Drink full: The TWIN PEAKS 2017 spoiler thread, part 2

please be specific

xp Michael I'm pretty sure it was present day Kyle and Sheryl in the leading-away scene, lit in a way that made their age ambiguous.

Laura walking thru woods with 2017 Cooper seemed to be deliberately out of focus/in shadows when she was facing the camera. May have been Sherilyn Fenn in a wig ? There was something not-quite-FWWM-era about the way she looked.

MatthewK beat me to it

Man julee cruise is a nut case

Meanwhile

David Lynch talking about Twin Peaks & disrupting time in 1995, in Chris Rodley's great Lynch on Lynch book... pic.twitter.com/boWV2LEmWk

— Aaron Stewart-Ahn (@somebadideas) September 4, 2017

guess he changed his mind about something other than lunch coming out of it, though.

The man who has been shot through the head in Carrie Page's house isn't credited. Did the actor look familiar to anyone?

What are people associating 'little girl who lives down the lane' with? I only have Baa Baa Black Sheep (although that's usually 'boy'), but folks seem to be talking about something else.

http://m.imdb.com/title/tt0074806/

the book:

"It is about a 13-year-old girl named Rynn Jacobs who lives alone in a house, and murders people who threaten her solitary life."

so it's Laura then?

Thanks Maura - I've even seen that, it just didn't come to mind.

- my girlfriend who read The Secret History mentions there's lots of talk of rocket engineer and L. Ron Hubbard's occult sex rituals that were intended to conjure evil spirits.
- the Experiment (Judy?) appears in the glass box when Sam and Tracy begin to have sex.
- the love scene between Cooper and Diane has an almost ritualistic, robotic feel. They seem unsure how to initiate it at first. What they are trying to accomplish I don't know, but Diane disappears afterward, and Cooper is in a different hotel with a different car and a different name.

Sorry, 1st paragraph should have read "rocket engineer and L. Ron Hubbard's cohort Jack Parsons"

The books are perhaps problematic to the 'dream' theories. Presumably Tammy can't write them if Laura doesn't die, but we have them.

(But I think such problems are taking the time-travel element too seriously)

The ending of Back to the Future vaguely horrified me as a kid. I didn't understand why it had this triumphal tone when he clearly fucked up. His real parents were gone forever and had been replaced by these parallel universe analogues. Lynch gets it, though.

I'm now pretty certain Judy (possibly acting through Sarah Palmer) was who/what was talking to Mr. C on the phone in the motel room in season 2. Judy tells him that she (it?) missed him in New York, where she had just been killing Sam and Tracy. There's no one else besides MIKE who would want "to be with BOB again" that badly either, since Judy is the Mother. Philip Jeffries tells Mr. C he already met Judy; he means when they talked on the phone.

This naturally assumes that Judy and "Experiment" are the same entity

it seems 'likely' that judy is the 'experiment' is the 'mother' which births BOB and is very possibly inside Sarah Palmer (although if Sarah is the girl who ate the bug that doesn't really make sense)... but it could all be something else. there is very little in the show to let you know definitively one way or the other.

I thought of the Experiment as something created by the atomic explosion, not as an ancient entity, but I'm not gonna say it's impossible.

I don't think the atomic explosion necessarily created Judy but opened a rift for it to enter.

want to read something incredibly long and wrong but which occasionally seems to shed light on certain aspects of the show, particularly the idea that there are multiple "realities" happening at once, but then goes waaaaaaaaaaaaaaaay overboard with an interpretation of the symbolism of 1 and 2 and 3 (and 4) (and many other numbers) to an absolutely fucking absurd degree?

https://medium.com/@fatecolossal/the-dream-of-time-and-space-breaking-the-code-of-twin-peaks-f11484915098

Given that we also see the Experiment passing through the glass box, it's entirely possible/likely that it traverses the different... spatio-temporal apparatuses we get a glimpse of, in one way or another. Cooper does it as well, after all. I'm still not sure at all about the Sarah = bug-eating girl theory but pretty much take the idea that the Experiment is Judy for granted at this point, as well as the idea that Sarah is in some way connected to Judy (possibly through the way her grief opened her up, as was mentioned above, rather than any direct bug-related possession). The Sarah/Judy connection is so very strongly implied by Cooper bringing Laura/Carrie to the Palmer family house (as part of the plan mentioned by Gordon at the start of Episode 17) that it strikes me as one of the least ambiguous things we can get out of this finale (but who really knows etc.)

Sarah stabbing the photo of Laura v reminiscent of opening shot of FWWM

(Also, what is very likely the Experiment appears on Hawk's map, which itself serves as a signifier of ancientness)

Lynch tomorrow when everyone asks about Part 18 #TwinPeaks pic.twitter.com/uSJmR0mcIx

— Scott 🌹 (@scott325) September 4, 2017

I think there are problematic elements this season (mostly involving violence/treatment of women), but the deep, twisting mystery that never fully reveals it secrets despite a seemingly endless momentum of clues is one of my favorites things ever.

Don't think we've mentioned this yet: when Carrie Page opens the door for Cooper she asks "Did you find him?" When Cooper doesn't answer she says "So you're telling me you didn't find him?" Another instance of Looking For Billy (presumably) as an indicator of time or consciousness being out of joint.

oh whoa i forgot about that

btw this rules

Here's a 1990 SATURDAY NIGHT LIVE parody of TWIN PEAKS starring Kyle MacLachlan, whose performance is superb. https://t.co/QfzKOEZA0W pic.twitter.com/6OfK0WKz29

— Matt Zoller Seitz (@mattzollerseitz) September 5, 2017

Also I wonder if Mark Frost knew all this when they first cast Grace Z.

In the early 1960s, Zabriskie was among a circle of Kerry Thornley's New Orleans friends. At one point, Thornley began work on a novel about her called Can Grace Come Out and Play?[1] Thornley later claimed to have had an "eight-year-long, off-again-on-again, affair/friendship/rivalry/ego-game/karmic unraveling" with her, though Zabriskie described it as "four and a half minutes in bed".[6]

Her sister Jane Caplinger worked as a typist in New Orleans District Attorney Jim Garrison’s office. Caplinger is reputed to have covertly produced all five copies of the first edition of the Principia Discordia in 1965.[7]

(Thornley's bonkers wiki for reference)

Whoa that's dope as hell.

xxp fyi that SNL skit has Kevin Nealon as Harry, Chris Farley as Leo, Phil Hartman as Leland, Victoria Jackson as Audrey, Jan Hooks as Nadine & the Log Lady, Mike Myers as the Man from Another Place, Conan O'Brien as Andy

Yeah that SNL skit is classic. KM plays it just like he would on the show.

whoa that's so awesome about Grace!

hope someone out there can help parse the final Jeffries scene.. there's def some psychic mind meld, info upload thing going on.

Norma's going to carry on making cherry pie the way she thinks best, not to please some random suit no one's ever heard of.

having had 24 hours to parse all this, i've turned around completely. lynch and frost are monstrously clever. i thought they were a step ahead of us the whole way, but it turns out they were light years ahead. to be blindingly original and wrong-foot everyone in today's avalanche of prestige/peak tv is no small achievement.

i'm also grateful to have watched this as it went out, with good people like you all to discuss it with, and with no expectation of the outcome.

anyone who starts watching it now will be told things like "you're wasting your time" or "the ending is fucking stupid", which is an incredible shame for prospective viewers. in hindsight the ending is complete genius because it's completely unexpected, because it gives us a whole new reason to rewatch the entire thing (which i will definitely do), and most importantly because it puts us in dale's shoes as the detective who follows all the wrong clues but never gives up. in that very last scene he's as disappointed, deflated and paradoxically determined as we are: just as he realises he's spent all this time trying like hell to solve this unsolvable thing, so do we; but you can see in his face that he won't give up, and neither will we.

honestly, a neat and tidy conclusion would have been a crappy letdown compared to this.

I've started thinking (probably too deeply) that the title of the BluRay set as "The Entire Mystery" means something, especially since there was a second edition missing disc 10 (and therefore the Between Two Worlds interview/discussion between Lynch and the Palmers in/out of character) which was called "TP:TOS, FWWM and The Missing Pieces" implying that there is something in Between Two Worlds that completes the story. "Entire" suggests to me that all of what we might call "Twin Peaks" is in there and TP: The Return is something else entirely, or rather it's not at all about 'who killed Laura Palmer' or 'a town where everyone knows everyone and nothing is what it seems'. And because it's not part of the mystery, it's not there to be solved.

That said, my hot ("realistic") take:

Everything we see, and the source of the glitching and other visual inconsistencies (like the "Where's Billy?" diner scene) are a result of that reality breaking down. It is in superposition; it never existed because Cooper always stopped Laura going to the railcar in FWWM but he didn't always do it until he is given the route back there from the Lodge and at that point the alternate reality collapses. Laura does not die and therefore her death does not cause the massive outpouring of grief and suffering (and garmonbozia) throughout the town which was expected and part of The Mother's plan (assuming Sarah is The Mother - there's an interesting scene in S2 where it's possible to infer she knows what's going on in the house and willing consumes the drugged drink Leland brings her, as she starts crying in front of her mirror at bedtime before the drink is brought to her).

Laura is not murdered and escapes to Texas. Through regression therapy and other techniques (I'm not a trauma counsellor, I have no idea) Laura creates the Carrie Page persona as an alternate identity to cope with the horrors she was subjected to but doesn't cope with reality as a adult any better than she did as a teenager and so grabs "Richard's" offer to 'get outta Dodge' with both hands because it's better than whatever's coming to her. An imagined noise (Sarah shouting her name) causes the created narrative to collapse and she remembers everything.

Life is a mystery
Everyone must stand alone
I hear you call my name
And it feels like home

Of course that's clearly bollocks. Superficially this is far more like MHD or IE or Lost Highway but I think it goes much deeper than that.

My hot (theoretical) take:

This is Lynch on Lynch: The Movie.

Lynch has said this is it, the end. And he is Laura/Dale at the conclusion, trapped in recursion of his own volition. To a degree, his career is about refinements of the same core ideas about identity expressed through dreams, duplicates and surrealism that he has worked on his entire life with varying degrees of public understanding. "What year is it?" transposes for "What film is it?" or "How far am I down my repeated message?"

And by explaining, he shows us his influences. We get scene replications from Wizard of Oz and Carnival of Souls, literally Sunset Boulevard on screen (which turns out to be the key to understanding) and heavy use of imagery from Magritte and Bacon. The 'plot', such as it is, is a tour through his cinematic career, his paintings, his music, his sculpture and the implicit why of his creation. It's a documentary posing as a narrative, like Tierra Sin Pan.

Post on the #TwinPeaks newsgroup from the day after the season 2 finale aired back in 1991. *Mike voice* Is it future... or is it past? pic.twitter.com/wOM8HPPCjt

— Andy Kelly (@ultrabrilliant) September 4, 2017

Quite a few scenes popping in my head, wondering why they were there, like Ashley Judd arguing with her ill husband. You could ask this about so many scenes of course but some seem more significant than others.

Perhaps a lot of us fans are reading a lot into what might be purely aesthetic choices and scenes created just because they wanted to work with certain actors.

ha i completely forgot about ashley judd's ill husband, it feels like years ago

^otm. we are dreaming the dream with them. in the end it really doesn't matter the reason for any one scene because the meta reason is bringing the actors together again and creating new mysteries from there.

i took Ben/Ashley's storyline to be a resolution for his character sleeping w a married woman in the original series. now when he refuses Ashley Judd he is told "You're a good man". that scene from way back when we walks in with all the religious books, determined to be a good person, this is who he is now.

im seeing a lot of confusion (not itt just in general) about Cooper ending up with Diane rather than Annie but it makes sense to me. he has to do karmic penance for what his doppleganger did to Diane. early on he asks her "Do you remember everything?" so her crying and covering his face felt like working through that trauma.

it was good to see Shelly/Norma at the diner. but for real you can't expect every person to not go anywhere in 25 years and keep the same jobs. herein lies the false-ness of the dream Twin Peaks season 3 many people feel cheated out of (what they "Want, not need"). there is something almost Judy about wanting to keep people trapped in that cycle. for that reason Ed/Norma felt real and their resolution felt earned. at least it was as real as anything else this season.

dgaf about annie but her appearance in pt 17 was the only part I was iffy about - I know people emerging from the lodge have all this extra knowledge but jumping immediately into a makeout sesh with her rapist didn't seem to be doing right by the character at all. Part 18 and the (deeply upsetting and horrible) sex scene vindicated it in my eyes tho

It occurred to me in a dream last night (and so may have zero relevance/applicability or may be the absolute and unimpeachable truth) that the scenes which take place in the liminal spaces are the anchors to the entire narrative, and while I think the depictions of those spaces are merely loose interpretations of the phenomena taking place (e.g. I don't think the Fireman is literally a backwards-talking giant), the events taking place within the various Lodges and Rooms have perhaps the highest claim to some sort of objective (or at least relatively immutable) truth of anything that happened in the series. Once you've entered one of those spaces, you are linked to it timelessly. Your seeming departure from that space is simultaneous with your inevitable return because that space encompasses all times simultaneously, but every departure interferes with and alters the reality outside of that space.

Look, I'm still trying to piece this together, okay? It had a(n Owl Cave) ring of truth to it, though.

Did we see a single owl at any point in the entire season?

one flies overheard when Good Coop/Dougie gets home to the family for the first time iirc

thought i saw a few owls flying over dougie's (and only dougie's) house a few times, also over dale when he's first dropped off at dougie's house. maybe ONE ONE NINE was an owl too, fuck it who knows