“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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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.

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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.

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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.

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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…

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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.

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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.

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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.

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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!

Trapped Between Two Worlds: The Mystery of Deer Meadow

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

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

One of the main complaints any die-hard Twin Peaks fan might have against Fire Walk With Me is that much of it does not take place in our beloved town. Instead, the entire Teresa Banks investigation occurs in a strange, hostile place called Deer Meadow. Despite the pleasant and peaceful image this name might conjure up, Deer Meadow is a rather ugly place, filled with unfriendly townspeople. One could say it is the evil Doppelganger of Twin Peaks itself.

But why is Deer Meadow the way it is? In this article, I will analyze the town, its residents, and the rich symbolism that litters it, hopefully shedding some light on what is going on there.

First, let’s take a look at the diner, Hap’s. There is so much symbolism here, it’s difficult to know where to begin. Hap’s, of course, serves as the Doppelganger of the Double R Diner, making (the late) Hap and Irene potential parallels to Hank and Norma, and Jack, the man Agents Desmond and Stanley talk to, could parallel Ed.

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First notice the neon sign outside of Hap’s: It’s a clown face, which ties into the clown (or Sacred Clown) symbolism of Twin Peaks, as well as the recurring motif of electricity. One side of the clown’s face is burnt out, suggesting dualism. It also looks like tears might be falling from the clown’s face. This image reminds me of Laura, trapped in what Lynch refers to as the “suffocating rubber clown suit,” living the party girl life, acting like she’s happy, while in reality, she is being split in two, and inside she is crying.

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When the agents enter the diner, they go to the back room, where there’s an electrician working on a lamp, which is sparking dangerously. In a version of the script, Stanley asks Desmond about why there was someone working on a lamp in Hap’s Diner, and Desmond replies that it is due to faulty wiring. Of course, electricity, in the film, is connected to the Dugpas and, therefore, the Black Lodge as well. Notice also the odd, door-like recess in the wall: This implies an opening to the Lodge is present, or perhaps used to be. Sitting in the “doorway” is a man, possibly a lumberjack. He looks remarkably similar to the Jurgen Prochnow lumberjack seen above the convenience store. If this was intentional, it would imply that there is some interference here from denizens of the Black Lodge.

The agents speak to Jack, presumably the manager of Hap’s Diner (since Hap is dead, good and dead). Jack’s name tag reads, “Say Hello Goodbye, My Name is Jack.” He doesn’t seem to know much of anything about Teresa, and instead directs them to ask Irene. He warns the agents: “Now, her name is Irene, and it is night. Don’t take it any farther than that. No good will come of it.” This is, of course, a reference to the folk song, “Goodnight, Irene.” This reference also comes up in Mulholland Drive, which infamously takes place inside a dream (this is reminiscent of Philip Jeffries’ declaration that “we live inside a dream”), and features an elderly woman named Irene.

In the background, we can see some interesting decor. One item of interest is a tree stump, with two chainsaws sticking out of it (one red, one yellow). Wood and lumberjacks are two recurring motifs in Twin Peaks, especially as we are shown that spirits can reside in wood. The chainsaws suggest the act of cutting. Perhaps this is a place where spirits can cut through, into another dimension? Also, notice the big fish mounted on the wall here. It looks to be a bass, but it could be meant as a reference to Fat Trout Trailer Park. It could also be connected to Lynch’s concept of “catching the big fish,” which means (roughly) searching for profound truths or ideas. In a sense, the agents are looking to catch the big fish by looking for the answer to this intricate mystery.

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Then there’s a highly disputed scene: A middle-aged man sitting in the diner gets the agents’ attention, asking, “Are you talking about that little girl that was murdered?” When prompted, the man doesn’t have any pertinent information to offer the agents. Sitting with him is a young woman, who says something to him in what seems to be French. It’s hotly debated among fans what she says, although the most common consensus is that she is saying, “Nighttime is the right time.” This could be a prompt to her companion, telling him to wait until night for something. Whatever she means, the significance of nighttime in Twin Peaks is well-known, as all of BOB’s killings take place during the night. This could be when the Dugpa always strike. After the agents speak again with Irene, the man repeats the line: “Are you talking about that little girl that was murdered?” This could have many interpretations:

One idea is that it has to do with the murder of a “little girl” happening twice: Laura and Teresa. It could also have to do with the distortion of time associated with the Black Lodge. If there is a portal to the Black Lodge nearby, perhaps even within the diner itself, this pair could actually be Dugpas. For whatever reason, Desmond doesn’t want to interview either of them, and no one really acknowledges the French woman.

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From Hap’s Diner, let’s visit the Sheriff’s station briefly. Here we see more parallels: Deputy Cliff is a reflection of Deputy Andy, the giggling secretary is Lucy, and Sheriff Cable is Sheriff Truman. The name “Cable” could be interpreted literally as referring to an electric cable, making it another symbol of electricity. On the wall of the Sheriff’s office is a large saw: Another symbol of cutting, as in, “cutting through.”

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Next, let’s take a trip to Fat Trout Trailer Park. This is another interesting and very important place. The people here seem harassed, afraid, and disoriented, almost as if they have just woken from a long and terrible nightmare. The superintendent, Carl Rodd (Harry Dean Stanton), has most likely had his run-ins with the Black Lodge.

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Mr. Rodd is a fascinating fellow. He seems to be having strange nightmares, which might be robbing him of good sleep (needing to sleep in might be a reason he doesn’t wish to be disturbed before 9am). He appears reluctant to leave his trailer or interact with the tenants. They have left many notes on his door, but he never seems to bother reading them. He is haggard, and there is a band-aid covering some unidentified injury on his forehead. As we’ll discuss momentarily, he might know a little more than he lets on.

Then there is the woman with the ice pack, who wanders into Teresa’s trailer while the agents are investigating it. I would like to note here that in an early draft of the script, this woman was leading Deputy Cliff to where the agents were. It could be that, originally, she had the ice pack because Deputy Cliff assaulted her to get information on the agents (it’s already established that the law enforcement in Deer Meadow is not well-liked by the townsfolk; this could be why). However, it is curious that, once the scene with Deputy Cliff was removed, Lynch and Frost would choose to leave in the scene of the woman with the ice pack, with seemingly no explanation. I believe that, in this new version, it is meant to be inferred that the woman has also been having experiences with the Black Lodge, possibly even BOB himself, and this is the cause of her injuries.

After seeing her, Mr. Rodd is noticeably disturbed. His eyes tear up, and he takes a nervous drag on his cigarette. He seems to think about the electrical pole, the one with the number “6” on it, just outside the trailer. He looks at Agent Desmond, and after much fruitless stuttering, he says,

“See, I’ve already gone places. I just want to stay where I am.”

He looks to Agent Desmond as if hoping he understands his meaning. He doesn’t want to explicitly state what he means, perhaps for fear of being thought of as crazy. Some people believe he means that he has spent time in jail or prison, and doesn’t want to go back. Perhaps he fears being accused of Teresa’s murder. However, this doesn’t completely fit. Why would the woman with the ice pack generate a fear of prison in Mr. Rodd? Why the shot of the pole, traveling up towards the electrical wiring? It would make more sense if Mr. Rodd is referring to having visited the Black Lodge.

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Mr. Rodd knows that strange things are happening in the trailer park. Strange beings appearing out of nowhere and attacking residents, electrical disturbances, voices heard out of thin air, bizarre dreams haunting the people in the trailer park, normal people suddenly acting strangely, perhaps other tenants that have disappeared. However, being a very simple man, he doesn’t understand any of this. He only knows what he’s seen, but fears that he is going crazy. He doesn’t want to tell anyone, because a) they might think he’s crazy, or b) it would mean having to acknowledge what is happening, which might mean confronting it, which would cause more trouble for him. Instead, he hides in his trailer and tries to ignore the bizarre nightmares and upset tenants. He has probably accidentally stumbled into the Black Lodge at some point, either in a dream or through a portal in waking life. The experience terrified him. He’s afraid of getting trapped there; he just wants to stay where he is.

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Also in an early draft of the script, Mr. Rodd says that he was having a dream of “a joke with no punchline.” Almost immediately afterwards, Desmond and Stanley discuss Deputy Cliff and refer to him as “a clown.” This ties in with the Sacred Clown symbolism that proliferates the movie. Essentially, the symbolism says that the Dugpas are (or are related to) Native American trickster spirits which sometimes use clowning to impart important knowledge to humans, but sometimes also just cause chaos for fun. This is yet another tie between the trailer park and the Dugpas. I would also like to make a brief observation in regards to Mr. Rodd’s name, which always made me think of a conducting rod. Could be another connection to electricity in the film.

And then, of course, there are the Chalfonts. Now, the Chalfonts are, presumably, the Tremonds. They are described as being a woman and her grandson, and they once again have a French surname. As we know from Twin Peaks the series, they are not humans. They seem to be spirits from one of the Lodges, acting in a manner similar to the Man From Another Place and the Giant: Appearing to humans and giving them clues to “help” them catch BOB. (Whether or not they are truly “helping” is a tricky question we will have to save for another article.) We also see a pattern in their behavior: They occupy a space, and take the last name of the people who live there, or used to live there, causing some confusion. Before, they seemed to change reality itself, altering the interior of the home of the real Mrs. Tremond and placing a fake order to Meals on Wheels the lure Donna there. This time, they seem to have waited for the real Chalfonts to vacate their space at the trailer park, then taken their own trailer to occupy that space. These spirits seem to only appear when someone is about to die. They appear to Laura in a dream shortly before her death, then they appear to Donna before Harold Smith commits suicide, and finally they turn up in Teresa Banks’s trailer park before her death. They may simply be appearing to predict a death, as with Harold’s, or they may actually aid in facilitating it, as they seem to have a suspicious level of involvement with both Laura and Teresa around the times of their murders. Or, perhaps they are chasing BOB?

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Later, Agent Desmond returns to the trailer park to see Deputy Cliff’s trailer, suspecting the corrupt deputy of having Teresa’s ring, but instead diverts his path. While looking at the electrical pole with the number “6” on it, he hears the Indian whooping call on the wind. He turns around and sees a trailer with its lights on, and heads over. He knocks on its door, but no one answers. Underneath the trailer is a pile of dirt and Teresa Banks’s ring: The one with the green stone and the Owl Cave symbol on it. Desmond reaches for the ring, and disappears.

When Cooper visits the trailer park later, he feels compelled to walk over to an empty space. This is where Desmond disappeared; now, the trailer is gone. We learn that this space was owned by the Chalfonts, which further links the trailer park with the Black Lodge. The space left by the vacant trailer seems to be soaked with engine oil: similar to the entrance to the Black Lodge found in Glastonberry Grove. A glance at Agent Desmond’s car reveals the words “Let’s Rock” have been written in red across the windshield. Of course, these are the first words spoken to Agent Cooper by the Man From Another Place. This would seem to confirm that Desmond has disappeared into the Black Lodge.

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But why is all this happening here?

Deer Meadow is riddled with portals to the Black Lodge. There are Dugpas all over the town, mostly unnoticed by residents. However, the trailer park seems to be a hotspot for attacks, particularly near the telephone pole bearing the number “6.” It would make sense that BOB, having had a fixation on Teresa, frequented this area, probably harassing her neighbors at the trailer park.

We’ve seen how much of Deer Meadow is a parallel of the more familiar town of Twin Peaks, and there may be a deeper reason for this than we at first suspect. Deer Meadow represents the dismal bitterness and distrustful nature that Twin Peaks itself might descend into as a result of its victimization by the denizens of the Black Lodge. After many years of torment, nightmares, and living in fear, one could imagine that even a town as idyllic as Twin Peaks could become a grim place, broken by crippling fear, and sacrificing its innocence to suspicion, cruelty and criminal behavior.

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Throughout the TV series, we fear our beloved town will fall prey to its dark side: Corrupt business men, drug dealers and pimps all populate the shadows of Twin Peaks. There is a battle, both literally and figuratively, between the light and the dark. Deer Meadow is a town that has been overcome by the darkness.

“With This Ring, I Thee Wed”

Written by Eden H. Roquelaire for Twin Peaks Freaks

The circle of Sycamore Trees at Glastonbury Grove, where the entrance to the Lodges is located.

The circle of Sycamore Trees at Glastonbury Grove, where the entrance to the Lodges is located.

“BOB and I, when we were killing together, it was this, this perfect relationship. Appetite, satisfaction; a golden circle.” -The One-Armed Man

A circle of trees… A golden ring… A spinning ceiling fan… A gem with a mysterious insignia… A phone with a little ring… A circle of burning candles… A beautiful girl’s ring… A cycle of appetite and satisfaction.

There are many rings, and references to rings, in Twin Peaks; The ring with the Owl Cave insignia on it (which for the sake of brevity we will call the “Owl Ring”); Cooper’s ring, which the Giant takes and returns to him once the killer’s identity is revealed; Audrey’s query to Cooper, “Do you like my ring?” But what does all that mean? Some of them are arguably less significant than others, but, according to my theory, any small reference to “rings” or “circles” is there to reinforce the importance of the more overt ring symbols. In this article, we will focus on the meaning behind these symbols, and what is perhaps the true meaning of the Owl Ring.

The Little Man From Another Place holding the Owl Ring.

The Little Man From Another Place holding the Owl Ring.

We already know that the Owl Ring is associated with BOB, MIKE and their victims: Both Teresa Banks and Laura Palmer were wearing it before they died, and Annie Blackburn returned from the Black Lodge with it on her finger. Agent Chester Desmond, in his investigation into Teresa’s murder, discovers the Owl Ring, and afterwards, disappears. In Agent Philip Jeffries’ flashback, we see the Little Man from Another Place put the Owl Ring on the green Formica table and say: “With this ring, I thee wed,” after which Mrs. Tremond’s Grandson/the Chalfont boy points at BOB and says “Fell a victim,” which may be an order, or a statement. I believe it was an order.

The Chalfont boy telling BOB to "fell a victim."

The Chalfont boy telling BOB to “fell a victim.”

Mrs. Tremond expresses her dislike of creamed corn to Donna.

Mrs. Tremond expresses her dislike of creamed corn to Donna.

It is my theory that the Chalfonts are the Black Lodge Dopplegangers of the Tremonds: The Chalfonts are working only to aid in the collection of more Garmonbozia, manipulating Laura and making it easier for her to slip into BOB’s clutches (I believe the painting they gave her is designed as a kind of trap), while the Tremonds give Donna clues about the identity of Laura’s killer. In Jeffries’ vision, we are seeing the Chalfont boy participating in the Black Lodge ritual and commanding BOB to go fetch them more Garmonbozia. We know that circles are often used in real-life rituals, and we even see MIKE ritualistically chanting “Fire Walk With Me” as he lights a circle of twelve candle, mimicking the circle of twelve sycamore trees surrounding the entrance to the Lodge in Glastonbury Grove; an entrance which can only be opened by a ritualistic act of either Love or Fear. It seems to me that the multiple mentions of “rings” and “circles” implies a cyclical nature to these ritualistic killings: In these almost ritualistic murders, there is always a Killer (BOB inside of a Vessel) and a Victim, to whom he is wedded. As long as Laura did not put on the ring, she would not be the Victim: She would be the Vessel for the Killer. However, once she put the Owl Ring on, she was ritualistically wed to Killer BOB, and thus had to be murdered, in order to faithfully complete the ritual. It appears that there is some law that the denizens of the Black Lodge must follow, binding them to the rules of this feeding ritual. Once the Owl Ring has been placed upon the chosen Victim’s finger, the Killer must execute them. Agent Chet Desmond finds the Owl Ring in a mound of dirt underneath the Chalfont’s trailer, so presumably another ritual was taking place, had taken place, or was about to take place there. This may have been where Teresa’s sacrifice was made, as she was killed very nearby in her trailer, or it may have been set in order to sacrifice Desmond himself. But if Desmond was not sacrificed, then what happened to him? Why did he disappear after finding the Owl Ring? Judging by what we already know about the Black Lodge, he most likely slipped into that world, and became trapped there, as Agent Cooper eventually would. This is, perhaps, also part of the ritual cycle: A detective investigates the murder of a woman, and the detective goes missing. Theoretical examples of this would be Teresa Banks/Chet Desmond and Sam Stanley, Laura Palmer/Dale Cooper, and Judy(?)/Philip Jeffries.

MIKE performs the Fire Walk With Me Ritual.

MIKE performs the Fire Walk With Me Ritual.

Taking this theory further, it is a possibility that Audrey’s reference to her ring may have been an early foreshadow to the purpose of the Owl Ring: To indicate who BOB’s next victim would be. This was meant, according to my theory, to reference early on the fact that Audrey would eventually be BOB’s intended victim, after he had possessed Evil Cooper (This is before the character of Annie was made up to take Audrey’s place).

The question is where MIKE fits into this ritual. He refers to BOB as his partner, and says that they killed together, which implies that they both played the role of Killer. Another possibility is that BOB was more of a servant to MIKE; he executed the Victim on behalf of MIKE, and delivered the Garmonbozia to him. In Cooper’s dream-vision, MIKE portrays himself almost as having been enslaved to the killing impulse until he cut his left arm off. The left arm may be a significant choice here, as it references not only the “Left-Hand” or “Sinister” Path, but also the ring finger, which in American tradition is on the left hand. In the final episode, as the path to the Black Lodge is opening up, Cooper, Pete, and a woman at the Double R experience tremors in their hands as a sort of presentiment. Major Briggs also, arguably, experiences this hand tremor when he is picked up after having been injected with truth serum: Both hands (and indeed his whole body) are shaking, but, when he is in the sheriff’s department, he is holding up his left hand, with his wedding ring on it, against his face, which may be reinforcing the significance of the ring finger in Twin Peaks’ symbolism. (Interesting note: Cooper, Pete and the woman at the diner all experience tremors in their right hands.) We have seen that MIKE wore Owl Ring on his right pinky finger while showing it to Laura: Is it possible that, before he cut off his left arm, he wore the evil ring on his own left hand during these times? And is it possible that wearing the Owl Ring is what allowed MIKE to possess Philip Gerard in the first place? We can only speculate.

MIKE wearing the Owl Ring.

MIKE wearing the Owl Ring

Two more important elements to note are the cycle of the planets and time loops. The cycle of the planets is of great significance to the Lodges and its residence, as it is by watching for certain alignments that one may know when the portal to the Lodges will open. We may also speculate that it was important to them because certain rituals could or should only be performed during certain alignments (think of the Pagan Sabbats, for example, which are celebrations taking place during certain planetary alignments). Time loops are also a noticeable aspect not only of Twin Peaks, but in many of David Lynch’s films. Fire Walk With Me is notoriously both a prequel and a sequel to the series, as events that occur both before and after the events of the series take place in a very disorienting manner. How is Annie Blackburn seen in Laura’s bed, speaking words she says after the events of the series finale? How is Dale Cooper already in the Lodge, speaking to Laura in her dream? How is Cooper an old man in the Lodge, while Laura is still a young woman? The answer is: Because time is not linear in the Lodges, as it is in our world. When it comes to the Black Lodge, time twists and turns, and when it interacts with this world, it may be that time loops and warps are a symptom of its interferences. This may be how Cooper and Annie are able to speak to Laura across time, and Cooper is seen as old, while Laura appears to still be young (although there may be other explanations for these instances). Hence the “ring” symbolism could also refer to the all-important cycle of the planets, as well as the bizarre time loops cause by the Black Lodge.

The full Owl Cave symbol.

The full Owl Cave symbol.

A final question: What is the significance of the symbol emblazoned on the ring, and why is it the same as the petroglyphs in Owl Cave? Well, it seems that the Black Lodge’s occupants have been crossing into this world for some time: They seem to have had encounters with the Native Americans, working their way into their folklore, which Hawk recounts to Agent Cooper. In the early days of their journeys into this world, the Dugpas may have had encounters with early humans, who then drew what they had seen onto the walls of what would become Owl Cave. Another possibility is that an early incarnation of the Bookhouse Boys is responsible for the drawings and strange mechanisms in Owl Cave. It is implied that the Bookhouse Boys have known about something deep in the woods for some time now, though they may never have been entirely sure what it was. They may have learned about the Black Lodge and its occupants, and hidden the information in Owl Cave, so that future initiates could find it if need be, and so the information could not be misused by those with an evil heart, such as Windom Earle. Whatever the reason was, it is most probable that the symbol has been used by the Dugpas for ritualistic purposes for centuries. It looks like a stylized owl, and though that interpretation is accurate, we all know that the owls are not what they seem, and therefore, neither is the symbol. I believe that the symbol can also be interpreted thusly: The “wings” are the Twin Peaks which give the town its name, and the diamond shape between them is the portal to the Lodges.

Another important thing of note: Tibetan Buddhism uses the idea of karma, which, among other things, plays a large role in the death experience, and controls what happens to a person when they die. If you are a good person, who chose wisely, acted kindly, and chose the path of love and light, then you would ascend to a higher level when you died. If, however, you lived as a cruel, ignorant or violent person, you could get caught in a karmic circle of pain and suffering, and be forced to reincarnate over and over again, until you evolve spiritually and become a better person. By choosing not to face his shadow self, and instead running from him in fear, Cooper was choosing the lower path; the path of fear and ignorance. Thus, instead of finding his way safely through the Black Lodge, he was trapped in a loop, unable to escape.

In summary: The Black Lodge denizens participate in an ancient ritual; a cycle of blood sacrifices. As part of the ritual, they created a special ring (the Owl Ring) to mark their chosen sacrifices. These sacrifices result in the production of Garmonbozia (pain and suffering), which the Dugpas feed upon. The various ring and circle symbols scattered throughout Twin Peaks reinforce the significance of this object to the central storyline. By taking Cooper’s ring, the Giant was not only giving him a sign that he’d finally found the killer, but was also giving him a visually key with which he could decipher the rest of the mystery. Too bad he didn’t get the chance before the series was cancelled. But with Showtime’s revival of Twin Peaks in 2016, there is a chance the Giant’s clue may not go entirely unnoticed.