animal is an owl. Owls have commonly been associated with witches and demons, especially through the entity Lilith, who is a patroness of witches and often said to take the form of an owl, or as being a woman with legs and wings of and owl. This would make the animal a natural choice for a familiar. They seem to be BOB’s personal favorite animal to take the form of, or perhaps the only animal he can take the form of, since owls, and no other animal, are repeatedly warned against by multiple knowing sources.

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Wood cut by Hans Wechtlin

Almost every ancient culture has seen the owl as heralding misfortune and even death. They are associated with witches, graveyards and demons that lurk in the night. In Chinese folklore, owls are seen as an omen of death (as their “hoo” call sounds like the Chinese word “hu,” which means “dig,” i.e., “dig a grave”), and associated with ghosts. The Chinese also linked owls with thunder and lightning. This is significant to Twin Peaks‘s owls, due to the symbolism of electricity, heyoka, and thunderbirds of Native American folklore.

This supports the idea that the owls of Twin Peaks are spirits that spy on the townsfolk, either inhabited by BOB, other Dugpas, or being separate entities of their own. Evidence indicates that BOB utilizes the owls, or is taking the form of the owls, which also ties into the idea of him being MIKE’s familiar. One area of confusion for this theory, however, is when the Log Lady brings Cooper to the Roadhouse, telling him “we [my Log and I] don’t know what will happen or when, but there are owls in the Roadhouse.” However, BOB is not present: He is at the Palmer residence, murdering Maddy Ferguson. It should be noted that the Elderly Bellhop (one and the same with the Giant) is present, which lends credence to the idea that the owls are commonly used vessels for all Lodge spirits; not just BOB.

 

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If the owls are aliens, or if the owls are spirits, or vessels for the Dugpas, it is necessary at some point to question the distinction between each of these. According to writer Bob Engels, there were some rough ideas for Season 3 that involved the Dugpas being from a planet of creamed corn, which would make them aliens, and reinforce the Project Blue Book storyline. However, this would seem like some odd back-tracking, after the revelation that the message received from the deep space monitors came not from space, but from the woods. If this storyline is to be taken into consideration, though, it blurs the distinction between spirit and alien.

There is yet another theory that the owls are agents separate from the beings that we know, perhaps spirits of nature simply observing these events that pass through their woods. I would argue that this does little if anything for the story, and is contradicted by evidence that BOB is connected to the owls. Besides, most signs support the notion that the Dugpas are nature spirits of a kind, even if it is a darker side of nature.

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It’s most likely that no definitive answer will ever be given on the nature of Twin Peaks‘s owls, as final answers are so rarely given in Lynch’s surrealist world. There are so many theories to consider, each with their own set of compelling evidence. Which do you find to be the most convincing theory? Or do you have your own interpretation? What other mysteries from Twin Peaks still have you stumped? Let me know in the comments section below!

Through the Darkness of Future’s Past: The Magician and the Devilish One

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Written for Twin Peaks Freaks by Eden H. Roquelaire.

Disclaimer: This article contains spoilers for Twin Peaks the series and Fire Walk With Me.

“Through the darkness of future’s past, the magician longs to see. One chants out between two worlds… Fire Walk With Me.”

Undoubtedly, one of the most fascinating arcs of Twin Peaks was the mystery of MIKE and the One-Armed Man, Philip Gerard. Unfortunately, Gerard disappears from the series after Season 2, episode 9 (“Arbitrary Law”), and his reappearance in the film Fire Walk with Me brings up more mysteries than answers.

After watching Fire Walk With Me, I think I was left with the most questions about MIKE and BOB. There were a lot of things bugging me. What were the origins of MIKE? Was he an ordinary man once, or a spirit like BOB? Was the Man from Another Place truly helping Cooper, if he was indeed the “evil” left arm? Why, indeed, was the Man From Another Place a representation of MIKE’s arm? Who is MIKE, anyway, and whose side is he on?

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Angels and Demons:

My first theory involving MIKE also involves the Angel seen at the end of Fire Walk With Me. It is an important point that angels seem to exist in the Twin Peaks universe, or else some being is using the image of an angel to appear to humans. The being that Laura sees is her angel, the one she was hoping for, and, in her perception, the angel came for her in the end. Most likely, this was an emissary from the White Lodge, taking the appearance of an angel in order to appear to Laura when it came to guide her to the next plain of existence.

So, if angels exist (to an extent) in the Twin Peaks universe, is it possible that they appear anywhere else in the series?

When I first saw Cooper’s dream sequence, where MIKE is introduced, my mind immediately drew an association between him and the Archangel Michael, based mostly just on their shared name, and their connections with Christianity. As I delved deeper, I found that this association actually makes even more sense than I initially thought, and helps to explain his relationship with BOB. Correlations can be found between MIKE and BOB, and the Archangel Michael and the Dragon of Revelations.

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MIKE is the Archangel Michael, adversary of the Devil/Dragon/Lucifer, who will strike him down during the Apocalypse. In Muslim lore, the Archangel Michael is believed to have wings the color of emerald, paralleling the stone in Owl Ring and the color of the infamous Formica table. Michael is also said to have been given dominion over the forces of nature, such as wind, snow, rain, and lightning — wind being a recurring element in David Lynch’s movies, and lightning tying in with the symbolism of the Dugpas. Michael is also an angel strongly associated with repentance, and MIKE is first presented to us as a repentant killer, desperate to atone for his crimes after seeing “the face of God.” Michael’s planetary affiliation is Mercury, the planet of alchemy and ritual magic. In Roman mythology, Mercury is the God of Magicians, which connects to the Magician who “longs to see.”

BOB is Lucifer/the Devil/the Dragon, who, with “the fury of his own momentum,” breaks away from the other Dugpas (similar to how Lucifer leaves Heaven, wanting to run his own Kingdom). Both are strongly associated with fire, death, and “the evil that men do.” When we first see BOB in Cooper’s dream, he is in the basement. This can have psychological connotations, such as representing evil’s residency in the depths of the subconscious, but it could also connect to the Devil’s place in subterranean Hell. In the battle that takes place in Revelations, Lucifer, in the form of a Dragon, battles the Archangel Michael, and is finally defeated. This conflict between the two mirrors MIKE’s need to defeat BOB.

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Another intriguing clue into the nature of this relationship is that MIKE refers to BOB as his “familiar.” This implies that, though he is “similar” to BOB, they are not equal, as BOB would seem to be his servant. A familiar, in Black Magic folklore, is a demon that takes animal form to serve a witch or warlock. This would imply that BOB was once servile to MIKE, and perhaps the other Lodge spirits, until he gained “the fury of his own momentum” and broke away.

Piecing these clues together begins to weave a convincing narrative: MIKE and BOB are spirits, possessing human forms, who work together, killing and sowing misery in order to collect garmonbozia for themselves and the other Lodge spirits. However, BOB becomes greedy, and breaks away from the rest of the spirits, stealing all the garmonbozia for himself. At some point, MIKE has a divine revelation, repents, and removes his own left arm, which severs his connection with BOB. (Perhaps this betrayal is what spurred BOB on to leave in the first place?) As part of his penance, MIKE attempts to hunt BOB down and stop him. However, here is where we reach one of many contradictions in MIKE’s character: If he is now seeking penance, and no longer wants to kill with BOB, why does he want his share of the garmonbozia, or pain and sorrow?

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It could be that, in spite of what he may wish to be, MIKE is still a Lodge spirit, and thus needs to consume garmonbozia in order to survive. Another theory is that he is still being manipulated by his evil left arm (the Man from Another Place), who is seeking his portion of pain and sorrow. The third, and, in my opinion, most depressing theory, is that MIKE is lying when he pretends to be an agent of good. He has not repented, he is still a creature of the Black Lodge in body, mind and spirit, still happy to subsist on the pain and sorrow of others. He only works with Cooper in order to find BOB faster, and claim his share.

The Magician Who Saw the Face of God:

Another point of interest: In the dream where Laura meets Cooper in the Black Lodge, she believes that he is MIKE, and, in an early draft of the script, Cooper reaffirms this, saying “Laura and I had the same dream, but in her dream, I was MIKE.” Considering the recurrence of chronological anomalies in Twin Peaks, could it be possible… that Cooper is MIKE?

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“Bob and I … when we were killing together … there
was a perfect relationship; appetite and satisfaction. A
golden circle.”

It has been noted by fans that we never see MIKE’s true face in the same way that we see BOB’s. Some have theorized that the true face of MIKE is the Man from Another Place, but I would argue that he is “the Arm,” as he says, and therefore can’t be the face as well. So… is it possible that Agent Cooper, in the future, becomes MIKE? In my article predicting the potential future of Cooper, I propose that he is destined to become a shaman, or magician, in order to defeat BOB. Following this logic, he could become the same magician from MIKE’s poem, the one who can look back “through the darkness of future’s past,” as he seems to do in Fire Walk with Me when he warns Laura not to take the ring. Cooper, like MIKE, most likely ends up killing together with BOB after his return from the Black Lodge, perhaps until he (or rather, the Good Dale) experiences the visitation from the Angel alongside Laura (this could represent “the face of God”). At this point, speculation becomes more tricky. Cooper taking off the left arm could mean a few different things, and perhaps isn’t meant to be taken literally. He may have a confrontation with the Man from Another Place (who states, “I am the arm”), which leads him to freeing himself of BOB’s influence. It may very well be that Cooper becomes trapped in a time loop, his evil Doppelganger freely killing with BOB, while the Good Dale, trapped in the Lodge, becomes a powerful magician, and uses his powers to communicate back through time to give himself vital clues about BOB’s identity, and try to save Laura Palmer.

However, this would mean that his goal is potentially impossible, as it would cause a paradox if he were to succeed in saving Laura. This could explain some of MIKE’s seemingly erratic behavior, as he is repeatedly going back to this point through time, and trying different methods, in desperation, to save Laura and help his past self stop BOB. Perhaps this is the reason for MIKE’s reference to his relationship with BOB being “a golden circle”: A direct reference to Cooper’s ring, which he gave the giant. Perhaps MIKE is telling him, “I know something about you that no one else would know.”

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“Who do you think that is there?”

It could be that, once Cooper ascends to being a shaman, he becomes an agent of the White Lodge, in other words, an angel. And an Archangel at that: He is to be their warrior, who will cast down the Devilish One. MIKE could be an honorific title bestowed upon him as an Archangel, or it could be a code name so that he can remain unrecognized by his younger self.

The Left-Hand Path:

On the general symbolism of hands and arms in the Twin Peaks mythos, there are many points to consider, some less obvious than others. There are numerous references to rings, which, of course, are worn on hands, but also have their own significance within the series. One ring, the “Owl Ring,” directly connects to the significance of arms. Before Teresa Banks died, her arm was said to have gone completely numb. It is implicated that there is a connection between this phenomena and the wearing of the Owl Ring, as Laura’s arm goes numb when she awakes with the Owl Ring in her hand. When the doorway to the Lodges are about to open, hands of the townsfolk are seen trembling violently, apparently in reaction to the celestial and/or interdimensional event. One of the earliest and most memorable references to arms is Laura’s statement, “Sometimes my arms bend back,” referring to the fact that her arms were bound behind her the night she was murdered. This has no tie-in with the mythos of Twin Peaks, but it serves as an essential clue in Cooper’s investigation, and reinforces the recurring motif of hands and arms. During the Lodge sequences, Laura is seen to make a few cryptic hand gestures. The so-called “Meanwhile” pose, which is theorized to be a version of a Tibetan Buddhist hand sign, meaning “Fear not,” and is a warning to Agent Cooper not to feel fear in the Lodge. What Laura could also be saying is that, in the meanwhile until she and Cooper meet again, he will be achieving this state of zen fearlessness. The nose tap, which probably refers either to Laura’s cocaine use, or the disclosure of a secret, or both. A nose tap often is used to indicate some kind of secret communication is taking place, and that is just what is happening when Laura makes the gesture to Cooper. Finally, there is the “snapping and pointing” gesture, which has not yet been given a satisfactory translation. It may be connected to a similar gesture Laura makes while having sex with a client in “the Pink Room,” and thus could have some sexual meaning.

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MIKE having removed his left arm is very telling, as following “the Left Hand Path” is a term for being a follower of the Devil. By cutting off his left arm, he is cutting off his connection to “the devilish one.” However, nearly all other symbolism involving hands involves the right hand. This could simply be because the majority of people, including the actors in these scenes, are right-handed, and tended naturally to use their right hand. However, I would imagine that if David Lynch wanted it to be the left hand, he would specify it, and it would have shown up as such. The use of the right hand rather than the left hand, if one wanted to ascribe meaning to it, could signify a person’s alignment to the steps of the Buddhist Noble Eightfold Path, which are Right Understanding, Right Thought, Right Speech, Right Action, Right Livelihood, Right Effort, Right Mindfulness and Right Concentration.

Hands are a significant symbol in Twin Peaks, because they represent a individual’s actions; i.e., the good or evil that one does, which is such an integral point in the narrative.

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It is my conclusion, based on this evidence, that there must be a final confrontation between MIKE and BOB, the Archangel and the Dragon. And there will be, however, not in the form that we might expect, especially with BOB’s actor, Frank Silva, having sadly passed away in 1995. How this resolution takes place is anyone’s guess, but it would be fitting if it took the form of Agent Cooper confronting his own inner Devil and casting it out. An important recurring symbol in the series is duality, and the need for balance. It is only fitting that the series should end with Agent Cooper restoring balance within his own soul, as well as the town of Twin Peaks.

“Even the ones who laugh are sometimes caught without an answer: these creatures who introduce themselves but we swear we have met them somewhere before. Yes, look in the mirror. What do you see? Is it a dream, or a nightmare? Are we being introduced against our will? Are they mirrors? I can see the smoke. I can smell the fire. The battle is drawing nigh.”

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