“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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Drink Full and Descend: The Secrets Revealed in Part 8 and What They Mean

Kyle MacLachlan in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return Parts 1 – 8.

Since the airing of Part 8, the episode has proved to be the most divisive one yet among fans, with some citing it as the most revolutionary thing to air on network television, with others dismissing it as arbitrary nonsense. For those looking to delve deeper into the mysteries and coded messages of this episode, you’ve come to the right place. Let’s take this journey together, and see if we can’t make some sense of things.

01

The episode begins where the last episode left off, with Doppelganger Cooper riding in the car with Ray Monroe driving. They dispose of a police tracking device, DoppelCoop lies and says that Darya is waiting for them, tells Ray they should go to a place called “The Farm,” and they drive off the highway to a secluded area. DoppelCoop gets out a pistol with the intention of killing Ray, but Warden Murphy, who had the pistol placed in the glove compartment as part of their deal, has double crossed him, removing the firing pin from DoppelCoop’s gun. Ray pulls out a gun of his own and shoots DoppelCoop, who falls to the ground, fatally wounded. A fog appears, and out of the darkness emerges the soot-covered woodmen we’ve seen in the South Dakota murder mystery. Some begin dancing in a manner reminiscent of the Jumping Man from Fire Walk With Me and some begin pawing at DoppelCoop, digging through his guts and smearing his face with blood. They eventually pull a tumor with BOB’s face on it out of DoppelCoop’s stomach. It’s pretty safe to say this represents BOB himself, the “inhabiting spirit,” living like a parasite within his host. I don’t think he’s a literal tumor inside his vessels, but this is how it manifests to the terrified Ray, who watches, paralyzed with fear. Eventually he summons the strength to run to his car and drive off. The fog disperses.

Ray leaves a voicemail for Philip Jeffries (or who he thinks is Philip Jeffries). His speech is slurred with fear, and I had a hard time understanding, so I took the trouble of transcribing it for anyone who might need help.

“Philip? It’s Ray. Uh… I think he’s dead. But, he’s found some kind of help, so, I’m not a hundred percent. And I, and I, uh… I saw something in Cooper. It may be the key to what this is all about. …Yeah, I told him where I’m going, so if he comes after me, I’ll get him there.”

02

We then cut to the Roadhouse, where an Emcee introduces “The” Nine Inch Nails (I’ve been a fan of them for over ten years and I’ve never heard them referred to as “THE” Nine Inch Nails, so I’m wondering if this was a mistake by the Emcee). The lyrics are from a song written back in 2016 for their album Not The Actual Events,  so it’s possible it was written for The Return, as Reznor’s involvement had been announced by then. I love his performance here, because it seems animalistic and reminds me of the Jumping Man a little bit.

As with all of the band performances so far in the show, the lyrics seem to relate to occurrences in the episode. Here they are, for reference:

You dig in places till your fingers bleed
Spread the infection, where you spill your seed
I can’t remember what she came here for
I can’t remember much of anything anymore
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
Away
Away
A little mouth opened up inside
Yeah, I was watching on the day she died
We keep licking while the skin turns black
Cut along the length, but you can’t get the feeling back
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
Away
Away
Away
Away
(Are you still here?)
-Nine Inch Nails, “She’s Gone Away”

I’ll get back to these lyrics as the episode unfolds, but we’ll say for now that this is a dead on description of the relationship between Laura and BOB. Returning to the episode, we see the supposedly dead DoppelCoop suddenly sit up and open his eyes. What could this mean? DoppelCoop and BOB are now separated. Presumably, the woodsmen took him back to the Black Lodge (We’ll see later that they seem to be handlers for BOB). A few episodes back, MIKE told Cooper, “You’ve been tricked. Now one of you must die.” Does this count as a death? Does this mean we’ll see the promised return of Agent Cooper next episode? Will he finally wake up from his Dougie-induced stupor? We can only guess for now. Unfortunately, the episode cuts before we can find out more. Fortunately, we get a lot of back story in what remains of the episode. It’s just a matter of deciphering it, using knowledge gained from The Secret History of Twin Peaks, and a bit of educated guesswork.

03

July 16th, 1945. White Sands, New Mexico. 5:29 AM (MWT).

The Atomic Bomb goes off during its first test. Destroying the environment and murdering countless human beings, the A-Bomb is one of the greatest evils that men do. We travel inside the blast, going down to the atomic level and witnessing the explosion of atoms and particles. Space itself it torn open, and we see…

…a convenience store.

Yes, ladies and gentlemen, this is the famous convenience store we’ve been hearing about. It was mentioned by MIKE in the original series, and then we saw the Dugpas meeting above it in Fire Walk With Me. Now we see the exterior of it, through the newly torn rift in the dimensions. It’s teeming with the woodsmen. This tells us two things: 1) They are probably the same as the three woodsmen from Fire Walk With Me, and 2) They are probably Dugpas. Time distorts and lights flash as they move in, out, and around the convenience store.

04

We then see the Experiment, the monster from inside the glass box, floating in empty space. She vomits out a strand of what looks like creamed corn, inside which are little eggs and the tumor with BOB’s face. This seems to lend credence to the theory that the monster is BABALON, the “Mother of Abominations” which Jack Parsons wrote about. In The Secret History of Twin Peaks, Jack Parsons speaks to Douglas Milford, and mentions White Sands, Nevada, and how the Atomic Bomb tests made the area perfect for a ritual he plans to do, in which, at the behest of the Goddess BABALON, an Elemental Spirit will be summoned. Parsons calls this Ritual “The Working,” and planned to open up a “second” gate out in the desert. Where the first gate is, we aren’t told, but this Elemental could very well be BOB.

The creamed corn travels through the atomic blast and the tumor becomes a gold sphere, like the kind that emerged from Dougie. This object is directly linked with the creation of beings by the Black and White Lodges. We then overlook the same purple ocean which Cooper saw in Part 3. In the middle of it is a tall rock, atop which is a palace. We close up on a narrow window and look through it, into the palace. Inside we see a scene reminiscent of a hotel from the 1930s, which may be the same room we see the Giant and Cooper talking in at the beginning of Part 1, as we see the same gramophone sitting next to the sofa. There’s also another strange bell device, like the kind Naido threw the switch on before throwing herself into space in Part 3. A glamorously dressed woman named Senorita Dido sits on a couch, swaying to some music.

05

Quick aside on the correlations with the mythical character Dido: After being robbed of her inheritance by her brother, Dido fled to the land of King Iarbas, and asked that he grant her land to live on. He agreed to give her the amount of land that she could encircle with a piece of oxhide. So Dido cut the oxhide into fine strips, and surrounded a nearby mountain with it. There, she founded what would become the prosperous city of Carthage. So, here we can see some minor similarities, in that they both live in palatial buildings atop mountains. It’s not much, but it’s there.

The bell-device starts buzzing, and the Giant emerges from behind it. He examines it, checking the gauges on the side, and then pressed a button on it, which causes it to stop buzzing. I think of this along the lines of a phone, and the Giant basically just said, “I’ll take it in the other room.” He leaves the sitting room, goes up some stairs, and enters a theater which looks to be the same as Club Silencio (it’s the same shooting location, I believe). If you’re a fan of the Lynchverse theory, this should send chills down your spine. There’s another bell device in here. On the screen, the Giant witnesses the atomic blast, the  convenience store, and the Experiment expelling BOB. In response, he levitates and expels some golden lights from his mouth as Senorita Dido enters the room and watches on awe. A gold orb containing the soul of Laura Palmer floats down to her, and she kisses it and sends it on its way to Earth. This is a pretty clear sign that Laura was created in some way by the White Lodge in order to oppose BOB. She may have been destined to die all along, in order to enter the White Lodge and help stop him. Now, I don’t think Laura was “manufactured” like Dougie, but, rather, seeded. Laura was a real person who was born and lived and died, whereas Dougie probably sprang forth fully-formed, and disintegrated rather than dying normally as a human.

Now, back to the New Mexico desert. It’s 11 years after the atomic blast. One of the eggs released by the Experiment is now hatching. From it emerges a strange creature that is a fusion of a locust and a frog. It begins to make its way through the desert. This bug is, most likely, an embryonic BOB, searching for his first host. One resourceful Redditor made the connection between the creature and this legend from Chinook mythology, which lines up with much of the Twin Peaks mythos.

Meanwhile, two teens are walking home from a date.

06

Now, I want to address this once and for all. Despite popular theories, this cannot be Sarah and Leland Palmer, nor Margaret Lanterman, as Leland and Margaret are said to have been born, raised, and died in Twin Peaks. Leland’s whole family is from Washington state. All I can find out about Sarah’s background is that she went to college in Washington state, where she met Leland. There’s no reason for any of them to be in New Mexico at this time, and it makes even less sense that BOB would be possessing either Sarah or Margaret. It is far more likely that these are the Robertsons, who, when Leland Palmer is a child, have a summer house at Pearl Lake, and transfer the inhabiting spirit to him.

Anyway…

The girl finds a penny on the ground and gets excited because she says it’s good luck. We’ve seen quite a few coins of significance this season, and I can only guess what it could mean, if anything. It’s possibly all a coincidence. It’s worth noting, however, that the girl rubs her thumb over the image of Lincoln, and the actor who plays the main Woodsman, Robert Broski, specializes in Abraham Lincoln impersonations.

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Robert Broski, a.k.a. the Woodsman, as Abraham Lincoln.

Elsewhere in the same area, the Woodsman from the South Dakota jail cell drifts down from pure air. More appear, and they stop two cars on the highway, the sound of crackling electricity following them. What happened to the people in the first car, we don’t see. They approach the second car, and the Woodsman, unlit cigarette hanging from his lips, asks the couple, “Got a light?” This is similar to the phrase “Fire, walk with me,” as both are requests for fire. He repeats this question a few times, and time seems to slow down for the people in the car as the woman screams. Her slowed-down shriek of horror is similar to Maddy’s screams as she is being attacked by BOB in Season 2, suggesting that time distortions follow the Dugpas.

The man in the car seems hypnotized by the Woodsman, unable to move or stop from staring at him, until he manages to break the spell, and, wisely, drives out of there before the woodsmen can surround the car. They seemingly escape unscathed, as the woodsmen continue into town to fulfill their purpose. They take over a radio station, killing the only two occupants. The way the Woodsman kills the pair is similar to the old style of electric execution chairs. He grabs the top of their skull and an electric charge goes into their brain, causing it to bleed. He finishes by crushing their skulls. The Woodsman takes over the radio booth, and recites a spell over their air waves.

“This is the water

And this is the well

Drink full and descend

The horse is the white of the eyes

And dark within.”

This repeats several times, and let me come back to it in a moment. As he repeats the words, people listening to the broadcast collapse. Whether they die or simply fall unconscious, I can’t say. The girl from the date earlier, who is now home sitting in bed, goes to turn off the radio, but, seemingly hypnotized, just goes to sleep, allowing the flying frog to come in through her window and crawl down her throat, presumably to grow into the BOB-tumor inside of her. This is the story of how BOB came to our plain of existence in this era. This was the purpose the woodsmen needed to fulfill. They came to the desert to make sure BOB found a host, and, now that he has, they depart, for the time being. These creatures seem to be BOB’s caretakers in some way, as they were there when he found his first host, and they appeared when his last host died (or… nearly died). Do they answer to a higher power? Are they looking out for BOB due to the orders of the mother monster? Perhaps…

07

Now, let’s analyze some lyrics, which, as a music geek, I love to do. We’ll start with the spell the Woodsman recites. “The water” may be the inhabiting spirit, and “the well” probably means the source of the spirit, the Experiment we saw expelling the eggs from her mouth. The Woodsman gives the command to the host to swallow the frog-bug whole, so that it can take her over, and she can descend into darkness. The horse reference is harder to connect, and some theorize it has to do with the drugging of Sarah Palmer, as she is the one who saw the white horse in the original series. I am more wont to connect it to the white horse being death. The horse is white, like the pale eyes of the Doppelgangers, and it is a representation of death, so it is dark like oblivion. This part of the spell could be causing the death/unconsciousness of the non-host listeners.

Now, to the NIN song. This part, I don’t think is necessary, but fun to analyze. The act of digging in places “’til your fingers bleed” sounds a lot like hardcore drug addict behavior, which may tie in to Laura’s drug problem. The infecting and seed spilling is all about Leland and BOB’s attempt to jump from his body to Laura’s. And, of course, Laura’s gone away… or maybe the host is the one he’s talking about disappearing as BOB takes over? The mouth opening part is a nice foreshadow of the girl swallowing the frog-bug. “[T]he skin turns black” is a fairly good description of the monochrome woodsmen. The question ate the end, “are you still here?” I think is actually DoppelCoop wondering if BOB is still with him. And that’s a question we’ll all have on our minds until July 9th.

08

Well, that about sums up my analysis. What an episode that was! If you have any questions about something I missed, please post in the comments below!

Two Birds With One Stone: What is the Importance of Richard and Linda? (UPDATED)

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return episodes 1 – 7.

In Twin Peaks: The Return – Part 5, we were introduced to a particularly despicable new character, who assaults and threatens a woman, is involved in shady dealings with a corrupt police officer, and, perhaps most devious of all, smokes in a non-smoking area. Many fans were shocked and dismayed to see this character credited as Richard Horne, the potential offspring of fan favorite Audrey. But is he really? What is the importance of Richard in the new series? Why does the Giant mention his name to Cooper?

The first question we have, of course, is, just how is Richard Horne related to the Hornes that we know? Let’s examine all the possibilities.

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If he’s not a cousin, related to some branch of the Horne family we’ve never seen before, then he must be the son of either Ben, Jerry, Johnny, or Audrey. Johnny is perhaps the least likely candidate, though not out of the question, as his mental condition complicates social interactions. Richard could always be a bastard son of either Ben or Jerry, as both are well-known philanderers, or Jerry could have had a child with a wife or girlfriend (Maybe Heba?) Of course, Ben and Sylvia could have had another child, but considering the state of their marriage, especially after the debacle at the Haywards’, I’d say this is even less likely than Johnny being the father.

The most probable situation is that Audrey is Richard’s mother, which leaves the question of paternity. The fact that Richard has his mother’s name implies an absent father. Audrey did have sex with Jack Wheeler before he departed for South America, but I find it hard to believe that she wouldn’t tell Jack he was a father, or that he wouldn’t come back for him. Jack seemed like an honorable enough guy, I doubt he’d abandon his child. Something could, of course, have happened to Jack, preventing him from ever returning. But there’s no way Jack was Audrey’s only suitor. Could Bobby be the father? He and Audrey did have some flirtatious moments in season 2. But, as bad as Bobby has been in the past, he seems to have turned over a new leaf, and I don’t think Bobby would be absent from his son’s life. It could also be someone we’ve never heard of, who Audrey met in the aftermath of season 2. But there’s one final, disturbing possibility.

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Sherilyn Fenn in a Twin Peaks photo shoot for Entertainment Weekly.

In Part 7 of The Return, Doc Hayward mentions that, after the events of the season 2 finale, he saw Cooper’s Doppelganger leaving the ICU. When questioned about why Cooper would be in the ICU, Doc says that he thought Cooper was visiting Audrey, who was in a coma after the bank explosion. Could it be that Cooper’s Doppelganger impregnated Audrey while she was comatose? The possibility is horrifying, but makes a lot of sense.

Before I continue, I want to address the idea that Cooper was actually visiting Annie, to steal back the Owl Ring, or try to kill her, and the mention of Audrey is just to throw us off. To me, this just doesn’t stand up to closer examination. Why mention Audrey, and not Annie? They had already talked about how Annie was with Cooper the night they both entered the Black Lodge, so why wouldn’t Doc think Cooper might be visiting Annie? I’m not saying that Doppelcoop didn’t want to get the ring back ( he obviously does get it, since Dougie has it later,) but, firstly, it’s no longer with Annie, it’s with one of the nurses, and secondly, mentioning Audrey then makes no sense. Why would Lynch and Frost bring her up for the first time in the new series if she was just a red herring? I don’t think that’s a good enough reason to mention her here and now. I think if he had been visiting Annie, it would have been a time to be direct. And if he had been trying to kill Annie, I think Doc also would have mentioned something about it, either that Annie was dead, or that there was trouble in the ICU immediately after, or something else. SOMETHING. No. I think Lynch and Frost mentioned Audrey because she is important here, and they want us to think about her.

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I think, especially in the scheme of the narrative, it makes the most sense for Richard to be the spawn of Cooper’s Doppelganger. It fits. It would explain Richard’s tendency for evil actions (although many characters are evil, without such an excuse), the fact that he has his mother’s surname, and why the Giant mentions him to Cooper in the first scene of the first episode. He is clearly important. All this would make sense if he was Cooper’s son. But, the Giant also says it is important to remember someone named Linda, who is mentioned in Part 6 of The Return. What does she have to do with Cooper and Richard?

For the sake of thoroughness, I want to throw out the idea that Richard is from a previously unseen branch of the Horne family, and Linda could be his mother. Someone has also suggested that Linda is actually Audrey in hiding, and that she was crippled after the bank explosion, hence why she needs a wheel chair. As of now, I don’t have a lot of evidence to support that theory, so let’s move on.

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My theory is that Richard and Linda are both the children of Cooper. They are the “two birds,” and Cooper is the “one stone.” Richard is the son of Audrey and Cooper’s Doppelganger, conceived when Audrey was in a coma after the bank explosion. Linda is the daughter of the Good Dale and Annie, conceived before they entered the Lodge at the end of season 2. I think Linda is also a soldier who was crippled in combat, explaining how she could be so young and need a wheel chair, and government assistance. That is also why Carl Rod says “F***ing war” while he and Mickey are talking about Linda, which otherwise is a non sequitor. It also falls in line with the later revelation that Frank Truman’s son was a soldier who committed suicide. He and Linda may have even known each other, both being soldiers from the Twin Peaks area.

Some have suggested that Linda is the result of Doppelcooper’s sexual assault on Diane, but it doesn’t make sense that she would end up in Deer Meadow when Diane lives in Philadelphia. It would be an odd coincidence, even if the child was given up for adoption. I think it’s far more likely that Annie is the mother, and this could possibly be a situation reminiscent of Clive Barker’s novel The Great and Secret Show, in which two opposing entities, one “good,” the other “evil,” sire offspring to battle each other. Incidentally, this novel has a lot of common themes with Twin Peaks: Small towns with many secrets, and lots of supernatural occurrences happening beneath it all. The sequel, Everville, even takes place in the Pacific Northwest.

Part 6

If all this is true, I think that Richard and Linda will be instrumental to the conclusion of the show. This would nicely bring things full circle, taking us back to that first scene between Cooper and the Giant. I cannot predict what will happen, but I think it will call for an emotional and profound conclusion, with Cooper facing the dark half of himself and having to reconcile with it.

UPDATE (08/04/2017)

It seems undeniable at this point that Audrey is Richard’s mother, and it’s probably only a matter of time before we get in-show confirmation. The only thing left to really prove is that DoppelCoop could be Richard’s father. Some fans have resisted the idea, finding it harder to believe that Richard is the spawn of DoppelCoop raping a comatose Audrey, rather than him just being the result of her fling with Jack Wheeler, or another man she might have met in the interim, which is, of course, still plausible. These fans ask the question, “Isn’t it much more likely that DoppelCoop went to reclaim the Owl Ring, rather than to sexually assault Audrey for some reason?”

Let me start by saying: I think he did both. It’s obvious he reclaimed the Owl Ring, but that doesn’t negate him visiting Audrey. Especially since many of us seem to be forgetting the most crucial element to DoppelCoop’s character: He is the Shadow Self of Dale Cooper, containing all his darkest, innermost thoughts and desires. It brings to mind the tagline, “In a town like Twin Peaks, no one is innocent.” Not even Dale Cooper. He probably had libidinous thoughts about Miss Horne, which is probably why DoppelCoop targeted her. Perhaps it was even part of DoppelCoop’s endgame to procreate, and Richard Horne may prove to be a bigger player than we might think.

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What are your thoughts on this theory? Where do you think Richard Horne’s character will go from here? What do you think this means for Audrey’s role in The Return? Comment below!

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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Beyond Life and Death, Part 1: Cooper’s Voyage Through the Black Lodge, and What It Means

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

Warning: Contains massive spoilers for the final episode of Twin Peaks Season 2.

“The shadow-self of the White Lodge. The legend says that every spirit must pass through there on the way to perfection. There, you will meet your own shadow self. My people call it ‘The Dweller on the Threshold’ … But it is said, if you confront the Black Lodge with imperfect courage, it will utterly annihilate your soul.”

-Deputy Hawk

We all know that the final episode of Twin Peaks Season 2 revolves around Agent Cooper and his exploration of the other dimension known as the Black Lodge. What you may not know, however, is what, exactly, it means. In this first segment, we will do a scene-by-scene analysis of Cooper’s pilgrimage through the Black Lodge, and attempt to shed some light on the mysteries that lie beyond life and death.

Evil Doppelgangers of Cooper and Leland.

Evil Doppelgangers of Cooper and Leland.

The journey through the Black Lodge is, ultimately, a test of one’s true character. Cooper must face his “Shadow,” or, in Lynch-Frost language, his “Doppelganger,” or “the Dweller on the Threshold.” He must confront everything he feels guilty for, particularly all the deaths he could not prevent: Laura, Maddy, Leland, and Caroline. He also encounters a specter of Annie, whose death he fears he will not be able to stop. He also faces one of (if not the) most traumatic events of his life: The murder of Caroline Earle, his illicit love, and the attempted murder of Cooper himself. This is similar to many accounts of NDE’s (Near-Death Experiences), wherein people say that they go through a “Life Review.” In this Life Review, they experience everything that has happened to them in their lives, and not only feel all their own emotions again, but feel the emotions of the people whom their actions affected, making them aware of the consequences to their choices in life. With this in mind, let us proceed with our scene-by-scene analysis of Cooper’s journey through the Black Lodge.

The entrance to the Black Lodge, surrounded by Sycamore Trees.

The entrance to the Black Lodge, surrounded by Sycamore Trees.

First, Cooper enters the Lodge, and the lights begin to flicker in a strobe effect, mirroring the black and white/dark and light pattern on the Lodge floor. Cooper stares, wide-eyed, as the Man From Another Place dances by, and seats himself in the black chair. Jimmy Scott sings the final lines of “Sycamore Trees,” then vanishes.

Let’s talk about this song for a moment. It is given prominence, as it is playing when Cooper first enters the Lodge, but what is its significance? Of course sycamores are the kind of trees that encircle the portal to the Lodges in Twin Peaks’ woods, and these trees have an intriguing symbolism in the lore of Ancient Egypt:

“In Egypt the Holy Sycamore is said to stand on the threshold of life and death, connecting the worlds.”

(Source: Ancient Wisdom Foundation: Tree Lore)

That’s a bit on the nose, I would say, and most likely why Mark Frost chose to use them. However, with David Lynch, it might be another story. Lynch has always been inspired by music, as most famously seen with Blue Velvet, and music is most likely a source of inspiration for him here, as well. There is a classic standard from the 1930s, entitled Dream a Little Dream of Me. Here are the lyrics:

Stars shining bright above you, night breezes seem to whisper, “I love you”.
Birds singing in the sycamore tree, “Dream a little dream of me”.
Say “nighty-night” and kiss me. Just hold me tight and tell me you’ll miss me.
While I’m alone and blue as can be, dream a little dream of me.

Stars fading, but I linger on, dear.
Still craving your kiss, I’m longing to linger till dawn, dear.
Just saying this: Sweet dreams till sunbeams find you.
Sweet dreams that leave all worries behind you.
But in your dreams whatever they be, dream a little dream of me.

Stars fading, but I linger on, dear.
Still craving your kiss, I’m longing to linger till dawn, dear.
Just saying this: Sweet dreams till sunbeams find you.
Sweet dreams that leave all worries behind you.
But in your dreams whatever they be, dream a little dream of me.

This classic has similar lyrics to the Lynch/Badalamenti penned song, Sycamore Trees. Notice also certain elements that coincide with imagery from Twin Peaks: Sycamore trees, dreams (The Lodge is seen in the dreams of Cooper and Laura), kisses (Laura kisses Cooper before she tells him the identity of her killer), the stars (celestial events are connected with the Lodges), and birdsong (“Where we’re from, the birds sing a pretty song.”) Have a listen to this version by Ella Fitzgerald and Louis Armstrong, because this sounds like it could be the version that inspired David Lynch to create the first scene where Laura meets Cooper in the Black Lodge:

Returning to our analysis, let’s take a moment to examine the Waiting Room decor:

There is an oddly specific lamp sitting on a small table in this room: A 1939 World’s Fair Saturn Lamp. Saturn is the Roman God of the harvest, and, as such, was considered to reign over the cycles of time as well. Time is shown to be non-linear in the Lodge, and the presence of this lamp could be referring to this fact. Perhaps a more important point, however, is the identity of Saturn as the lord of the harvest, as the Dugpas harvest pain and suffering to feed on. In mythology, Saturn was also known to have devoured his children, which is similar in the way that Leland murdered his daughter Laura and niece Maddy, and BOB devoured their pain and suffering. Also consider that the people BOB inhabited were “his children.”

Notice the Grecian-style statue in the background: It is called the Venus Pudica and I shall return to it later.

Cooper sits in a black chair, across from the Man From Another Place. The Man From Another Place tells him, “When you see me again, it won’t be me,” a foreshadow of the later appearance of the Man From Another Place’s Doppelganger. He asks, “Would you like some coffee?” (which doesn’t come right away) and informs Cooper that some of his friends are there. This indicates that Cooper will have to meet the spirits or representations of important people in his life. Cooper looks up and watches as Laura walks in and sits down in the black chair next to the Man From Another Place. She winks at Coop, and snaps her fingers, leaving her middle and index fingers pointing sharply downward. In Lynch’s later film, Inland Empire, snapping is used almost as a magical gesture by Laura Dern’s characters, and her sex worker friends. (I will cover magical gestures in a later article.) Laura then tells Cooper, “I’ll see you in 25 years,” referencing the eventuality of Cooper being trapped in the Black Lodge for 25 years. She then says “Meanwhile…” (remember this for later) and holds her hands up in a cryptic pose.

“Meanwhile…”

Meanwhile: Also seen during the waiting room sequence, and accompanied by the words “meanwhile”. The gesture is later mirrored by the “doppelganger Laura” during Cooper’s Black Lodge test, before she starts to scream hysterically. The exact meaning of the sign is controversial, but allegedly refers to a vedic mudra meaning “do not fear”. Other theories suggest that she is holding an imaginary object, like a picture, a vase, or (my interpretation) perhaps a pillow. The pose looks similar to that of a person asleep holding their pillow, but upright. It is interesting that Laura makes the sign after saying “I’ll see you in 25 years“. It has been suggested that the sign foreshadows what Cooper will experience in between, that is, being trapped inside the Red Room, or as Jeffries puts it: “[living] inside a dream“.

-From the Twin Peaks Gazette

Laura’s hand gesture is similar, though not identical, to the vedic abhaya mudra, or “Do Not Fear” hand gesture. This fits so well with the circumstances and symbols of Twin Peaks that I feel we should overlook the slight variation of the pose and consider them to have the same meaning. Laura’s spirit is appearing to Cooper to remind him not to fear the Black Lodge, as that would ensure his demise. Laura’s expression in this scene also seems to be blissful, or aloof; much like depictions of the Buddha. Notice also that this is actually Laura, not her Doppelganger.

The vedic abhaya mudra, or

The vedic abhaya mudra, or “Fear Not” pose: One palm facing forward, and the other facing upward.

Laura disappears, and a moment later, the Elderly Bellhop is sitting in her place, holding a cup of coffee. The Bellhop makes the “Indian Whooping Call.” The significance of the whooping call may be one of two things: 1) It has to do with interactions between the Dugpas and the Native Americans in the past, since, based on what Hawk tells Cooper, the Native Americans had knowledge of the Black and White Lodges, or 2) it represents the wind whistling in the trees; Considering the statement in The Missing Pieces, “We have descended from pure air,” spoken by the Man from Another Place during the meeting above the convenience store, as well as other references to air and wind in the series, such as the repeated imagery of the wind blowing through the trees, we can associate the Dugpas with this element.

The Bellhop says, “Hallelujah,” and the Man From Another Place says “Hallelujah” back. “Hallelujah” originated as a command to a congregation of people to praise the God Yahweh. Its significance here, I cannot say, except that it is yet another example of ritualistic behavior exhibited by the Dugpas (For more analysis on this subject, review my article “With This Ring, I Thee Wed”). It may, however, play into the theory that the Giant and the Man From Another Place have been wanting to put a stop to BOB’s antics, and Cooper may be the savior they’ve been waiting for: The one who can reign in the rogue agent who has the fury of his own momentum.

The Elderly Bellhop serves Cooper coffee, then turns into the Giant. The Giant sits down in the chair next to the Man From Another Place and says with a smirk, “One and the same.” This is to say, the Giant was most likely possessing the Bellhop in the same way that BOB possessed Leland, and the spirit MIKE was possessing Philip Gerard. Similar antics are most likely also in play in the cases of Mrs Tremond/Chalfont and her grandson. It is also possible that the Log Lady’s husband is similarly possessing and speaking through her log; we see these similarities again with Josie being trapped in the wood of the Great Northern Hotel. The famous line, “The owls are not what they seem,” may allude to the owls being used in this same manner, being possessed by Lodge spirits in order to watch the human world. The Giant is finally letting Cooper in on his secret.

BOB with an Owl overlaying his face, suggesting that he might be possessing the owls to disguise himself.

BOB with an Owl overlaying his face, suggesting that he might be possessing the owls to disguise himself.

The Giant then disappears, and the Man From Another Place begins rubbing his hands together. This may mean that he is satisfied with the way things are going, or it may be one of the mysterious “magical hand gestures” that I have noticed occur in many of David Lynch’s works. Cooper looks at the steaming cup of coffee left by the Elderly Bellhop. He attempts to drink the coffee, only to find it solidified. He shows it to the Man From Another Place, who looks pleased. Cooper looks at his coffee again, and tips the glass. This time the coffee spills like normal. Cooper is confused, and looks to the Man From Another Place for answers, only to have him look off in another direction, seemingly angry. Finally, Cooper tips the mug again, and it pours out slowly: It seems to have transformed into something like tar (perhaps oil?). The Man From Another Place looks unhappy, and, looking off at some unseen thing or person, says, “Wow, Bob, wow,” and “Fire walk with me.”

There is an interesting theory about this scene, and it goes as follows: The coffee is a sort of fortune telling device that the Dugpas are using to predict how Cooper will fare in his test. At first it is solid and unmoving, and the Man From Another Place looks satisfied. This means that Cooper, at first, will be steadfast and brave, and potentially defeat BOB. Then, it takes a darker turn, when it transmutes into the motor oil, suggesting the presence of BOB. Then, finally, the coffee runs, predicting that, ultimately, when Cooper faces BOB and his evil Doppelganger, he will run. The Man From Another Place then looks angrily at perhaps an invisible BOB and says to him, “Wow, Bob, wow,” as in, “Impressive, BOB: Looks like you win, again.” Other theories related to this scene are that the changes in the coffee represent the manipulation of time — slowing down, or freezing entirely, and that the hand rubbing motion made by the Man From Another Place represents the conjuring of heat or fire by use of friction. Another interesting thing of note: Both the words “Bob” and “Wow” are the same backwards and forwards. This could suggest the mutability of time, and linear events.

Nobody likes stiff coffee.

That coffee might be a little stale…

The idea of the coffee being an important fortune telling device is not as far-fetched as you might initially think, especially considering David Lynch’s (and Cooper’s) obvious adoration of the beverage. It actually reminds me quite a bit of the concept of reading tea leaves.

When the Man From Another Place says “Fire walk with me,” it is almost as if he is resigned, as if to say that BOB is on his way, and the ritual is about to begin, whether Cooper is destined to persevere, or not.

Flames explode in the darkness, announcing the approach of BOB and the Doppelgangers. The light begins to flicker. This strobe effect, I believe, is a variation on the Black Lodge carpet – the black-and-white chevron pattern. Hence, I believe they both represent the duality of light and dark within everyone, as well as referencing the Black and White Lodges. We also hear Laura’s dying scream in the distance, as if it is “moving through time” to reach Agent Cooper. Cooper gets up and walks out of the room. The Man From Another Place has disappeared. Cooper enters the hallway and walks toward the Venus DeMilo statue, parts the curtains next to it, and walks into another room, identical to the first.

Let me break here and talk about the two statues in the Lodge. There are a few points to make. First let’s note that these are both depictions of the Goddess Venus, and thus are another planetary reference (along with Saturn) within the Black Lodge. Another thing to note is that this is another example of Doppelgangers in Twin Peaks.

The first is the Venus DeMilo, which has a couple of connections to Lynch: Gordon Cole refers to it as “the babe with no arms” when comparing Shelly to the statue. Incidentally, shortly after Twin Peaks ended, David Lynch’s daughter, Jennifer, put out the movie Boxing Helena, which was built entirely around the symbolic connotations of the Venus DeMilo. The film also starred Sherilyn Fenn, a.k.a. Audrey Horne, as the Venus figure.

The Venus DeMilo as seen in the Black Lodge.

The Venus DeMilo as seen in the Black Lodge.

The other is Venus Pudica (meaning “modest Venus”). This represents the “Virgin” archetype, the dual half of the more sensuous Venus DeMilo.

The Venus Pudica seen in the background of the Black Lodge.

The Venus Pudica seen in the background of the Black Lodge.

It’s probably my imagination playing tricks on me, but from a certain angle, it almost looks as if she looks like she is pointing with her right hand into the empty space of the room, perhaps at the same unseen thing that the Man From Another Place is gazing at when he says “Wow, Bob, wow.” Or, as seen above, she may be pointing to Laura, who is, in a way, the “Venus” of the Black Lodge.

These statues are another reference to duality, being two different depictions of the same Goddess. On the one hand, Venus brings loving couples together, but on the other hand, the word “venereal” (as in “venereal disease”) is derived from her name. Through Venus, we can be shown both the light and dark sides of love and lust. Being a Goddess of sex, Venus could be thought to represent Laura and her own struggles with the contrasting personality traits, particularly her sexual relationships. Another way of looking at it is that the DeMilo represents Laura, and the Pudica represents Maddy, her more timid lookalike cousin.

Venus Pudica could also be related to the story of Eve and the apple in the garden on Eden, as she is covering her nudity as if in shame. This could tie back to those feelings of disgust and shame that Laura felt when she prostituted herself and did drugs. In The Secret Diary of Laura Palmer, Laura wonders if it was her discovery of her own sexuality that brought BOB to her, as a form of punishment.

Returning to the narrative… Cooper enters another room, which looks just like the first, except it is devoid of life. He leaves, goes back down the hallway, and enters what may be the first room, again. The Man From Another Place is there. He points toward Cooper (or in the direction he should be going) and says “Wrong way.” Cooper turns, goes back down the hall, and enters what should be the room he left earlier. It looks the same, only empty of any occupants, but we soon hear the Man From Another Place laughing maniacally. He appears out of nowhere, and dances in reverse to his chair and sits down. This is not the normal Man From Another Place, this is his Doppelganger, and this is what the Man From Another Place means when he tells Cooper, “When you see me again, it won’t be me.” The Doppelganger says, “Another friend.” This relates to the Man From Another Place’s earlier statement to Cooper, “Some of your friends are here.” The Doppelganger then laughs and hides behind the chair he was sitting in, right as Maddy walks in.

Maddy tilts her head coquettishly and says, “I’m Maddy. Watch out for my cousin.” Of course it refers to Laura, but not the Laura we’re thinking of: Her evil Doppelganger. I think this indicates that this Maddy is also a Doppelganger, and not her actual spirit. However, as we do not get a close look at her eyes, we cannot tell for sure where she is or isn’t. Cooper turns away and Maddy vanishes.

Cooper returns to the other room. This time, the room appears completely devoid of any people, spirits, or furniture. Then Cooper sees something out of the corner of his eye and turns his head to the left, where he sees the Man From Another Place’s Doppelganger, who says, “Doppelganger.” This can be construed as a warning, or an announcement: We are here, and we’re coming for you.

Doppelganger.

Doppelganger.

Cooper then looks to the right, where he see Laura’s Doppelganger (this is the cousin Doppelganger Maddy was warning Cooper about), holding the “Meanwhile…” pose. Only now, instead of an expression of aloofness or bliss, she looks angry.Her hands shake with rage, and her lips curl into a sneer as she says, “Meanwhile…,” then begins to scream. Of course this is Laura’s death scream. She backs up and steps behind a new chair, one that is particularly unique: It is red, with two conjoined seats, both facing opposite directions. This of course is another representation of duality.

A unique chair in the Black Lodge.

A unique chair in the Black Lodge.

She then runs up and screams in Cooper’s face, as if mocking him with her death, as he will never be able to save her. Cooper, frightened, turns and runs. Note that after Cooper leaves, we see a shot of Doppelganger Laura’s screaming face. This particular shot is not a continuous one, using the strobe light; it is actually two different shots of Laura’s face, interchanging. Another example of duality.

Cooper enters the other room, but begins to stagger. Confused, he looks down to see blood running from his torso. This is because the Doppelgangers have succeeded in frightening him, and now he is slowly being drained by them. Of course, this wound also mirrors the one dealt to him by Windom Earle in Pittsburgh, when Caroline Earle was murdered. Cooper looks at the trail of blood he has left, and follows it back out into the hallway. Judging by the trail, he has been bleeding since he left the room with Laura’s Doppelganger: Notice that that was also the first instance he showed obvious fear.

Cooper peers into the room, clutching his injury, and sees himself, lying wounded on the floor, holding the murdered Caroline Earle. When she sits up, however, we see that she is actually Annie in Caroline’s dress.

Annie replacing Caroline in her murder scene.

Annie replacing Caroline in her murder scene.

Annie looks confused, scared, and seems to be unable to speak. The strobe light begins again. The next few seconds are actually a continuous shot of the Lodge’s chevron floor lit by the strobe light. This shot fades into a view of the red curtains as Cooper walks through the hallway again. I believe this indicates a time lapse: He’s been wandering around for a while. Things get a bit more confusing here. Cooper looks into the room and sees Annie, wearing her black dress from earlier, standing there. She walks up to him and says, “Dale. I saw the face of the man who killed me.” Of course, this is referring to Windom Earle. Cooper does not understand this. She tells him, “It was my husband.” Again, this means Windom, but it could be a foreshadow to something we may see in the new season. I’ll get back to that in the second part of this article. Everything here has a dual meaning: Some of it just relates to Caroline’s past, but it is also playing on Cooper’s anxieties over Annie’s potential death.

Confused, Cooper says Annie’s name again, only to have her respond with, “Who’s Annie? It’s me.” She then turns into Caroline, who continues to say, “It’s me.” However, notice the appearance of Caroline’s eyes: They are the same as the Doppelgangers of Laura, Maddy, Leland, and the Man From Another Place. To me, this suggests that Caroline herself is not trapped in the Black Lodge. We are only seeing a sort of “puppet” of her, created by the Black Lodge to test Cooper.

Caroline Earle in the Black Lodge, with eyes similar to those of a Doppelganger.

Caroline Earle in the Black Lodge, with the eyes of a Doppelganger.

She then turns back into Annie, but wearing Caroline’s dress. She touches Cooper’s face lovingly and says, “You must be mistaken. I’m alive.” This is actually Annie responding to Cooper earlier, when he asked, “The face of the man who killed you?” Suddenly Annie’s hand is gone from Cooper’s face, and she has turned into angry Doppelganger Laura, who continues to scream, before stopping abruptly and standing, staring angrily at Cooper. Cooper then flinches as she turns into Windom Earle.

Now, it must be noted that this scene has played a large part in shaping people’s interpretation of Cooper’s journey through the Black Lodge. Many people take this scene as an indication that the interchanging Annie, Caroline and Laura were all just Windom Earle using the power of the Black Lodge to shape-shift, and scare the wits out of Cooper. Some even believe that all the spirits that we see in the Lodge are Windom in disguise. I don’t believe this for several reasons. First of all, there are too many bits of hidden wisdom spoken for me for think that Windom could pull off imitating the Lodge spirits all this time. Windom, no matter how evil he may be, is just an arrogant human who went insane. He’s too weak to control to Black Lodge’s magic to this extent. Also, Windom has not made any sacrifice yet, thus has harvested no garmonbozia, and so has most likely not received any power from the Lodge. And finally, everything thus far has gone according to Hawk’s descriptions of the Black Lodge, and what one must go through within. Therefore, it is my opinion that Windom had nothing to do with any of the events, between him taking Annie and entering the Lodge, and his reappearance in front of Cooper. I even believe that Windom was not aware of Cooper’s presence until that moment, and has no idea that the Black Lodge is also playing tricks.

Windom addresses Cooper, and then Annie, wearing her own black dress, materializes. She is breathing heavily, as suggested by her movements. She looks from Cooper to Windom, then disappears again. This implies to me that Windom is holding her captive, in a sort of psychic cell, and he is only showing her to Cooper to prove that he has her. She is his bargaining chip.

In the corner of this room, we in fact see the table from Fire Walk With Me (The one in the Lodge, when the Man From Another Place shows Cooper the ring). This table has golden wings holding it up, perhaps connecting it to the Angels of the White Lodge. However, because the Owl Ring is seen on it in Fire Walk With Me, it is also connected to the sacrificial rituals the Dugpas of the Black Lodge perform.

Windom laughs maniacally and says, “If you give me your soul, I’ll let Annie live.” Of course Cooper consents unflinchingly. Here’s where things start to get even more confusing.

Windom stabs Cooper, right where he stabbed him in Pittsburgh, and Cooper falls. However, the wound is bloodless: It is actually a psychic attack, and Windom is taking Cooper’s soul. Then everything explodes into fire, announcing the arrival of BOB. The scene where Windom stabs Cooper is played in reverse, suggesting that it has been undone (this would mean Cooper got his soul back). The strobe begins again, and Windom cries out for help as BOB gets a hold of him and begins torturing him. BOB says “Be quiet,” which mutes Windom’s screams. BOB then tells Cooper, “You go. He’s wrong. He can’t ask for your soul. I will take his.” This indicates again to me how powerless Windom really is.

BOB takes Windom Earle's soul.

BOB takes Windom Earle’s soul.

Windom begins to scream again, and we see fire go into his head, seemingly at BOB’s beckoning. Windom then goes still and quiet. BOB has presumably taken his soul. Cooper walks slowly out of the room. As he does, however, another figure comes running up behind the red curtains. It is Cooper’s Doppelganger. Even if BOB told him to go, it isn’t that simple: There is still another trial that Cooper must pass. The Doppelganger laughs with BOB, who still has Windom.

(This is the last we see of Windom Earle.)

Leland's Doppelganger tells Cooper,

Leland’s Doppelganger tells Cooper, “I did not kill anyone.”

Back in the hall, Cooper is about to enter another room when Leland Palmer’s Doppelganger steps out, laughing, from an area where there should be nothing. His hair is its original brown shade. Doppelganger Leland tells Cooper “I did not kill anybody,” which is a reference to Leland’s role as a pawn in BOB’s murders, and Cooper’s guilt that he could not save Leland. He steps toward Cooper, seemingly trying to intimidate him, but Cooper avoids him and parts to curtains to enter the other room. However, he steals one last look backward at Leland’s Doppelganger, and sees his own emerge from the other end of the hall. This is a continuation of his mistake of not facing his Doppelganger, but instead continuing to search for Annie. Cooper steps into the other room, and the Doppelganger enters the hallway. He and Leland’s Doppelganger smile and laugh.

The appearance of Leland’s Doppelganger is significant because of what is about to happen to Cooper: He is about to be a vessel for BOB. The only other vessel for BOB that we have met is Leland, hence his Doppelganger’s appearance at the end of the Black Lodge sequence.

Now, instead of going back and forth down the hallway, Cooper is running consistently through the rooms of the Lodge, most of which are empty. Doppelganger Cooper laughs as he pursues Cooper, and as he finally catches his quarry, the strobe light once again begins to flash, and we see BOB’s face smiling into the camera. The scene in the Lodge fades into the scene of the entrance – red curtains hanging in the circle of Sycamore trees. There is a spotlight on the curtains, and it become brighter right as two bodies suddenly materialize outside…

Cooper made the fatal mistake when he ran from his Doppelganger: He had already shown fear, but I believe that, if he had ultimately faced his Doppelganger, the “Dweller on the Threshold,” he could had succeeded. The fact that he ran at that crucial moment is what spelled demise for Cooper, and why he ended up trapped there for 25 years, while his Doppelganger and BOB run amok.

So that is the sum of what, exactly, happened to Cooper inside the Lodge. So what does that mean for the future of Agent Cooper and Twin Peaks? We will explore that in the second part of this article; Beyond Life and Death, Part 2: The Rebirth of Agent Cooper.

To Be continued.

To be continued.

Sacred Clown Time

Written by Eden H Roquelaire for Twin Peaks Freaks.

DISCLAIMER: Spoilers for Twin Peaks within the article.

"Trickster Parade" by Kelly Moore

“Trickster Parade” by Kelly Moore

The words of the Heyoka are like a lightning bolt which can pierce the heart, for the Heyoka’s words can have a “sharp edge.”

– Wambli Sina Win

Every Twin Peaks fan is familiar with the Native American imagery that appears throughout the series, but it turns out that the tribal influence may go deeper than just inspiring the look of the show: In fact, it may be the source for the central story-line.

The Black Lodge and the Dugpas.

Sacred Clowns are often depicted as painted in black and white.

Sacred Clowns are often depicted as painted in black and white, like the carpet on the floor of the Black Lodge.

There are many correlations between the Dugpas and the beings known as the Heyoka, or Sacred Clowns of Native American culture, that suggest they may have been the source of inspiration for the Black Lodge’s denizens. Some connections include their backwards-speak and use of cryptic words:

Heyókȟa are thought of as being backwards-forwards, upside-down, or contrary in nature. It was manifest by doing things backwards or unconventionally — riding a horse backwards, wearing clothes inside-out, or speaking in a backwards language. For example, if food were scarce, a heyókȟa would sit around and complain about how full he was; during a baking hot heat wave a heyókȟa would shiver with cold and put on gloves and cover himself with a thick blanket.

(Source: Wikipedia – Heyoka)

The Heyoka never tell you something straight out; they make you use your own mental power to learn the meaning behind the words. They use a lack of logic to mock the conventions of our world, and challenge the minds of their disciples. It is interesting to note that the main source of our information on the Dugpas and the Black Lodge is Deputy Tommy “Hawk” Hill, a Native American of an unspecified tribe (it is implied that he may be Blackfoot). This again suggests that they have an origin in Native American lore. Plus, we have seen the Man From Another Place make what is referred to as an “Indian whooping call.” Also take a look at this image of a Heyoka Medicine Man:

“Stanley Good Voice Elk, a heyoka, burns sage to ritually purify his surroundings. In Oglala spirituality, heyokas are recipients of sacred visions who employ clownish speech and behavior to provoke spiritual awareness and “keep balance,” says Good Voice Elk. Through his mask, he channels the power of an inherited spirit, which transforms him into Spider Respects Nothing.” —National Geographic

“Stanley Good Voice Elk, a heyoka, burns sage to ritually purify his surroundings. In Oglala spirituality, heyokas are recipients of sacred visions who employ clownish speech and behavior to provoke spiritual awareness and “keep balance,” says Good Voice Elk. Through his mask, he channels the power of an inherited spirit, which transforms him into Spider Respects Nothing.” —National Geographic

Does it look familiar?

The Jumping Man, seen in Fire Walk With Me.

The Jumping Man, seen in Fire Walk With Me.

That is the so-called “Jumping Man,” who appears in Fire Walk With Me, most notably dancing at the meeting above the convenience store. He carries a stick, perhaps a dowsing rod, and hops around. He is speculated to be a magician or priest. Perhaps he is a Heyoka?

Various Native American tribes have versions of these beings: the Cherokee have the Boogers, the Zuni have the Ne’wekwe, and the Lakota call them the Heyoka.

“The Spirit of perversity and chaos, considered both as a divine entity in its own right, and the effects of that spirit upon humans. The entity is double-faced, showing joy on one side and grief on the other. He is said to be the source of meteors, and in other ways exhibits most of the characteristic heyoka attributes. Mortals who dream of Wakinyan often become heyokas.”

(Source: Obsidian’s Lair “A Lakota Pantheon“)

A person who becomes a Heyoka is one who is inspired by a visit from a Wakinyan or Thunderbird, a powerful spiritual being who is always cloaked in storm clouds. The Thunderbird usually appears to them in a dream, which is considered to be a communication from the Wakan Tanka, the Great Spirit (or Great Mystery) of the Lakota.

The Sacred Clowns are known to do bizarre things that are contrary to our logic, including speak and walking backwards, saying the opposite of what they mean, wearing cold weather clothes in hot climates, laughing when sad, and crying when happy. They are said to be able to interpret dreams. They also have a connection to celestial bodies and electricity, as they are associated with lightning, and the legendary Thunderbird.

“The heyoka were different in three primary ways from the other sorts of clowns. They were truly unpredictable, and could do the unexpected or tasteless even during the most solemn of occasions. Moreso than other clowns, they really seemed to be insane. Also, they were thought to be more inspired by trans-human supernatural forces (as individuals driven by spirits rather than group conventions), and to have a closer link to wakan or power than other clowns. Not surprisingly, these unique differences were seen as the result of their having visions of Thunderbird, a unique and transforming experience.”

Steve Mizrach, Thunderbird and Trickster

The rites of sacred clowning are also practiced in Tibetan Buddhism, which, as we know, has a powerful influence on Coop. A clown in Tibetan Buddhism would be to do absurd things – wear shoes on one’s head, call a stone soft, wear rags to meet a prince and expensive clothes to meet a pauper. The method behind this is to teach disciples of Buddhism to think outside the bonds of the reality we are familiar with, to consider less orthodox explanations, and encourage a sense of wonder and curiosity. When one assumes they know everything there is to know, then the mind is not open to learn.

The Laughing Buddha

The Laughing Buddha

“The clown does not fit in, indeed refuses to fit into, the patterns and constructions of the conventional world, representing some other order of being. The clown gets everything wrong: dress, decorum, logic, speech, gestures, and movements; yet in this wrongness is a rightness of another sort. Out of this foolishness rises another level of wisdom.”

(Source: The Laughing Buddha: Zen and the Comic Spirit by Conrad Hyers

In its own way, David Lynch’s work itself does this, by way of his absurdist humor, which sometimes occurs at the most inappropriate of times. It makes us laugh amidst the horror and tragedy going on around us. This act of unsettling our minds and giving rise to doubt causes us to reconsider what we believe is happening, and what it means. In a sense, it forces us to search for new meaning in the familiar.

Let us consider also some of David Lynch’s music. Here’s the cover for his album The Big Dream:

David Lynch's "The Big Dream"

David Lynch’s “The Big Dream”

It’s a man being struck by a lightning bolt, and of course, the title of the album is “The Big Dream.” This implies it is a dream of some importance, perhaps a “divine revelation” of sorts. Could this cover be a representation of a revelation from the Thunderbird, in the form of a dream?

Now you might be saying, “But the Dugpas aren’t good beings; they aren’t teachers or benefactors to humanity.” I would argue that the Dugpas are neither good nor bad; some go rogue, as BOB did, but the Man From Another Place has been shown helping Cooper, as has the Giant. I would say that this is because they had a common interest, and therefore could be compelled to help Cooper. BOB is the only one, I would venture to say, who evokes evil. The others who dwell in the Lodge are amoral, and only act in their own self-interest. This in and of itself ties in with the sporadic nature of the Sacred Clown teachers, who work with opposites and contrast. Both the Dugpas and Sacred Clowns fit into the Trickster category of deities and spirits, along with characters such as Loki, Anansi, Crow, and Prometheus. Often these beings are shown as acting dangerously and amorally, but sometimes these actions also benefit humans, as shown in the tale of Prometheus stealing fire. Other times, the character may start out doing more harmless fun, but eventually graduate to all-out chaos and evil, such as Loki and his plot to murder the light god Balder. Trickster spirits are never easy to pin down; as soon as you think you have them figured out, they change their nature.

That brings us to another David Lynch album, “Crazy Clown Time”:

David Lynch's "Crazy Clown Time"

David Lynch’s “Crazy Clown Time”

The lyrics to this song portray an animalistic party, full of drinking, spitting and stripping. This ties into our second definition of clowns in Lynchian symbolism. It is important to note that David Lynch has connected his Clown symbolism with base and degrading behavior, rather than the “Sacred Clown” archetype, which is about spiritual evolution. Lynch talks about how negative behavior, such as irresponsible drinking, drugs and partying, throws the soul off-balance and causes spiritual disintegration: Deep down, you become depressed and angry, though you continue to suppress these feelings with the negative actions that are causing them in the first place. It is a vicious cycle, or, as Lynch calls it, a “Suffocating Rubber Clown Suit.”

“I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It’ssuffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom.”

(Source: The Utne Reader, “Deep Thoughts by David Lynch“)

A good example of Lynch’s use of this negative clown archetype would be its association with Jacques Renault and Leo Johnson, two of the most notorious party people in Twin Peaks:

Leo isn't clowning around... well, maybe a little, actually.

Leo isn’t clowning around… well, maybe a little, actually.

The clown painting found in Jacques Renault's apartment.

The clown painting found in Jacques Renault’s apartment.

And this symbolism isn’t limited to Twin Peaks. Remember Ben singing about the Candy Colored Clown in Frank Booth’s favorite song?

Dean Stockwell ("Ben") sings Roy Orbison's "In Dreams" to Frank Booth in Blue Velvet

Dean Stockwell (“Ben”) sings Roy Orbison’s “In Dreams” to Frank Booth in Blue Velvet

And the way Frank paints his lips when he listens to the same song later?

Frank Booth

Frank Booth smears his lips with red lipstick while listening to a song about a “candy colored clown”

These characters are both associated with drugs, violence, and all-around debased behavior, just as Jacques and Leo are. This is their “Suffocating Rubber Clown Suit of Negativity” that they bury themselves in rather than facing their demons and evolving as people.

Both Frank and Killer BOB are used in their respective stories as representations of “the evil that men do,” as Jeffrey asks Sandy in a philosophical moment, “Why are there people like Frank in the world?” Sandy tells him that love and light is the only thing that can and will destroy the darkness in the hearts of humanity. In this way, we can associate the characters of Frank and BOB with each other, and thus connect the clown imagery this way. BOB is also always depicted as smiling and laughing, and is described as “eager for fun” in this poem:

He is BOB, eager for fun. He wears a smile, everybody run!”

-MIKE the One-Armed Man

Of course, BOB’s idea of fun is one of evil and debauchery, spreading the suffocating negativity everywhere he goes.

So it’s inarguable that Lynch has used this negative clown symbol before, but does that invalidate the possibility that he has also used the Sacred Clown symbol? I will leave conclusions up to you, but I personally think that the evidence points to uses of both meanings. After all, Lynch has a well-known infatuation with duality and double-edged meanings, and the connections between the Dugpas and the Sacred Clowns are notable enough not to be ignored. Take another look at the scene “Above the Convenience Store”:

The meeting "Above the Convenience Store"

The meeting “Above the Convenience Store”

Definitely looks like it could be the Black Lodge’s idea of a party, where they gather to feed on the Garmonbozia that BOB has collected. There is the Jumping Man in the corner, who, as we discussed, may be a Heyoka. Perhaps he is leading the feeding ceremony. BOB is sitting at the table, throwing his head back in uproarious laughter.

As a final point, let us discuss the Greek God Dionysus. He is the God of wine, revelry, feasting, ecstasy, and is the all-around life of the party. He and his parties are dual-natured: They can bring about both horrible violence and beautiful knowledge. Many of the parties end with his followers, the Bacchantes, ripping apart uninitiated passersby, as was the case with Orpheus. However, this was also a cult of the secrets of the Earth, where one could learn Nature Magick and arcane wisdom. There was obvious risk in being involved in this cult, but there were benefits that could make those risks justifiable. Similarly, Cooper is taking a sizable risk in entering the Black Lodge; however, if he succeeds, the benefits could be worth it. If he loses, he will be ripped apart, spiritually.

Trickster Spirits are beings of both chaos and wisdom: There are some things that you can only learn from these beings, and yet to learn from them takes tremendous risk. However, it is often in our times of darkness, strife, and chaos that we have our revelations, and realize important things about ourselves. It is through trial that we evolve, and through constant questioning that we learn. The Sacred Clowns and Tricksters of various cultures embody that chaotic path to wisdom.

“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.