You need to take some time to unwind, Coop. Maybe take in a comedy show. Hey, you know who's still around? Bill Cosby!
I was slightly salty for about five minutes, but this couldn't have been more perfect. I feel more torn about another season than I thought I would - I was very much against it up until part 18, but now, I could see it. Regardless, The Return has been an absolute masterpiece and I just cannot believe how lucky I've been to be able to experience it firsthand as it's aired, having missed the original series at its time due to being but a few years old.
And, as I've mentioned on here a few times, it's been great getting to talk about it with you fine folks on here. I'll definitely miss that. I'm working through Secret History of Twin Peaks now, finally, and I'd love to hear all of your thoughts on The Final Dossier when that eventually comes out.
I do get it a little, a think. It's all fine and good that the timeline was 'fixed' but now your current selves will be utterly annihilated as history re-writes itself. Replaced by a 'you' with completely different memories. The existing you however goes FOOF! And being at the right place and moment might give you a split second insight on what's about to happen to you.
I need more whiskey, Morty...
|John Holmes Motherfucker |
Agent Cooper driving cross country with a middle-aged Laura Palmer, sharing a long silence. It's so fucked up! It's so sad, and so true! Did Cooper somehow erase Laura's identity when he saved her? That would be tragic.
Lynch and Frost put a barrier between the universe of Episode 18 and the rest of the series, at the 440 mile mark. So, if you need to, you can believe that, somewhere, Bob was defeated, Mr. C was exiled to the Black Lodge, Laura was rescued, audience expectations were met, and it all worked out.
But the alternate universe of episode 18 is an everlasting gobstopper. I'll probably be chewing on it when I'm on my deathbed. And like I know I said once before in here, David Lynch (and let's not forget Mark Frost) weren't going to be afraid to foil our expectations. It's painful, I know, like being fucked for the first time.
I've sort of taken the "Deus Ex Machina" approach to deconstructing his work pretty damn literally, including both Blue Velvet, Mulholland Dr into the mix, basically taking that very first scene in BV with the severed ear-shot ("in one ear and out the other") to extend to the blue nightmare bum guy putting away his blue box. I also read somewhere that Lynch originally wanted MD. to follow Audrey Horne and not Naomi Watts' Betty/Diane, which kinda might explain Audrey's unexplained "out-of-universe-experience" at the Roadhouse. Likewise, back to the ear joke, it's entirely possible that the electricity needed to power Cole's earphones is the same as whatever the fuck's going on at Judy's.
But a little bit of this was because I thought FWWM's Donna was intended to be a different Donna the whole time, just for the sake of "why not," which really wasn't the case. I dunno :) . It's been super-awesome discussing this whole thing with y'all!
Also the "diners" specifically Judy's and Mulholland Drive's Winkie's are a source of change (since the box man (who looks kinda dirty like a woodsman to begin with) lives outside, the restaurant works like the same Schrodinger catbox; it, as much as the car accident, could explain the switch from Betty to Diane just like Judy's explains the switch from Laura to Carrie, or the Roadhouse with Audrey, as I mentioned above. Blue Velvet also has the bar (Pabst Blue Ribbon) whose name I can forget which signals a significant change for both Jeffrey and Sandy, which means via distorted planes of reality it's entirely possible that the killing of Frank leads to the creation of Cooper and Diane, since their relationship seems like a more grown up and "professional" way of solving mysteries than Blue Velvet's Hardy Boys approach. It's a lot to chew on (yay I got to say it too) and I usually don't give much thought to "it's all connected" explanations, but in this case it'd be pretty rad, a nice little easter egg to maybe not explain what's happening by the end of TP, but what's going on in this world of Lynch's we've been following since nearly the beginning of his career.
One thing is for sure, most of Twin Peaks' core, over-arching themes is abusive relationships.
I'm significantly less stoned now, reading this, than I was then, writing it. Why's this fucking show only make sense when I'm probably too high to write a coherent sentence?
SPOILERS OBVIOUSLY, but we have no discussion forums, etc...
A lot of people (apparently unfamiliar with Twin Peaks and FWWM I guess) bitched about how this was "disappointing" but they missed all the stuff to chew on in this last episode.
Obviously, the finale had a theme of timelines being altered and/or reset, so it makes sense that, in a way, Part 18 is actually a re-do of Part 1 if the "Laura Palmer isn't killed" timeline is gone. There are references to Part 1 here, but Cooper, despite being usually pretty with it, doesn't seem to understand he's probably done something bad. This is where the tricky mystery is (basically Part 18 is a new beginning, which is a fairly clever end). The Return makes a lot of references to FWWM, and something I noticed most people missed about the last few minutes of the finale are those names that the woman living in Sarah Palmer's house gives to Cooper. The woman living there is supposedly "Alice Tremond" who bought the house from "Mrs. Chalfont" There's a lot loaded into those names and the last few minutes of the series. Tremond/Chalfont was the name of the woman who lived in the Fat Trout trailer park in the same trailer that Teresa Banks lived before she was murdered, though FWWM hints that Banks may have been murdered IN the trailer park and not somewhere else (as was thought in the TP series proper). Tremond is tied with the Black Lodge as well. Chester Desmond (who, weirdly, is only barely mentioned in The Return) disappeared while directly investigating Mrs. Tremond's whereabouts. Is Mrs. Tremond "Judy?" Did Cooper basically fall into a trap whereby now he is removed from reality like Desmond/Briggs/Jeffries/etc.?
Another small thing....as Cooper takes Laura (whoever) from her house, he notices a figurine of a white horse (which is made fairly obvious). The White Horse is of course a fairly big piece of symbolism in the series, and it seemed to only appear as an omen of something very bad happening or having already happened.
Like I said, there's a lot to chew on here, and it's obvious that this was intended to essentially extend the mystery even further...a way of implying that Twin Peaks is definitely over, 100%, and the basic story of Cooper and his doppelganger is finished and that the Laura-is-still-alive timeline might be the real one and now TP just hums along on its own and everything turns out better, but for Cooper in another reality or whatever, the story is just beginning. Maybe we'll see another show, but I doubt it.
The Final Dossier (Mark Frost's next book) comes out in October and will probably have some interesting details and tie-ins to the show, but who knows if any of this will lead anywhere.
John Holmes Motherfucker
I'd like to see them pick up a new storyline. Maybe a spinoff centering on the adventures of Agent Tammy Preston.
I submitted "On The Air" maybe a month ago, and I was the only person who voted for it. "On the Air" is Lynch and Frost's half hour comedy from Just after Twin Peaks, and it was a flop. A lot of the humor comes off as broad and forced, but I think there are some truly great moments. It's about live TV in the fifties, and Lynch has a great sense of the period, its beautiful artifice. It didn't have legs, and i don't blame whoever canceled it. The first episode culminates in Ian Buchanan (Richard Tremaine from PEAKS) being lowered head first into a bowl of dog food. That moment is fucking great, and I will fight anyone who says it isn't.*
I can't remember how to creat a playlist, and its 2:30 AM. Here's a few links, there are 7 in the channel.
Most likely Judy is 叫得 (Jiao Dei), the being inhabiting Laura's mother. Sarah Palmer was shown to be very susceptible to possession towards the end of Twin Peaks season two, in which Windom Earle used a spell to communicate through her to Garland Briggs. At one point in Twin Peaks the Return, Sarah slides aside her face to reveal a dark void of evil, which is probably Judy. That's why Sarah in modern Twin Peaks wails in anguish when Cooper travels back in time to save Laura - Cooper saved the one being that could have defeated Judy, and in a hurry, Judy sends away Laura forcing Dale to find her in the alternate timeline.
When they finally arrive at the Palmer house in the parallel timeline, Laura remembers being raped by her father and senses Judy in the house waiting for her. Perhaps she needed to remember everything to fight Judy. We don't know what'll happen next.
I hope that there's a movie or some more episodes that'll wrap this up, and maybe tell us what happened to Chet Desmond from FWWM, but at this point I'll be content either way. I'm very thankful to have been able to experience this journey. It's been epic.
All that is possible, true. A few other things: the weird noise when Laura Palmer disappears from Coopers hand is the noise the Giant showed Cooper at the beginning of the series. He also mentions Richard and Linda (Cooper and Diane's "names" in the alternate reality). He also mentions a number which I don't remember being tied to anything, but there's a few details I'm sure I missed.
The song that plays when Cooper and Diane have sex is the same song that was playing on the radio in 1945 before the Woodsman takes it over.
It's enough to make you want to eat a brie and butter baguette.
|Juice Eggs McKenna |
Something happened when Coop went into the motel lobby. We'll probably never know what.
I don't think it was Coop really. I think Coop didn't want to end up like Desmond, so he created another doppelganger of himself to save Laura.
While waiting in the car Diane saw herself near the office. That was the real Diane. Coop created doppelgangers of them both so they could finish the job for him. The doppelganger-Diane left new-Coop because she could tell he was different - she just didn't realize they were both different. They both had new names similar to how Dougie Jones had a different identity.
New Cooper seems to be similar to both Coop and Bad-Coop. One similarity is that Bad-Coop turned down coffee, and new Coop seemed indifferent to it in Judy's Diner. New Coop - Richard, has the same mission as Cooper - he just doesn't have that same inner spark of confident optimism.
Another theory is that the new-Dougie that shows up at Dougie's home at the end is really Cooper - the doppelganger that was sent backwards in time was the new doppelganger that was shown being created.
A third theory is that Laura and Cooper are both dreamers sharing the same dream. Cooper is actually Richard who's good and bad sides are represented by Good Coop and Bad Coop. Laura is a teenage girl who's abused by her father and dreams about dying and having a father figure in Good Coop. When Laura hears the distorted sound of her mother calling her to wake up from the dream, Laura screams in terror and refusal.
Apparently, it's been basically confirmed through comments made by a few of the actors, that after leaving the Black Lodge, it is no longer Cooper, but rather "Richard" and Kyle MacLachlan was specifically told it was a different character born from Cooper somehow, but not quite Cooper.
|John Holmes Motherfucker |
As an artist, David Lynch is, above all, fearless. He's not afraid to risk self-parody. And he's not afraid to risk pissing you off.
I spent all season expecting nothing but pure Lynch from the ending, and he still managed to surprise me. He's one hell of an artist. It's been a pleasure talking about TP on here with you, JHM.
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