💫 Summary
This video provides a detailed explanation of the TV show Twin Peaks, covering all seasons, the film, and the hidden meanings behind the story, exploring themes of darkness, mystery, and the importance of attention from the audience to fuel the show's power. It also delves into the symbolism of objects like engine oil, black coffee, and creamed corn, and discusses how the show was revived due to the fans' desire for closure and explanation.
✨ Highlights📊 Transcript
This section of the video provides a spoiler warning for Twin Peaks and explains David Lynch's approach to storytelling.
The video warns that it will spoil all of Twin Peaks and advises viewers who haven't seen the show to avoid watching it.
David Lynch's films are considered impenetrable and he is known for being tight-lipped about their meaning.
Lynch conveys his ideas through pictures, sounds, and dialogue rather than plain English.
He believes that revealing the meaning behind his work diminishes the audience's ability to explore it on their own emotional terms.
The investigation in Twin Peaks exposes the darkness in the town, making the audience more invested in Laura as a person.
The investigation reveals the sadness and pain caused by Laura's murder.
The increasing strangeness of the show keeps the audience engaged beyond just watching.
The point of the show is to face the full extent of darkness in order to appreciate the simple bliss of everyday life.
David Lynch created Twin Peaks to address the issue of TV being out of balance and desired proper balance in television.
The entities in the "in-between place" of Twin Peaks, like the Wizard of Oz, are ordinary people using machinery to create a fantasy world for us to explore.
The men behind the curtains are the ones creating and driving the story.
Television is represented as the world where the entities are from, with a constant soundtrack and electricity.
Fire symbolizes both destruction and creation, depending on the intention behind it.
The oil that fuels the light of investigation in Twin Peaks takes a literal form, represented by a white-rimmed pool of engine oil at Glastonbury Grove.
The oil is referred to as an opening to a gateway.
The Red Room is reflected in the pool of engine oil at Glastonbury Grove.
The cup of black coffee in the finale episode reflects Laura Palmer inside the Red Room, indicating that engine oil and black coffee represent the same thing.
The fish in the percolator is a symbol of having an idea on the brain, as ideas fuel the show like fire.
The significance of TV dinners and creamed corn in Twin Peaks explained.
Sarah and Carrie eat TV dinners while being involved in murder and possessed by evil.
Creamed corn is a fertility symbol in Twin Peaks and represents the birth of the show.
Our attention to the show keeps it running and allows Black Lodge entities to consume our attention.
Bob wants an audience for his work and leaves his signature on the kills to keep our interest.
Twin Peaks: The Return was brought back by fans who desired closure and an explanation of the mysteries.
The show was revived because of the fans' love for it and their desire to know what would happen next.
The fans wanted closure and an explanation of the mysteries in the story.
David Lynch gave the fans what they wanted, but the revival lacked the original intentions of Twin Peaks.
The section explains the core idea behind Twin Peaks and the shift in balance and tone in The Return.
The film's message is to expose darkness through the love of a small town girl, which is the core idea of Twin Peaks.
The love and balance represented by the bikers in Twin Peaks' Roadhouse is no longer found there in The Return.
Wally Brando's appearance and Marlon Brando impression reference the character Johnny Strabler from the film "The Wild One."
In The Return, violence and fear invade the Roadhouse, which becomes a place for trashy gossip and fights.
The Return of Twin Peaks provides explanations for various elements in the show, but the satisfaction is hollow as the evil remains.
Numerous elements are explained in The Return, such as Judy, the origin of fear in Twin Peaks, Bob, the Woodsmen, the Unified Field, the Fireman, Laura Palmer's origin and importance, the Blue Rose, TV as a dream, the dirt mounds, the mechanics of the Owl Ring, the Owls, the fish in the percolator, the Owl symbol, and what Laura Palmer saw behind James.
The infamous sweeping scene represents the abstract concept being shown to the audience.
Despite the explanations and closure of loose ends, there is a sense of hollowness and the evil remains.
The Roadhouse is in danger of being lost due to the actions of two fifteen-year-old students.
00:04This video will completely spoil ALL of Twin Peaks. That means Season 1, Season 2, the
00:10Twin Peaks film, Fire Walk with Me, and Season 3: The Return.
00:13If you haven't seen all of it (in that order) and you have any intention to, do not watch
00:18this video until you have. Twin Peaks is best enjoyed when it is shrouded in mystery and
00:23you are taking an active part in solving and interpreting clues to try and determine the
00:27ultimate meaning behind the show. That will be wiped out if you watch this first. If you
00:33have seen all of Twin Peaks, and you enjoy diving into the mystery and trying to figure
00:37out what things mean and then discussing theories with other fans, this spoiler warning is for
00:42you, too. Even you, the Twin Peaks expert, still might not want to watch this video,
00:48and here's why:
00:49David Lynch, the co-creator of Twin Peaks, makes films that are considered by most to
00:52be impenetrable, and he is notoriously tight-lipped about the meaning behind any of his work.
00:58Believe it or not, Eraserhead is my most spiritual film.
01:03Mmhmm... Why? Elaborate on that a little bit.
01:06No, I won't. Umm...
01:07Rather than expositing his ideas to people in plain English, Lynch abstracts them out
01:11into pictures and sounds and dialogue that he uses to convey the ideas more effectively
01:16with intuition than he could with words.
01:18"I'm not always good with words. Some people are poets and have a beautiful way of saying
01:23things with words. But cinema is its own language."
01:28It is Lynch's intention that we should "feel" his work for ourselves, and he believes that
01:32if we are told the meaning or the central idea, then this will diminish our ability
01:36to explore the idea on our own emotional terms, at the deepest level of understanding.
01:41This is a doughnut. It is very sweet and very good. But if you've never tasted a doughnut,
01:48you wouldn't really know how sweet and how good a doughnut is if you've never had that
01:57Another reason Lynch doesn't like clear explanations is that he thinks they give the audience a
02:01sense of closure, which makes us take things for granted and keeps us from going any deeper.
02:06We stop thinking about it, and we move on. As we've learned from the show's second season,
02:10as soon as you explain it, it's dead, and after that, you're never going to get to the
02:14real bottom of things.
02:16The experience of Twin Peaks is about the mystery, and what I'm going to share with
02:20you WILL take most (if not all) of the mystery out of the show. I know that's a big statement,
02:25because art is open for interpretation, so who's to say that any one interpretation is
02:30correct? Well, as David Lynch told Chris Rodley in an interview about Lost Highway,
02:35"But the clues are all there for a correct interpretation, and I keep saying that, in
02:41a lot of ways, it's a straight ahead story. There are only a few things that are a hair
02:46That's very interesting, that someone who is so concerned with personal interpretation
02:52would imply that there can be incorrect interpretations for his work. I accept the possibility that
02:57I could be wrong about Twin Peaks, but I have the sneaking suspicion that once you see things
03:02in a certain way, you will not be able to unsee them that way. The answer has been hiding
03:07in plain sight, and it will permanently alter the way you look at Twin Peaks, so tread with
03:15The things I tell you will not be wrong.
03:18That being said, I'm of the firm belief that knowing the secret actually enhances our appreciation
03:24for the show, even if it goes against Lynch's intentions, so I do recommend you continue
03:28with me on this journey of peak discovery, providing you've done all the thinking and
03:32exploration and theorizing you intend to do first.
03:36Don't rob yourself of the opportunity to go dreamy.
03:39We never get to, you know, go dreamy or anything. This is absolutely horrible.
03:49Twin Peaks was created by David Lynch and TV writer Mark Frost, but for this video,
03:53I will be focusing on David Lynch's side of things, not so much Mark Frost's.
03:58* Reason 1: A significant portion of the answers we're looking for come from the film and from
04:02Season 3, and more specifically from directorial decisions, visual associations. This is David
04:08Lynch's department. * Reason 2: Frost co-wrote the third season
04:12with Lynch and then went off to write his second Twin Peaks book while Lynch directed
04:16and did additional writing on The Return. According to Sabrina Sutherland, executive
04:21producer of Twin Peaks:
04:23"David did keep writing on the show after Mark left to write his book."
04:27Also according to Ms. Sutherland, David Lynch has never read Frost's books. So, whatever
04:31is in them is clearly not important to David Lynch. Are the books interesting? Absolutely!
04:37Do they expand on the universe of Twin Peaks? Yes, they do! Am I saying they aren't canonical?
04:43No, I am not. Do they help to explain anything that's going on? Not in the slightest. In
04:50fact, they are self-admittedly full of contradictions, and that's the point of them.
04:55The idea was that it was all found documents, and if you've ever spent time (and I take
05:00it you have) researching, or exploring, or going through old records or newspaper accounts,
05:04the past is lathered with inaccuracies and mistakes.
05:08Now, this is not to downplay Mark Frost's contributions, which are significant and numerous.
05:13Even he admits that it's impossible to tell which ideas came from him and which ideas
05:17came from Lynch, and Lynch has stated that his ideas and the ideas of his writers merge
05:22to become both their ideas.
05:24"When you write with somebody they become our elements. It doesn't matter who came up
05:29with what, initially. It becomes our stuff."
05:32However, it's clear from their work that Frost and Lynch have different ideas about what
05:37they were making with Twin Peaks, at least at the beginning, and the thread Lynch was
05:41pulling on with Twin Peaks runs through all of Lynch's films. I'm gonna stick to crediting
05:46Lynch because it's easier that way, but I'll give Mark Frost credit wherever I can. If
05:50I credit Lynch with something Frost did, I apologize. It's just too complicated to pick
05:55it apart and attribute every last little thing.
06:01So, we've seen the show, we've seen the movie, we might have even read the books. We've had
06:06our forum discussions, poked around on the Twin Peaks fan Wiki, watched a few "Best Theories"
06:11videos on YouTube... Now, it's finally time to understand what the H it was we were watching.
06:17I warn you, it may take awhile to actually get to the understanding part, because this
06:21show is so complicated that you kinda have to explain everything before you can explain
06:25everything. There's a lot of groundwork that has to be laid. I'm also going to be making
06:29some claims that you might not want to accept at first, but I promise you that once we get
06:34to the analysis of The Return, everything will start to click into place.
06:38The laying of groundwork starts with the show's history, because the making and cancelling
06:42and prequelizing and returning of the show are essential, necessary, paramount to the
06:48explanation of what's happening in the show.
06:50It is a story of many, but it begins with one.
07:00In the late 1980's, David Lynch and Mark Frost created Twin Peaks initially as a way to humor
07:05Lynch's agent, Tony Krantz, who wanted Lynch to do another mystery story about small-town
07:10America in the style of his hit, Blue Velvet. "This notion that the girl next door was leading
07:15a rather desperate double life that was going to end in murder came center stage. As we
07:19figured out who she was and realized that she was dead, everything flowed from there,"
07:23related Frost, and the show soon developed into a complex web of secrets unraveling into
07:28multiple story arcs with one ongoing question at the center of it all: "Who killed Laura
07:33Palmer?" This format, well established by today's standards, was not the norm for 80's
07:39Even before the show premiered, there was skepticism about its success, as the studio
07:43and TV critics at the time wrongly insisted that audiences were not ready to accept the
07:48idea of a murder mystery continuing past the end of an hour-long episode. 80's audiences,
07:54it was presumed, liked their Matlocks and their Magnum P.I.'s wrapped up before bedtime.
07:59Despite this, the April, 1990 Twin Peaks premiere, directed by David Lynch, ended up being a
08:04surprise hit, with millions tuning in each week for the next clue in the central mystery.
08:09Although the show was primarily about FBI Special Agent Dale Cooper's investigation
08:13of Laura Palmer's murder, as you know, the show played out more like your standard, late-80's
08:18soap opera. Love triangles, plots of betrayal, conspiracies, trysts... Aside from the film-quality
08:25cinematography, the show's genre-bending, experimental nature was what separated it
08:29from the rest. We've got a soap opera playing out inside a police procedural with a dash
08:34of kooky sitcom, and then the real mystery coming from the paranormal pieces of the investigation...
08:40Dale Cooper has bizarre dreams filled with clues that all end up coming true. A woman
08:45that carries a log wherever she goes seems to have otherworldly insight. A one-armed
08:50man who might be possessed by a spirit pursues a long-haired man dressed in denim who is
08:54the subject of visions shared by multiple characters...
08:58This is the stuff that really stuck with people and kept them coming back for more. There's
09:01the distinct feeling that some unseen force is driving the plot from the shadows. What's
09:06really going on, and what does all this supernatural stuff have to do with it? Avid watchers were
09:11eager to see how it would all tie together in the investigation's resolution at the end
09:15of the first season... Little did they know that Laura Palmer's murder mystery was the
09:21tree from which all of these branches of intrigue were growing, and to solve the murder would
09:26be to tear the tree up from its roots. Nonetheless, it was during the second season that the studio,
09:32under pressure from the audience, made the famously stupid decision to pressure Lynch
09:36and Frost to answer the question that was, famously, never supposed to be answered.
09:41"When we wrote Twin Peaks, we never intended the murder of Laura Palmer to be solved...
09:47Maybe in the last episode," reveal's Lynch.
09:50Frost responds, "I know David was always enamored of that notion, but I felt we had an obligation
09:54to the audience to give them some resolution. That was a bit of a tension between him and
09:58me... It took us about 17 episodes to finally reveal it, and by then people were getting
10:02a little antsy."
10:04Lynch concludes, "All I know is, I just felt it–that once that was solved, the murder
10:09of Laura Palmer, it was over. It was over."
10:14Seven episodes later, the studio, on behalf of the audience, forced the killer's reveal
10:19in what is still one of the most haunting and disturbing scenes ever to appear on broadcast
10:23television, again directed by David Lynch... and then the show took an immediate water
10:27skiing vacation. A costumed cartoon villain tampers with a local beauty pageant, a new
10:37love interest for the main character arrives despite the fan-favorite Cooper-Audrey ship,
10:41and the cool kid runs off to get caught up in some incestuous black widow sub-plot that
10:46nobody cares about but still takes up what seems like all of the screen time... It's
10:51understandable that that there would be a desperate scramble to come up with something
10:54to fill the vacuum after the heart of the show had been torn out, and it didn't help
10:57that David Lynch was so disgusted with the decision that he checked out entirely. David
11:02Lynch left the show because the studio made him reveal the killer. If you were wondering
11:07why Season 2 after Episode 7 is so awful, this is it.
11:11"I had very little to do with Season 2, and I'm not happy with it. Up until 'Who Killed
11:16Laura Palmer?' I was with it 100 percent, and then it drifted away. We had a little
11:21goose that was laying golden eggs, and they told us to snip its head off."
11:26"The pilot is the only thing I am particularly, extremely proud of. There were great moments
11:31along the way. The second season sucked."
11:34"It got very stupid and goofy in the second season; it got ridiculous. I stopped watching
11:40that show because it got so bad."
11:43For this reason, the second season is jam-packed with, "Let's do this! That seems like something
11:47David Lynch would do!"
11:50Yes, I know the "Josie in the furniture" idea was supposed to have come from Lynch, but
11:55if it did (and it wasn't a joke), it came from him long before he'd already left, so
12:00by the time they were supposed to put it into the show, he wasn't around to tell them what
12:04it was they were supposed to be doing with it. So, I think my criticism stands.
12:10The killer's reveal led to an obvious decline in quality, and the studio started messing
12:14around with the show's time slot. These factors drove the ratings into the ground, causing
12:19the network to put the show on indefinite hiatus and sit on the last six episodes. This
12:24prompted a grassroots letter writing campaign, started by hardcore fans and promoted by Lynch,
12:29to keep the show on the air and show those episodes.
12:32If it has to end, you know, that's alright. But if it doesn't have to end, that's even
12:38better. And I'm asking people to write to Bob Eiger, the president of ABC, and if I
12:44could, I can give the address.
12:46Oh yes, yes please. I love annoying these network weasels.
12:49This successfully influenced the network into running the episodes so Lynch could give Twin
12:54Peaks a personal send-off in the masterpiece season finale, airing June of 1991, a little
12:59after the show's first birthday. Through his direction, Lynch rescued the plot after hijacking
13:04the script, turned the Scooby Doo villain into somebody actually terrifying, and put
13:09the concept of mystery back center-stage with another cliffhanger that left us questioning
13:13the fate of poor Agent Cooper.
13:15"You killed my show, I came back to bury it."
13:21And such was the ending to a cultural phenomenon that has been cited numerous times as the
13:25most influential TV series of all time. Without Twin Peaks, there's no X-Files, there's no
13:31Sopranos, there's no LOST.
13:34The number of people who cite it as an influence has always astonished me. People from The
13:38Sopranos to LOST to Mr. Robot, which is now going... LOST I think they said, "Because
13:45of the way that you were able to just not worry about wrapping things up." Obviously,
13:50LOST was kind of famous for doing that (or not doing that).
13:53Only one month after the cancellation, David Lynch announced that he would be creating
13:56a Twin Peaks film, and the fanbase rejoiced that they would finally be getting the answers
14:01that they never got in the show. It was a point of contention between Lynch and Frost
14:07over whether the film would be a sequel or a prequel. Frost wanted to continue from where
14:11the story left off and fulfill his feeling of obligation to the fans, while Lynch wanted
14:16to make a film about Laura Palmer's last days.
14:18"At the end of the series, I felt sad. I couldn't get myself to leave the world of Twin Peaks.
14:24I was in love with the character of Laura Palmer and her contradictions: radiant on
14:29the surface but dying inside. I wanted to see her live, move and talk. I was in love
14:34with that world and I hadn't finished with it. But making the movie wasn't just to hold
14:39on to it: it seemed that there was more stuff that could be done."
14:42So, Frost opted out, leaving Lynch to work with Robert Engels, another writer on the
14:47TV series. Twin Peaks: Fire Walk with Me would be released about a year later, in 1992...
14:53to no fanfare.
14:55The film begins with the investigation of the murder of somebody nobody cares about,
15:00conducted by not Dale Cooper, much to the audience's dismay - Kyle MacLachlan, who played
15:04Agent Cooper, had requested a much smaller part, partly because of the failure of Season
15:092 and partly because he thought a Dale Cooper reprisal would get him forever pigeonholed
15:13into the role. The dismay deepened once fans got past the opening scenes and very quickly
15:17realized that they were not where they thought they were. Missing was the quirky, mostly
15:22straightforward crime drama/soap opera/sitcom that aired on TV, along with many series regulars
15:27whose scenes had to be cut for time and tone.
15:30The chronicling of Laura Palmer's last week of life, while harrowing and equally as mysterious
15:35as the investigation of her death, seemed to series veterans to be a rehash of things
15:39they already knew, despite the film giving us a fascinating deep dive into the world
15:43of the Lodge and its inhabitants. This supports the lesson learned from the forced conclusion
15:48of her story; her murder had been solved, and the audience was done with her.
15:53It was our idea that Laura Palmer's killer would not be found. And once you solve that,
16:00we felt we'd be, you know, finished. And it was true.
16:03In the absolutely abysmal reviews the film received, criticisms include the switch in
16:08tone, the non-inclusion of popular characters, Mark Frost's absence, the decision to make
16:12it a prequel, and the Laura Palmer drama rehash. It was booed at Cannes, it was canned in the
16:18press, it was depressing for people looking for answers after the show's ending, and the
16:22response ended David Lynch's dream of Twin Peaks. Thanks, 1992 idiots.
16:27"And then there's often something in the air that keeps people from actually seeing the
16:32work for what it is. There's something else that's maybe not real that they're reacting
16:36to more than the work. If some time goes by, they see the same thing again but now it's
16:41more worthwhile. That happens sometimes.
16:43I feel bad that Fire Walk with Me did no business and that a lot of people hate the film. I
16:48really like the film. But it had a lot of baggage with it. It's as free and as experimental
16:53as it could be within the dictates it had to follow."
16:57And that was the sad conclusion of the Twin Peaks story, only two years after it began.
17:02Over time, its popularity waned, even as its legacy lived on in other shows it inspired.
17:07But, the internet kept the dream alive, going all the way back to the era of Usenet newsgroups.
17:12Well, what's great about it is it's a show that was driven by fan interest initially,
17:17and it's the fans who have kept it alive all these years. We owe them a big debt of gratitude,
17:21because they kept the flame burning.
17:24Why? The mystery! The Twin Peaks mystery was so powerful that the show's cult following
17:29had been spreading Twin Peaks around and working together obsessively to try to solve the mystery
17:34for twenty three years after cancellation when David Lynch tweeted this almost subtle
17:38hint about a possible third season...
17:40Suddenly, it was twenty five years later. I was old, sitting in a red room.
17:46It was exactly twenty five years after Fire Walk with Me that Twin Peaks: The Return premiered
17:50on Showtime and internet streaming services. Finally, answers... right?
17:56The story should revolve around Dale Cooper, but instead revolves around the doppelganger,
18:01who is in search of a mysterious entity known as Judy, while the good Dale Cooper is trapped
18:05in an unresponsive state and spends half the season staring into space while madcap shenanigans
18:10play out around him (and it's baffling for everyone watching). Compared to the original
18:15series, there's a massive change in tone and tempo. Most of the cast returns to reprise
18:20pretty much their exact same roles (but different) in what seem like supplementary vignettes,
18:24and numerous confusing deadend plotlines are peppered throughout.
18:28Also, have you seen Episode 8? Episode 8, am I right? It's so artsy. It's like an hour-long
18:35art project. How did Showtime let him get away with it, am I right?
18:40You guys saw Episode 8, right? That's crazy.
18:45The season culminates very conveniently in the destruction of Dale's doppelganger. But
18:51the show wasn't over. Where to go from there? Dale Cooper travels back in time to save Laura
18:57Palmer from being killed, and what happens next is the current most-pressing mystery
19:01of Twin Peaks. Laura disappears, Cooper ends up back in the opening scene, he exits the
19:06Lodge, and then he and Diane exit their own identities. Cooper takes a Laura Palmer that
19:12isn't Laura Palmer to Twin Peaks where he discovers that Laura Palmer never existed.
19:21What year is this?
19:24And this is the current state of things. Twenty five years worth of creator interviews, DVD
19:28box sets full of special features, a feature length cut of deleted and extended scenes
19:33from the film, eighteen hours worth of extra show that was never going to exist, and still
19:39the mystery persists... "What is going on in this show," we want to know? Would a Season
19:474 give us the answers? I thought Season 3 was supposed to give us the answers. I thought
19:52the film was supposed to give us the answers, and all those did was bury us six levels deeper
19:57in questions! But, what if I told you that we didn't need a Season 3 or 4, and that the
20:03answers to our questions have been sitting right in front of us for thirty years? What
20:08I'm trying to say is, don't worry about the ending - worry about the beginning. If we
20:13figure out what was going on in the early 90's, we'll get Season 3's ending for free.
20:18To understand the ending, we need to understand the rest first.
20:23There was a fish in the percolator.
20:33There have traditionally been three ways to explain things in Twin Peaks. The first way
20:36is the Jim Belushi way, the Matthew Lillard way. Not that I don't appreciate their work.
20:41I love them both to death. But...
20:44I think it's weird. Anyone else? Super- If you're not a "Lynchian", I mean, If you're
20:49not a Twin Peaks dude, you come in, it's a little strange.
20:52And you're just, you don't know- have a ******* clue what's going on.
20:56... Kind of like in real life.
20:58In real life.
20:59Yeah, yeah.
21:00Yeah. It's like a realistic picture.
21:01No, I mean, even in this scene, I have no idea what the **** we're doing here.
21:05No, no... Okay... Yeah...
21:06Chris Rodley suggests, "So at times it does seem as if you were delighting in teasing
21:10or mystifying the viewer." "No, you never do that to an audience. An
21:15idea comes and you make it the way the idea says it wants to be, and you just stay true
21:19to that. Clues are beautiful because I believe we are all detectives. We mull things over
21:25and we figure things out."
21:27Behind all things are reasons. Reasons can even explain the absurd.
21:33The next level up, the most common way would be the in-universe explanations. That is,
21:37how the characters in the show would understand what's going on, the explanations that the
21:41show itself gives for everything. Mark Frost's book explanations. But, the in-universe explanations
21:47are incomplete, obviously, because the ultimate mystery has stood for three decades. It can
21:52be difficult to tell which dots to connect, or how to connect them, or what even qualifies
21:56as a ‘dot'.
21:58There are clues everywhere, but the puzzle maker is clever.
22:02The hardcore intellectual fans, they're one step further along. They've got another way
22:07to explain things, which is that it's all symbolic. Anything that's happening in the
22:11show is secretly a meta commentary on... whatever makes the most sense to them at the time.
22:17The problem is agreeing on what the commentary is for each individual thing because of the
22:21commonly-held belief that any interpretation must be nothing more than your personal interpretation,
22:26and any other would be equally valid. I agree to a degree, but then what about this "correct
22:32interpretation" business?
22:34The clues, although surrounding us, are somehow mistaken for something else... The WRONG interpretation
22:42of the clues...
22:44Come along with me and I will show you a fourth way, the "galaxy brain" way of explaining
22:49Twin Peaks. To think of Twin Peaks as a series of clues that lead to the answer is actually
22:53backwards. The solution is to look at things from the other direction.
22:58The "idea" says everything. The "idea" dictates everything that follows. You just stay true
23:04to the "idea".
23:06Every David Lynch project starts from some central idea, and everything in the piece
23:09extends from or serves that central idea. So, if we think of the idea as a projector,
23:16shining a light through the lens will produce the image of Twin Peaks. This dot doesn't
23:22necessarily have to connect to this dot... but they are connected through the point of
23:28A simpler way to think of this is that Twin Peaks is a message, but it's encoded in a
23:32language of images and sounds and story, and the central idea was the key used to encrypt
23:37it. Trying to work backwards and figuring out a key from an encoded message is very
23:43difficult, but if we know the key, we can decode the message very easily...
23:47So, let's get to work finding the key.
23:50My dream is a code waiting to be broken. Break the code, solve the crime.
23:55The first part of our key will come from breaking down a core principle of David Lynch's artistic
24:00philosophy... and that's an easier task than you might think. People have tried before...
24:05"What makes something distinctly ‘Lynchian'? It's the bizarre mix of the macabre and the
24:11mundane, DUALITY, the revelation that the true fear comes from ambiguity, DUALISM, turning
24:18small town America over to expose the seedy, hidden underbelly, DUALISM, nobody really
24:25knows, it's just a feeling that you see when you feel when you get it," and none of this
24:29is an answer, and mostly people just end up listing things that are in the films without
24:33exploring any of the reasoning behind them.
24:37There's this "white picket fence", real, American, un-self-conscious, small town, and there's
24:43all this mud and muck and slime and horror and perversion just underneath the surface
24:49of everything you can see. And I think David Lynch has always had a lot of fun with these
24:53kinds of "underbellies".
24:56People really think that Lynch's whole point is to point at the good and point out how
25:01it's secretly bad. I disagree. I believe that Lynch's mixture of darkness and light is a
25:06means to an end, and that is...
25:09to show us the darkness so that we can recognize the light.
25:14Lynch is trying to create an appreciation for the bad, because without it, you can't
25:18see what's good. You have to take the bad with the good, the bitter with the sweet,
25:23the coffee with the cherry pie. He said as much in an interview from 1992 with Kristine
25:31"We live in a world of opposites, of extreme evil and violence opposed to goodness and
25:36peace. It's that way here for a reason but we have a hard time grasping what that reason
25:41is. In struggling to understand the reason, we learn about balance..."
25:45"That you find your work tranquil and beautiful while most people find it disturbing suggests
25:50you're unusually comfortable with the dark side of your psyche; why is that?"
25:54He's been asked this question numerous times, and he's never provided the answer. But here?
26:00"I've always liked both sides and believed that in order to appreciate one you have to
26:05know the other – the more darkness you can gather up, the more light you can see too."
26:10And there it is. Why does Lynch mix the macabre and the mundane in his art? It's not to highlight
26:15the macabre - it's to highlight both in order to give us an appreciation for the beauty
26:21of the mundane. It's to find the balance point in any situation, and for Lynch, this makes
26:26the macabre beautiful too. "What is the white picket fence on its own? We need to see the
26:32creepy crawlies under the surface, and this will give us the contrast we need to appreciate
26:38the white picket fence."
26:39I think this is the key to Lynch's love of the 1950's - World War II had just ended,
26:45people had just been through Hell, so there was a real appreciation for the safe and wholesome,
26:50with a pop culture modern audiences would consider to be boring; the darker and more
26:54horrific a situation you put someone into, the more beautiful ‘boring' becomes in contrast.
27:00Philadelphia, to me, I always say, was my biggest influence. It was a filthy city. It
27:06had a beautiful mood. There was fear, violence, despair, sadness, insanity, corruption, and
27:16this kind of seeped into me and made an influence... which I loved, by the way.
27:27He loved it because it helped him to see negativity so that he could better see positivity.
27:33Why is The Wizard of Oz one of Lynch's favorite films? We might find ourselves concentrating
27:37on the dream aspects of it, but I think it's actually because it's the story of a naive
27:42girl whose simple farm life is basically perfect, but she has to get sucked into a fantastical,
27:48technicolor nightmare in order to recognize that.
27:51If we want to clearly see the Lynchian philosophy in action, we need look no further than Blue
27:55Velvet, which is David Lynch's version of The Wizard of Oz, and Jeffrey Beaumont his
27:59Dorothy Gale. This comparison has been made before, but nobody ever explains why, so here's
28:06Jeffrey is a clean-cut kid who only knows the tranquility of green lawns and white picket
28:09fences, but when he naively thinks he can crack the Hardy Boys' "Case of the Severed
28:13Ear", he embarks on a nightmare journey through darkness, and in doing so, discovers the darkness
28:18in himself. Only then is he able to truly appreciate the beauty of his dull, boring,
28:24suburban life.
28:25Now, of course this balance of darkness with light might not be the only thing that makes
28:29something Lynchian, but it's significant enough for our purposes, and it's the first part
28:34of our key. Let's see how it applies to Twin Peaks directly using our knowledge of its
28:38production history. Why would David Lynch be so disgusted by having to solve Laura's
28:43murder that it made him leave the show a third of the way through the second season?
28:48"Has the violent aspect of the culture increased or did we just used to police it better?"
28:52"It's way bigger now. Dark things have always existed, but they used be in a proper balance
28:58with good and life was slower. There were things that they were afraid of for sure,
29:02but now it's accelerated to where the anxiety level of the people is in the stratosphere.
29:08TV sped things up and caused people to hear way more bad news. Mass media overloaded people
29:14with more than they could handle... These things have created a modern kind of fear
29:19in America.
29:20In interviews with Chris Rodley, he had more to say about this atmosphere of fear.
29:24"But there was craziness in the air and people were picking up on it. It's as if the mind
29:29is a top: it starts to spin faster and faster and then, if it starts to wobble, it can go
29:34wildly out of control... And you can't even relax at home: the television is sending out
29:40more stuff, and it's just mounting and mounting."
29:43"It's nice when people really like something you've done, but it's sort of like love, in
29:47that it seems inevitable that people reach the point where they've had enough of you...
29:52it's like a little bit of a heartache, and that heartache is about the fact that we are
29:55living in the Home Alone age. Art houses are dying. What we have instead are mall cinemas
30:02showing twelve pictures and those are the pictures people see. Television has lowered
30:07the level and made a certain thing popular. That TV thing moves fast, doesn't have a lot
30:14of substance, has a laugh track and that's all."
30:18With this last one, at first it sounds like he's just showing his anger about the show
30:22being cancelled. But, the knowledge that he's always looking for a balance of good and evil
30:27and that he thinks TV accelerates an atmosphere of fear... that colors it a little differently.
30:33In that context, if we look at this quote from early 1990, before Twin Peaks had premiered,
30:37the base intention - the message behind Twin Peaks - emerges:
30:43"The worst thing about this modern world is that people think you get killed on television
30:48with zero pain and zero blood. It must enter into kids' heads that it's not very messy
30:54to kill somebody, and it doesn't hurt that much. That's a real sickness to me. That's
31:00a real sick thing."
31:03This quote is the giveaway. At that time, David Lynch believed that TV was not balancing
31:08goodness with bad, light with dark. Remember the TV landscape at theattime; every murder
31:13mystery wrapped up by the end of a single episode. The violence on TV was being made
31:18"consumable", and I'm going to be using the term "consumable TV violence" a lot from now
31:23on, so I want to be clear on what I mean by that. TV was packaging up victims for the
31:29audience to consume and discard without a thought to who those people really were. "Oh,
31:33was Mr. MacGuffin a person with thoughts and feelings and a family? I don't really care,
31:38all I want to know is how the door got locked from the inside...!" Viewers wanted the violence,
31:45they wanted it to be fun to watch, no strings attached, none of the pain and suffering that
31:50went with it. They wanted closure so they could move on to the next consumable victim.
31:56By taking the the sadness out of the violence to make it more entertaining, TV equated the
32:01joy of the mundane with the joy of the violence, which completely obscured the truth of good
32:07and evil and upset the balance.
32:10We see people die by the thousands every year in series television. The people who are related
32:15to these people get over it in a matter of minutes. We've seen shows, a number of series
32:20this year in which people talk about their recently deceased loved ones as though it
32:24was like something they saw on television. I like the fact that that's been a running
32:28motif almost in this show, that this death has affected this place, and it's particularly
32:32affected the family. And that's a rare thing and a breakthrough, and something I consider
32:37an advancement for television.
32:40Laura Palmer was a direct response to mundane violence, an attempt to restore the balance
32:45by digging deeper into the anatomy of a murder mystery than any other TV show would. It showed
32:50things that were unheard of on TV at the time: a police officer crying at the scene of a
32:55murder, grief-stricken parents losing their minds, an entire town deeply affected by the
33:00tragic loss of a girl everyone knew. Love, responsibility, community.
33:06Murder is not a faceless event here. It is not a statistic to be tallied up at the end
33:09of the day. Laura Palmer's death has affected each and every man, woman, and child, because
33:15life has meaning here - every life. That's a way of living that I thought had vanished
33:18from the earth, but it hasn't, Albert. It's right here in Twin Peaks.
33:22In contrast was real darkness and evil, as opposed to the convenient, sanitized, shallow
33:27stories audiences were used to seeing. Serial murder, corruption, drug smuggling, spousal
33:33abuse, teenage prostitution, BDSM, psychological trauma...
33:38New episodes did not bring us closer to solving the case, but instead created more questions,
33:43and the questions were the point. "Who killed Laura Palmer?" More like, "Who WAS Laura Palmer?"
33:49This was a person balanced right on the razor's edge of darkness and light, such that everyone
33:54involved in her life was connected to her through darkness or light. The more we learned
33:59about her, the more we learned about them, and the more we learned about them, the deeper
34:03we got into the question.
34:05LYNCH: The analogy for that is, they say negativity is just like darkness, and so you look at
34:13darkness and you say, "Wait a minute, darkness isn't really anything, it's the absence of
34:18something." So, it doesn't matter how dark the night has been when the sun comes up.
34:24Automatically, without trying, the sunlight removes the darkness.
34:28You cannot get rid of darkness unless you expose it to light, and in Twin Peaks, the
34:34light was the investigation. As long as the investigation continued, more and more of
34:39Laura's darkness, and therefore more of the town's darkness, would be exposed. By seeing
34:45the sadness and pain caused by her murder, the audience would hopefully become more and
34:49more invested in Laura as a person, as opposed to a mere plot device.
34:54Most of the time, we were trying to solve your problems. We still are. You're dead,
35:01Laura, but your problems keep hanging around!
35:04At the same time, things would get stranger and stranger, which would make the audience
35:08continue their experience beyond just watching the show. By thinking about the show and discussing
35:14it and trying to figure out this continued mystery for days after each episode, audiences
35:20would not only stay immersed in the show for longer than just the hour it was on, but they
35:24would have an increased chance of ‘feeling' the point for themselves.
35:29The point: "This TV thing is not balanced. All you care about is the ‘whodunnit'. The
35:36light is not bright enough to expose real darkness, and the darkness is not dark enough
35:41for you to see real light. You need to face the full extent of darkness so that you can
35:48appreciate the simple bliss of coffee and pie with your loved ones."
35:53Whether Lynch wants to admit that he has a message or not, this was it, and it's the
35:57second part of our key... Yes, the base level intention behind Twin Peaks is only part of
36:03what we need to understand Twin Peaks...
36:05Balance is the key. Balance is the key to many things.
36:11Lynch desires proper balance, he saw TV as out of balance and created Twin Peaks to address
36:17the issue. His hope was that Twin Peaks would create more desire for balanced TV.
36:22I chew pitch gum. Runny pitch is no good to chew. Hard, brittle pitch is no good. But
36:31in between there exists a firm, slightly crusted pitch with such a flavor. This is the pitch
36:38I chew.
36:39The Log Lady doesn't like the runny pitch or the hard pitch, she likes the in-between.
36:43She likes balance.
36:44That gum you like is going to come back in style.
36:52The hope was that, through Twin Peaks, balance would come back in style on TV. A surefire
36:59way to keep people from getting the message would be to do like all the other consumable
37:03TV shows: solve the mystery and give people closure.
37:07"Closure. I keep hearing that word. It's the theater of the absurd. Everybody knows that
37:13on television they'll see the end of the story in the last 15 minutes of the thing. It's
37:18like a drug... As soon as a show has a sense of closure, it gives you an excuse to forget
37:23you've seen the damn thing."
37:26This was the reason David Lynch took off after the killer's reveal, because it was utterly
37:31catastrophic to the central message. Much more than just tanking the plot, it reduced
37:37Laura to an expendable "victim of the week", easily consumed and discarded to make room
37:42for the next, thus turning Twin Peaks into exactly the kind of show for which it was
37:47supposed to be the antidote. Ending her investigation was turning off the light shining into her
37:54darkness. It was a contradiction at the fundamental level, the deepest possible irony.
38:01There is also a legend of a place called the Black Lodge. There, you will meet your own
38:07shadow self. But it is said, if you confront the Black Lodge with imperfect courage, it
38:13will utterly annihilate your soul.
38:15There are indications that the "two Coopers" idea leading off of the Season 2 finale was
38:20planned from the beginning of the original series, which is why the show ended on that
38:24cliffhanger of the bad Cooper leaving the good one trapped in the Lodge - the people
38:28left working on the show were still building toward it. But, by the time Lynch returned
38:33to direct it, the show was already dead, so I posit that Lynch repurposed the idea to
38:40reflect the situation. Lynch always talks about the idea of "action and reaction" when
38:45he's asked how he creates his art.
38:47And this "action and reaction"... You make an action, you see it, you react, you feel
38:52it, and it indicates the next action. And you react, you think, feel it, and it indicates
38:59the next thing, and it grows. And it's a beautiful thing.
39:02So, is this the cliffhanger that was always planned, or did it become the natural conclusion
39:09of the story? This was the ending that made itself known to David Lynch. Twin Peaks failed
39:15to face its shadow self with courage, failed to shine a light into the darkness, and became
39:21the evil it was trying to fight. Dale Cooper's investigation ended with the darkness taking
39:26over. We thought the truth would be a good thing, but all it brought was bad.
39:31I only wanted to do good. I wanted to be good. And it felt so good to tell the truth.
39:40Leave my family alone!
39:46Bobby and Shelly tease Heidi about being late in the last episode with the same dialogue
39:51they used in the first episode.
39:53Seconds on knackwurst this morning?
39:55Seconds on knackwurst this morning?
39:57Too busy jumpstarting the old man, huh?
40:00Too busy jumpstarting the old man... again!
40:02We ended right back where we started, TV knocked back out of balance, business as usual.
40:09David Lynch tried to re-establish Laura Palmer as central to the mystery with Fire Walk with
40:13Me, and unfortunately, he was proven correct by the response. People had gotten their closure
40:19and just weren't interested in Laura Palmer anymore. The film was also a last-chance dump
40:24for every last bit of symbolism that was previously unexplored, and this is where we are taught
40:29the method of finding the final piece of our key. We're not even close to being done, and
40:34we already know the base-level intention behind the show! But, we still don't know what the
40:39heck creamed corn is supposed to be. We know the "What", now we need to know the "How",
40:45and for that, we'll slow down on looking outside the show and start digging in.
40:49Strange, this key shows up after all these years...
41:00How do we identify and interpret clues from Twin Peaks? Before the release of Season 3,
41:06David Lynch told Variety that Fire Walk with Me would be very important to understanding
41:10The Return.
41:11But, this actually extends to the series as a whole. All of the clues for a correct interpretation
41:16of Twin Peaks are in the film and we just need to know how to spot and interpret them.
41:21Luckily, the film starts by teaching us the method. Special Agent Chet Desmond will show
41:26us the way.
41:28First, something that I don't think anyone will dispute: David Lynch, the Philadelphia-inspired
41:33director of the film, plays Gordon Cole, the Philadelphia-based director of the FBI - this
41:39is the director (wink wink not so subtle, David Lynch is playing himself, everyone's
41:44already kinda picked up on this self-insert already).
41:47You fellas can reach me in the Philadelphia offices! I'm flying out today!
41:52Philadelphia to me, I always say, was my biggest influence.
41:55So, the director from Philadelphia presents his detectives with surprising visuals that
42:01are packed with clues. These are mysteries that he wants his detectives to solve, and
42:06by extension, he wants his audience to solve them. The director presents his audience the
42:11same clue-packed surprising visuals.
42:14Chet, I've got a surprise for you, something interesting I would like to show you!
42:20If the director outside of the show is the same as the director inside the show, could
42:24this mean that the detectives inside the show are the same as the detectives outside the
42:29show? Let's go with that idea and just see what happens.
42:33"The mind is a detective," says Lynch.
42:37"Intuition is the detective in us."
42:39"[Dale Cooper is] really a very intuitive detective."
42:45For now, let's get a little meta and say that Gordon Cole is standing in for David Lynch
42:49himself and his agents are standing in for the audience.
42:54Do we have the time to learn the reasons behind human beings' varied behavior? Some take the
43:01time. Are they called detectives?
43:03In the past, the detectives in the audience have not been very good with interpreting
43:06clues, so take note that, in the film, the director presents the clues to Agent Desmond
43:12and not to Agent Stanley.
43:14Chet, your surprise!
43:16Choice of character names is important here. Unlike your average, everyday Sam Stanley
43:21(that's us), hotshot Chet Desmond is an old pro with his own M.O. He's an insider, familiar
43:27with how his director works, and he's going to teach the rookie detective how to interpret
43:32the director's clues.
43:34The first lesson to learn from Cousin Lil is that we should be paying attention to what
43:37the director is emphasizing and not worry so much about what's going on in the background.
43:43The rookie detective is very good with minute details, like spotting the different colored
43:47thread that was used to tailor the dress (or noticing continuity errors).
43:52The dress was altered to fit her. I noticed a different colored thread where the dress
43:56was taken in.
43:57Gordon said you're good...
44:00But while the rookie is busy with that, he misses the most glaringly obvious clue of
44:04them all: the blue rose. What does the average, everyday viewer do when they play detective
44:10and try to figure out what's going on in Twin Peaks? They might do like Sam Stanley does.
44:15Ignore the interesting things happening right in front of them and instead sit there literally
44:20ascribing value to every last lamp, chair, and choice of wallpaper.
44:25I figure this whole office, furniture included, is worth $27,000.
44:30That's great, but did you see the gorilla?
44:32She told me that she's taken twelve pages of notes on the show, that she has basically
44:37broken down each episode frame-by-frame, slow motion, fast forward, any way that she thinks
44:41that she's going to pick up a little extra out of the show.
44:44Stick to obvious things shown in detailed close-up. Not everything is worth our attention,
44:50not every little detail has so much value.
44:54Once we know what to pay attention to, we still need to know how to decipher things,
44:58and this leads us to our second lesson: Remember what Mike said to Cooper in his dream - he
45:03doesn't mean it like we think it means, he means it like it is, like it sounds.
45:08I mean it like it is, like it sounds.
45:12When interpreting clues, we shouldn't bring our meanings into it. David Lynch is doing
45:16the showing and telling. What does he mean? Describe things as they are, what they look
45:21like, what they sound like, compare them to what Lynch has shown and told us before, and
45:26take it from there. Let him do the talking through his dialogue and visuals.
45:31Keeping these lessons in mind:
45:33"One hand in her pocket" - she's hiding her hand.
45:36Which means they're hiding something.
45:37"One hand making a fist" - she's looking for a fight.
45:41Which means they're gonna be belligerent.
45:42"Walking in place" is walking in a place.
45:46Which means there's gonna be a lot of legwork involved.
45:50These things are exactly what they look like, what they sound like, but Lynch presents them
45:53in a quirky way so that we'll take notice of their importance. If a clue isn't obvious,
45:58just sit tight - that's a mystery for us to puzzle over.
46:02A blue rose?
46:03Good... but I can't tell you about that.
46:06If it proves to be a little obtuse, eventually Lynch will tell us the answer,
46:10A tailored dress is our code for drugs.
46:14even if it's an answer that we could have figured out on our own.
46:17What's the significance of the blue rose? A blue rose does not occur in nature. It's
46:22not a natural thing.
46:24If no answer is forthcoming, don't just give up and say, "I guess we'll wait for another
46:27season for the explanation!" You aren't trying hard enough. You think about that, Tammy.
46:33You think about that, Tammy.
46:34Now, we have David Lynch's original intention with the show (along with how that intention
46:39failed), and we have a method of clue interpretation. For the final piece of the key, let's apply
46:44them to the show and see what we get out of it.
46:47The show was created as a response to a sickness: the evil of consumable TV violence. Is there
46:54something in the show that sounds like this? There is:
46:57Maybe that's all Bob is, the evil that men do.
47:01Bob possesses people and makes them commit evil acts. Bob is the evil that men do.
47:10He is Bob, eager for fun. He wears a smile, everybody run!
47:16Bob enjoys it. It's fun for him. Bob is "the evil that men do" for the purpose of entertainment...
47:23In Episode 8, we see this thing credited as The Mother spewing out eggs in a white jelly
47:28sauce. Bob is one of these eggs coming from The Mother, so it's safe to conclude that
47:33this is the birth of Bob. An alarm in the Fireman's castle alerts the Fireman to this,
47:38and he responds by giving birth to a golden egg of his own: Laura Palmer. Laura Palmer
47:43is being created as a direct response to the birth of evil for the purpose of entertainment...
47:50Already, we're getting confirmation that the point of Twin Peaks was to restore balance
47:55by fighting Bob's consumable violence with Laura Palmer's story. Let's keep going!
48:00We know from David Lynch that light fights darkness by exposing it.
48:04Automatically, without trying, the sunlight removes the darkness.
48:09Twin Peaks' method of fighting darkness was the light of the ongoing Laura Palmer murder
48:15investigation. The darkness being illuminated was Bob's handiwork.
48:19In the premiere of The Return, Laura tells Agent Cooper, "I am dead, yet I live," then
48:28takes her face off to reveal that she's filled with white light. If light is investigation,
48:34then Laura lives on through the investigation. As long as the investigation continued, the
48:39show would continue, and as long as the show continued, the investigation would continue.
48:45Laura is revealing that this light is what allows her to keep living after death...
48:50Do you feel it? We're starting to get a glimmer of what's going on here. Don't get ahead of
48:56me. Let's follow this through to the end. Twin Peaks and the Laura Palmer investigation
49:00started with her murder, so let's take a look at the scene of the crime.
49:04The spirit known as Bob, using Laura's father as a host, kidnaps Laura and her friend Ronette
49:09and takes them to an abandoned train car. Bob doesn't intend to kill Laura; he wants
49:14to possess her and use her body as a host for evil.
49:18I want to taste through your mouth.
49:24If he succeeds in possessing her, no murder and therefore no investigation will take place.
49:30Ronette begins to pray that she will be seen if she's killed. She then says she's not ready
49:36because she's too dirty.
49:37Father, if I die now, will you...? Kill me... See me... Look at me, I'm so dirty... I'm
49:50not ready...
49:52What the heck does that mean? Is she praying that she'll go to heaven? If so, note that
49:57she's almost begging to be killed so that God will "see" her. Not "take" her, "see"
50:02... will you...? Kill me... See me...
50:06If Laura and Ronette switched places, the big question would have been, "Who killed
50:12Ronette Pulaski?" Ronette seems to know that being murdered equates to this kind of attention
50:18during the investigation. She wants to be killed so that she will be "seen", but at
50:23the same time, she doesn't want to be because it means that all of her dark secrets will
50:27be unearthed instead of Laura's.
50:30Up to this point in the film, Laura has been wondering where her guardian angels have gone.
50:34Now, in this moment, she sees an angel appear for Ronette. Ronette's bonds are cut and she's
50:40free to escape. Laura looks betrayed, then angered by this. What does it look like is
50:46happening here? It looks like the angel is taking mercy on Ronette. So, ee'll call this
50:50an "angel of mercy", releasing Ronette from suffering... but not Laura. This is Laura's
50:56time to die. As if to go along with the angel, Bob throws Ronette out of the train car instead
51:02of tying her back up. Why would he not kill her? Why would he throw her out like this?
51:07As he throws Ronette out of the train, Mike, who has been banging on the door to get in,
51:12throws his green Owl Ring in for Laura to put on her finger. Bob wants to possess Laura,
51:17but something about Laura wearing Mike's ring causes Bob to kill her instead.
51:21Don't make me do this! Nooo!
51:27Then, Mike LEAVES. Mike is supposed to be desperate to stop Bob, but not only does he
51:33not keep Bob from killing Laura, he pretty much facilitates her murder with the ring
51:38and then stands by laughing while it happens! He doesn't stay to protect Ronette from Bob,
51:43nor does he stick around to catch Bob as he comes out of the train car! And, he has Bob
51:48right in his clutches at the end of the film, but he allows Bob to leave and cause more
51:54suffering later! Are these the actions of someone who is trying to stop Bob's evil?
52:00Only if we look at them in a certain "light"...
52:04Mike must know that you have to fight darkness with light, that Bob must be stopped through
52:08an investigation, and there can be no light of investigation unless there's a murder...
52:14When Bob exits the train car with Laura's body, he leaves Ronette there on the ground.
52:19He doesn't check to make sure she's dead, he just takes off. This is the action that
52:23will eventually lead to the investigation. Why allow for that possibility?
52:27Well, I'll tell ya, we're sure glad to have the FBI here. Kinda lucky in a way that Ronette
52:32stepped out across the state line.
52:34Is it just me, or are all of these characters acting as if they know this scene is about
52:38Laura's murder and the investigation that follows, and they're playing it out as if
52:42to make it happen...?
52:43Are you saying Laura wanted to die?
52:47Maybe she allowed herself to be killed...
52:51At the film's end, Laura appears in the Red Room with Agent Cooper standing by reassuringly.
52:57Laura is utterly lost, confused and distraught. How could something so horrible happen to
53:03her? Suddenly, a light flickers on her face and an angel appears to her. Laura looks into
53:09the light and begins to laugh.
53:11Does this mean what everyone thinks it means? Are the angel and the light indicators that
53:15Laura made it to the White Lodge, that Laura went to Heaven?
53:19Not necessarily, because we've seen an angel like this before. Ronette's angel was an angel
53:23of mercy, releasing her from suffering. So, this must be Laura's angel of mercy, releasing
53:29Laura from suffering. The angel didn't appear for her in the train car like it did for Ronette,
53:34it appears here, after she's killed. So, how is Laura's guardian angel relieving her from
53:40suffering? She's causing the magical light. What is the magical light, and why would it
53:46ease Laura's pain?
53:47Well, what does the light look like it is? Where have we seen light flickering on someone's
53:52face like this before? Dale Cooper when he entered the Red Room? How about before that?
53:58How about in everyday life?
54:00Here comes that glimmer... How about the light on someone's face when they're watching TV?
54:07The angel of mercy is releasing Laura from suffering by showing her why she had to die...
54:13For the sake of television. She had to die so that David Lynch could make a show about
54:20it. Laura is watching TV and nodding with understanding of the cosmic joke that she
54:27is a literal TV character who wouldn't even exist had it not been for the show about her
54:32own murder, and people watching the show is what will lead to the understanding of Lynch's
54:36message of balance. This is the final piece of the key: the meta commentary is not just
54:43commentary, it's literally happening inside the show!
54:48Twin Peaks is a television show that knows it's a television show about the concept of
54:56television itself.
54:58Sounds like you've been snacking on some of the local mushrooms.
55:04So, now we've got a key: David Lynch desires balance, TV was out of balance, Twin Peaks
55:11was created to fix the problem. That meta commentary is literally happening in the show.
55:17Therefore, Twin Peaks is a self-aware TV show about the balance of light and darkness on
55:24This is a key, but does it fit all of the locks? Does it fit any lock? How can we know
55:29if this interpretation is the correct one? We don't have to accept it right away, let's
55:33just start by assuming that it really is the key to everything and use it to try to decode
55:38something bizarre, and we'll see if the key fits. If it does, we keep going until it doesn't
55:43fit anymore. If it really does explain every last thing, I think we can call it a success.
55:49And just keep in mind, it's to not be 100% on board with this idea right now. We're just
55:54testing it. But stay with me, and I promise you it will click into place by the time we're
55:59done. So... trial by fire. What's the most bizarre scene I can come up with off the top
56:04of my head? How about the scene of the meeting in the Convenience Store?
56:08The chrome reflects our image.
56:12From pure air. We have descended from pure air, going up and down; intercourse between
56:22the two worlds.
56:30If this is about the literal concept of a TV show, then what would the two worlds be?
56:39They would be the world of the television show and the real world. In the 90's, what
56:44brought the show to our TV's so we could watch it? Two things. Number 1, electricity. Powers
56:51the TV. Number 2, radio waves, going up and down, descending from pure air - the airwaves.
57:03Intercourse between the two worlds; us in the real world watching the world on the TV,
57:08which gives birth to the experience of entering the TV world. How does every episode of the
57:14show end? With the Lynch/Frost Productions bumper; power lines, crackling electricity,
57:20and radio waves being projected outward. What are the two parts of the picture transmitted
57:28in that radio signal? Luminance, or "luma", that's the brightness, the light, and chrominance,
57:35that's the color, the "chroma". "The chroma reflects our image." These are TV characters
57:43that know they're TV characters right up against the TV screen telling us through the TV static
57:50how they are literally appearing on the screen.
57:55... Do you believe me now? It's ok if you don't, because I'm just getting this fire
58:02The absurd mystery of the strange forces of existence.
58:09Too often, Twin Peaks is called a parody of a soap opera, and I think we can blame that
58:16on Invitation to Love, the soap opera watched by the characters in Twin Peaks. Invitation
58:21to Love was written and shot by Mark Frost as an over-the-top parody of the soap opera
58:26medium, and rumor has it that David Lynch was not happy with the way Frost handled it.
58:31Invitation to Love being an obvious joke combined with the genre blending that was happening
58:36in Twin Peaks put the idea in the audience's heads that Twin Peaks seemed too self-aware,
58:41and self-awareness usually equates to parody. When asked by Jeremy Kay of The Guardian if
58:46Twin Peaks was a soap parody, Lynch responded, "No, no, no, no, no. It is a soap opera."
58:53Likewise, Twin Peaks is not a pastiche, where imitation is done out of tribute rather than
58:57to mock. What people are mistaking for parody or pastiche was meant to be "metafiction",
59:03where the work is self-aware of its own medium. The best recent example of metafiction would
59:08be Deadpool, the comic book character who knows he's a comic book character and is constantly
59:12talking about being one. Lynch wanted Invitation to Love to be a more serious mirror of what
59:18was going on in the show because it was supposed to be a hint about the metafictive nature
59:21of the show.
59:23Can you see through a wall?
59:26The characters in the soap opera are watching a soap opera. The things in the soap opera
59:31they're watching are happening in the soap opera they're living. Laura Palmer's identical
59:36cousin, Maddy Ferguson, played by the same actress, shows up during the scene where we
59:41first see that one actress in Invitation to Love is playing two characters.
59:46Selina Swift as Emerald and Jade.
59:51Uncle Leland...
59:52Jade, what a surprise! I...
59:56The way Lucy describes the plot of the soap opera she watches sounds exactly like she
01:00:00would describe the soap opera she's in.
01:00:02Thanks to Jade, Jared decided not to kill himself...
01:00:06Leo Johnson was shot, Jacques Renault was strangled...
01:00:09... and he's changed his will, leaving the Towers to Jade instead of Emerald. But Emerald
01:00:15found out about it...
01:00:17... the mill burned, Shelly and Pete got smoke inhalation...
01:00:18... and now she's trying to seduce Chet to give her the new will so that she can destroy
01:00:22... Catherine and Josie are missing, Nadine is in a coma from taking sleeping pills.
01:00:27This is a massive, massive clue, just like all the other TV-related clues Lynch and Frost
01:00:33were throwing in, like the reference to the One-Armed Man from the police procedural The
01:00:38Moments before discovering his murdered wife's body, he saw a one-armed man running from
01:00:42the vicinity of his home.
01:00:44or the echo of the famous "Who shot J.R.?" ad campaign for the hit soap opera Dallas.
01:00:49We've got the soap opera cliches of evil twins and characters going into comas, and that
01:00:54old sitcom joke of a simple bump on the head causing a complete personality change that
01:00:58can only be reversed by another bump on the head at the end of the episode (and by the
01:01:02way, let's take a look at the disturbing reality of that situation).
01:01:05A lot of it was about uncovering layer after layer of inside references to past movies,
01:01:12past TV shows, that kind of thing. Initials... Figuring out this code.
01:01:15"I call the show a cultural compost heap. There are symbols and characters and expressions
01:01:20from all the shows we saw growing up that echo and ping down the hallways of Twin Peaks."
01:01:25Twin Peaks wasn't simply influenced by these shows, it's not simply paying homage to these
01:01:29shows, and it's not parodizing any of these shows. It is these shows, it's made of these
01:01:35shows. Twin Peaks is a show about the concept of television, and what did people watch on
01:01:40television at the time? Soap operas, murder mysteries and sitcoms, and so that's what
01:01:45Twin Peaks is. It's a soap opera, and a murder mystery, and a sitcom. It's the entire TV
01:01:51watching experience in one single package.
01:01:55"I still don't see what the great difference is. To me, it's a regular television show."
01:02:01More like, "All the regular television shows at the same time." Twin Peaks is TV itself.
01:02:13If the picture's giant, and the sound is beautiful, and the people are quiet and they get into
01:02:19this world... It's very, very delicate how you get into that world. It can be broken
01:02:24with the wrong sound, it can be broken with a stupid, little screen, but if you get into
01:02:30that world, it can be like a dream.
01:02:32David Lynch sees film and TV as a chance for the viewer to leave reality and enter a dream
01:02:38world. A film is a dream world that we enter when we watch it.
01:02:42You know, here's a theater, and then suddenly, the lights dim and the curtain opens, and
01:02:48we can go into another world and only exist there because of that film.
01:02:57Twin Peaks just happens to be a film that's on TV, and TV has that "stupid, little screen"
01:03:01that can break the illusion and keep us from realizing the answer to one of the bigger
01:03:05questions posed by The Return:
01:03:07We are like the dreamer who dreams and then lives inside the dream. But, who is the dreamer?
01:03:17An impossible question to answer unless we know that the dream is the film or television
01:03:22show that David Lynch is trying to bring us into. Most of the scene is shot from a third-person
01:03:27perspective, but Monica Bellucci breaks the fourth wall and delivers the question directly
01:03:32to camera. Gordon Cole doesn't do the same, he's still looking at Monica. But, she's looking
01:03:37at us. She's asking the question of us, the viewers. "But, who is the dreamer?" She then
01:03:44answers the question. She looks past our director from Philadelphia and into his past, where
01:03:50he sees himself as a young man. But if she's breaking the fourth wall, what happens if
01:03:55we do the same?
01:03:57Monica called and asked me to meet her at a certain cafe.
01:04:02In real life, the "certain cafe" where they meet is a creperie in Paris located right
01:04:07next to a real art gallery where David Lynch exhibited some lithography (possibly, at the
01:04:12time of filming the scene). He sees a version of himself that is the character Gordon Cole
01:04:17from twenty five years ago, and she sees a version of him that is the real life artist,
01:04:22David Lynch, who created Twin Peaks twenty five years ago. "The dreamer," the real life
01:04:27David Lynch, "who dreams," creates a TV show, "and then lives inside the dream," acts in
01:04:33the TV show. The real life Monica Bellucci, talking to us, says that we, the people in
01:04:40real life, are like him. Just as he lives in the dream, we leave our reality to live
01:04:46in that dream when we watch Twin Peaks.
01:04:48Take people into another world and give them experiences. Take yourself into that other
01:04:50world and give yourself an experience.
01:04:56There are characters that know for a fact that they're living in a TV show dream, like
01:05:00the residents of the Convenience Store who are flat out telling the audience how they're
01:05:03literally and mechanically appearing on TV, there are characters that come into contact
01:05:08with these entities and learn that they are part of this TV dream -
01:05:12We live inside a dream.
01:05:15We live inside a dream.
01:05:19- there's the Log Lady, who seems like she might definitely probably know that she's
01:05:22part of a TV dream -
01:05:24I play my part on life's stage.
01:05:27- and then there's everybody else, TV characters that don't know that they're TV characters,
01:05:31but just feel deep down at the level of intuition that they might be living a television dream.
01:05:36It’s like I’m having the most beautiful dream and the most terrible nightmare all
01:05:40at once.
01:05:41It's all like a... like a dream.
01:05:45It was Laura living in my dreams
01:05:47Is this real, Ben, or some strange and twisted dream?
01:05:53All I did was come to a funeral, and it's like I fell into a dream.
01:06:00Before you came here Twin Peaks was a simple place. Then, a pretty girl die... Suddenly,
01:06:08the simple dream become the nightmare.
01:06:12And the scoop of vanilla on top of the cherry pie: Twin Peaks was built around the Packard
01:06:16Sawmill. All the various plotlines and story arcs in the first two seasons seem to revolve
01:06:21around the Packard Sawmill. Not the most exciting location for a murder mystery show, is it?
01:06:27Why, of all things, a sawmill? Because, well, what do they do in a sawmill? They saw logs.
01:06:35Sawing logs... Snoring! It's a dream!
01:06:40Maybe our dreams are real...?
01:06:45Occultism, mythology, theology, folklore, alien encounters, mysticism - these are the
01:06:52ways human beings try to explain our existence on this earth, so naturally, being unable
01:06:57to comprehend that they only exist because of a TV show, these are the ways that characters
01:07:01in this show try to describe the strange phenomena that appear to have some control over their
01:07:05lives. For example, the White Lodge, "where the spirits that rule man and nature reside,"
01:07:11an in-universe Native American legend. To the characters within the show, The Lodge
01:07:15appears to be the realm of the gods. Anytime they want to go there, anytime they come into
01:07:19actual contact with this higher power, it's in the form of a dream... which makes sense.
01:07:25We dream of them, and as Gordon Cole's dream shows, they dream of us... Or more like, we
01:07:30dream a TV show abstraction of their dream of an abstraction of the real life concept
01:07:35of television.
01:07:37"It's so magical — I don't know why — to go into a theater and have the lights go down.
01:07:47It's very quiet, and then the curtains start to open. Maybe they're red. And you go into
01:07:53a world."
01:07:55Movie theaters used to have red curtains in front of the screen that would part as the
01:07:58lights dimmed and the film began, much like a stage play. If we look at film and TV as
01:08:03a play happening on a stage, then the red curtains act as a sort of portal, a clear
01:08:08separation between the dream world happening on the stage and the real world, where the
01:08:13audience watches the dream and the people backstage create it. In Twin Peaks, we can
01:08:17see red curtains acting as exactly this kind of portal, separating the dream of Twin Peaks
01:08:22from the world of the Red Room and the Convenience Store. Occasionally, we even get to see the
01:08:26actors in this dream spotlit on their stage.
01:08:29I play my part on life's stage.
01:08:31See you at the curtain call.
01:08:34When an actor in a play goes from backstage to the dream happening on the stage, they
01:08:38pass through the "wings" - the space between the curtains on the sides of the stage. The
01:08:43Red Room is nothing but red curtains and spaces between red curtains, so the Red Room represents
01:08:48that space in the wings that separates the stage from the behind-the-scenes reality.
01:08:53The zig-zag pattern on the floor represents radio waves, which are a kind of ‘in-between'
01:08:58that the show passes through to get from the station to the TV.
01:09:01"Well, I like the nowhere part of America. Eraserhead is an American film, but it's a
01:09:06little bit in an in-between place."
01:09:09"This idea about making a film about 'nowhere' - is The Red Room in Twin Peaks one of those
01:09:16The entities living in this "in-between place", like the Wizard of Oz, are the men backstage
01:09:20behind the curtains, creating the story and driving it forward. To us, they seem like
01:09:25great and powerful wizards, but if we peel the curtains back, we will see nothing but
01:09:29ordinary people using machinery to create a fantasy world for us to explore. "Pay no
01:09:34attention to the men behind the curtains."
01:09:37Where we're from, the birds sing a pretty song, and there's always music in the air.
01:09:45Where are they from? The world of television. In TV Land there's always music in the air
01:09:50because there's always a soundtrack. The Little Man from Another Place gets up and dances
01:09:54to the soundtrack. Then Cooper wakes up and snaps along... to the very same soundtrack.
01:10:10As for the birds singing their pretty song, television runs on electricity, and any Naruto
01:10:14fan can tell you what a thousand birds chirping together sounds like:
01:10:17and moreover, the speed of the jab makes a "chichichichichi" sound... A unique-sounding
01:10:31attack similar to the rumbling of a thousand birds.
01:10:40I can see the smoke. I can smell the fire...
01:10:43Looks like a campfire. What is this?
01:10:44It's not a campfire, it's a fire symbol. A type of fire, like modern day electricity.
01:10:50... Good?
01:10:51It depends. It depends upon the intention, the intention behind the fire.
01:10:58Destruction, darkness, that's bad. Creating light, banishing darkness, that's good. Fire
01:11:05lights up the darkness at the same time it's destroying its fuel. It's a power source that
01:11:10has the capacity to destroy and to create light depending on the intention of the user,
01:11:16so fire has built into it that perfect balance of light and darkness that David Lynch seeks.
01:11:21The electricity that powers television is a fire that can communicate good or bad messages
01:11:26depending on the intentions of the creators. As Hawk says, fire is just like electricity
01:11:32and electricity is just like fire. They're essentially the same thing, so we'll consider
01:11:37them the same thing. Electricity comes from the power plant in the form of AC, or "alternating
01:11:43current", which alternates between an equally positive and negative voltage in a wave. So,
01:11:48pure AC current also has built into it Lynch's perfect balance of positivity and negativity.
01:11:54We can be sure that Lynch is aware of this fact by listening to him describe a movie
01:11:58he's always wanted to make called Ronnie Rocket:
01:12:01He said, "You got anything you want to do?" And I said, "Yeah, make this film called Ronnie
01:12:05Rocket." He said, "What's it about?" I said, "It's about a three-foot tall man with, you
01:12:10know, a red pompadour - fake red pompadour - who runs on alternating current electricity."
01:12:17Not just electricity, alternating current electricity. He knows - positive and negative.
01:12:25How did a TV set utilize alternating current to re-create broadcast television shows in
01:12:291990? A CRT television's primary mechanism is the cathode ray tube (which is where the
01:12:36television got the nickname "the tube"). The CRT fires electrons at a phosphor film on
01:12:41the back of the screen that glows when the electrons hit it. When turned on, positive
01:12:46voltage is applied to the CRT to attract and fire the electron beam that scans across the
01:12:51screen to light the phosphor. It wants to do this automatically while powered on, so
01:12:56if left alone, it will create a pure white screen. To form a picture, negative voltage
01:13:02is applied to a mesh that blocks the electron beam, making areas of the screen dark. Positive
01:13:08voltage creates light, negative voltage blocks light to create darkness. The pictures formed
01:13:14through this process become our television show dreams.
01:13:18Do you know where dreams come from? Acetylcholine neurons fire high-voltage impulses into the
01:13:25forebrain. These impulses become pictures, the pictures become dreams. But, no one knows
01:13:30why we choose these particular pictures.
01:13:33In the U.S., AC current operates at sixty cycles per second, which allowed U.S. TV's
01:13:39to display sixty fields interlaced into thirty complete frames per second.
01:13:44I always say the same thing: It's about a man who's three-and-a-half feet tall with
01:13:51red hair, and sixty-cycle alternating current electricity.
01:13:56Not just alternating current electricity, sixty-cycle alternating current electricity.
01:14:02He knows what he's doing.
01:14:04In broadcast television, the radio signal containing the show that the TV received from
01:14:08the station was what dictated the allowance and blockage of light-creating electrons,
01:14:13so radio waves - airwaves - were what shaped the fire into a show. Whoever controlled the
01:14:18TV show had literal control over the balance of light and dark on our TV screens via these
01:14:25radio waves, so whether the show was bright or dark, how much positive or negative electricity
01:14:29was being applied, literally depended on the show creator's intention.
01:14:35Lynch frequently focuses on images of power lines and telephone poles, because that's
01:14:39how the fire travels. Radio waves shape it into the mystery of Twin Peaks, and this is
01:14:44how the dream comes to us.
01:14:46The mystery of the woods. The woods surrounding Twin Peaks.
01:14:51There is an image that Lynch uses to symbolize mystery within the show: the wind blowing
01:14:56through the trees. Laura Dern can confirm that, for David Lynch, "wind" equates to "mystery".
01:15:02"All he'd say to me was, 'More bubble gum, more wind,' and wind came to mean more mysterious,
01:15:07more eerie."
01:15:08As the night wind blows, the boughs move to and fro; the magic rustling that brings on
01:15:16the dark dream.
01:15:18The wind brings on the dream, and radio waves bring on the dream. Radio waves shape the
01:15:23electricity, and wind shapes the fire. Wind and radio waves are one and the same, and
01:15:29we can see this direct comparison in the pilot episode. As the show begins, we see the body
01:15:35of Laura Palmer, and for a short while all we know is that there was a murder. No leads
01:15:40yet. But, as Bobby is called to the principal's office to be questioned as our first suspect,
01:15:45there's this kooky kid doing the wave in the hall, preceding the arrival of the police
01:15:49- his wave kind of brings the police in. Then, there's the famous scene of Donna and James
01:15:54reacting to the news that something has happened to Laura, during which we can hear a wind
01:16:01in the soundtrack. Then, Bobby is questioned, and our investigative minds go to work on
01:16:10suspect #1. These are the wind and the radio waves blowing in the investigation, blowing
01:16:16in the mystery and kicking up the fire. And, I'm sure Lynch was pleasantly surprised to
01:16:21find a school that had red stripes painted like radio waves all over the walls...
01:16:27How does every episode of Season 3 begin? With the sound of wind and electricity. Wind
01:16:32kicking up the fire. The last place Laura was seen alive before she became a victim
01:16:42of the violence, which is the beginning of the investigation into her murder, is at the
01:16:46'light' at 'Sparkwood' and 21. "Spark wood" is where the fire of Twin Peaks was lit. Listen
01:16:54to the Log Lady compare Laura Palmer's darkness, the heart of the show, to a forest fire while
01:17:00placing her hand on Laura's head like she's checking for a fever:
01:17:03When this kind of fire starts, it is very hard to put out. The tender boughs of innocence
01:17:11burn first, and the wind rises. And then, all goodness is in jeopardy.
01:17:17The branches burn, and the wind kicks it up until it's out of control, a forest fire of
01:17:22consumable violence on TV. If the wind is radio waves and the fire is electricity, then
01:17:27the burning branches must be the power lines... and therefore, the trees must be telephone
01:17:34poles. As Jimmy Scott sings in the Season 2 finale, "I'll see you in the branches that
01:17:40blow in the breeze. I'll see you in the trees." I'll see you on TV.
01:17:47And why sycamore trees, specifically? It's probably because their branches looks like
01:17:51this: white with dark splotches. Kind of reminiscent of TV static, wouldn't you say?
01:18:00So, why are the radio waves bringing in negatively intentioned TV shows that make the fire destructive?
01:18:07The cause is that "Thing in the Air" Lynch often talks about. It's an atmosphere of fear
01:18:12that the TV accelerates.
01:18:14You feel a "thing in the air", and the thing in the air is always changing. The thing in
01:18:20the air.
01:18:22What's the "thing in the air"?
01:18:23I don't know what it is. It's, uh... In Germany, they say it's the "Zeitgeist". They told me
01:18:27that name for it. And I don't know if that is. There's this thing that is always changing,
01:18:33and it's a product, I think, of every one of us, and it tells you something.
01:18:37The Zeitgeist, the general feeling of how things are going in society, is affected by
01:18:42TV, but also dictates the type of TV shows that we consume. The Zeitgeist is the "thing
01:18:48in the air", and the radio waves that make TV are a literal thing in the air. TV shows
01:18:55are broadcast on the "airwaves". The winds that shaped the fire of Twin Peaks were filled
01:19:00with the modern fear in America that Lynch sensed, feeding the flames of consumable violence.
01:19:06The result was Bob.
01:19:15Most of the times we see a literal fire or hear someone talking about fire in Twin Peaks,
01:19:19it's a destructive force that leaves things blackened. This is the destructive fire of
01:19:23negative intention, of consumable TV violence, and Bob is its representative; his appearance
01:19:29is often preceded by one of these images of a firestorm. Bob is indiscriminate rage, hungry
01:19:35for victims to fuel his chaos for the sake of our entertainment, wearing TV characters
01:19:40as a mask.
01:19:41He is Bob, eager for fun. He wears a smile, everybody run!
01:19:50Mike describes Bob as a parasite that attaches itself to a human host.
01:19:53Do you understand the parasite? Bob requires a human host. He feeds on fear... and the
01:20:05As we can see in Fire Walk with Me, Leland doesn't necessarily choose to do evil himself,
01:20:10but is compelled to by Bob, by the audience's desire for the entertainment Bob brings. Bob's
01:20:16parasitism is symbolic of the idea that the creators of TV shows are attaching evil to
01:20:21"badguy" TV characters without considering what damage that evil is causing to anyone
01:20:26involved. Consumable TV violence is shallow, so the way the victims and their survivors
01:20:31are treated is shallow, and the way the perpetrators are treated is also shallow. One-dimensional
01:20:38victims, one-dimensional killers. In the same way that it's shedding light on the suffering
01:20:42of victims, Twin Peaks tries to shed light on the suffering of perpetrators by showing
01:20:46us the suffering that's happening inside Leland Palmer.
01:20:49Bob hides inside Leland, and Leland hides behind his quiet family life. Sarah Palmer
01:20:54does nothing about her husband's crimes, and the fire of guilt consumes her. She deals
01:20:59with the stress of hiding from her reality by smoking like a chimney stack.
01:21:03If I had a nickel for every cigarette your mom smoked, I'd be dead.
01:21:07Could I have a carton of Salems, please?
01:21:11Salems. Because, what's Salem famous for?
01:21:14"Where there's smoke, there is fire."
01:21:18At the start of Season 2, Donna starts trying to act more like Laura and gets a touch of
01:21:22Laura's fire in her. Not coincidentally, she starts smoking.
01:21:27"Where there's smoke, there is fire."
01:21:30How does one create fire? You're going to need to burn some wood, and to get the wood,
01:21:35you're going to need to chop down a tree. A "woodsman" could be thought of as a "woods
01:21:40man", a man of the woods... or perhaps a man made of wood? In the Convenience Store scene,
01:21:48the Woodsmen are sitting by some old, wood cabinet, 'tube' amplified radios, and one
01:21:53appears to be taking fire from them. Could the Woodsmen be responsible for the fire in
01:21:58some way? Similar to the Woodsmen is the Electrician... Why is he credited separately from the Woodsmen,
01:22:04and why does he tap a walking stick on the ground? Well, what does an electrician do?
01:22:12They create and maintain electrical connections. How is electricity connected between two locations?
01:22:19The power lines. And, what holds up the power lines? Telephone poles - wooden poles planted
01:22:25in the ground at regular intervals along a path, connecting electricity from one place
01:22:30to another, maintained by electricians. And so, why does the Electrician carry a walking
01:22:36stick? Because, what is a walking stick? A wooden pole that gets planted in the ground
01:22:42at regular intervals as one walks along a path that connects one place to another. How
01:22:48do you make a telephone pole? You gotta chop down a tree. And who chops down trees? The
01:22:53Woodsmen. And woodsmen saw logs.
01:22:58In Fire Walk with Me, The Electrician and the Woodsmen are portrayed as spirits that
01:23:02create and maintain the electrical connection necessary for the fire and the dream of Twin
01:23:08Peaks to make it to our TV's. When Mr. C goes to the Dutchman's to speak with Jeffries,
01:23:13he asks for help from an Electrician, who flips a switch to stoke the fire and plants
01:23:18a telephone pole to make the electrical connection. And then, what does Mr. C travel through to
01:23:27get to Jeffries? Just like all the other times people were sent through the power lines,
01:23:31Mr. C needs to go through a whole forest worth of telephone poles.
01:23:36I think the idea of the Woodsmen had not been fully developed at the time of the film, because
01:23:40in Season 3, the two Woodsmen and the Electrician were combined into that one character, and
01:23:45the concept of a "Woodsman" was repurposed to be a henchman that serves Bob. Now, they
01:23:52are men from the woods that have been blackened by the soot from the forest fire of consumable
01:23:56TV violence.
01:23:58When these guys are around, something bad is happening, and it always has something
01:24:02to do with Bob. For example, we see a Woodsman in the hospital hanging around the body of
01:24:07Major Briggs - Bill Hastings' testimony hints that Cooper's doppelganger, possessed by Bob,
01:24:12was involved in the Major's death. We see another Woodsman in a jail cell near Hastings,
01:24:17who is accused of the murder of his mistress... who died in the same incident the Major did.
01:24:22A Woodsman shows up later to kill Hastings when he brings the FBI too close to the scene
01:24:27of Bob's crime. And of course there's Episode 8... The Woodsmen are there to confuse and
01:24:33conceal Bob's actions.
01:24:35Fire is the devil, hiding like a coward in the smoke.
01:24:39When you try to start a fire the old fashioned way, rubbing a stick between your hands, the
01:24:43smoke comes first. At the birth of the Convenience Store, we see smoke billow out and literally
01:24:49become the Woodsmen, the first beings to emerge from the Store. The Woodsmen represent smoke,
01:24:57and "Where there's smoke, there is fire." The Mother lays Bob's egg after the smoke
01:25:02emerges. Smoke before the fire.
01:25:05Is Bob near us now?
01:25:08For nearly forty years.
01:25:11A large house made of wood, surrounded by trees. The house is filled with many rooms,
01:25:18each alike, but occupied by different souls night after night.
01:25:25At this time in the show, Bob is inside Leland, who is at the Great Northern Hotel, and this
01:25:30is how Agent Cooper interprets Mikes description. But, in the real world, Bob is inside our
01:25:35TV sets, and this is how we should interpret it. Consumable violence is wearing our TV
01:25:41shows as a mask. Both the Great Northern Hotel and a TV set can be described as a house (or
01:25:47box) that people (or characters) inhabit, surrounded by trees (or telephone poles),
01:25:53with many rooms (or shows, or sets) occupied by different souls (or characters) night after
01:25:59night, and Bob has been there for nearly forty years... This was 1991, and 1956 is pretty
01:26:06close to forty years before that. It would appear that David Lynch has chosen 1956 as
01:26:12the year when the evil took hold of our TV sets.
01:26:15But, the Woodsmen and Bob, the smoke and the fire, were born 11 years earlier out of the
01:26:20Trinity nuclear test in 1945. Why would the representatives of TV violence come from this
01:26:25event? The answer is also the answer to another question: Why does this "thing in the air"
01:26:32result in negativity on TV rather than positivity? Undeniably, World War II was the source of
01:26:38some of the greatest evil ever perpetrated by mankind. It's no wonder Lynch would consider
01:26:43the testing of the first nuke to be the Mother of all evil, the event that would sow the
01:26:48seeds of fear in the Zeitgeist for years to come... But, these were just the eggs, and
01:26:53they needed time to incubate.
01:26:54"When I was little, I used to draw and paint all the time. I mostly drew ammunition and
01:27:00pistols and airplanes, because the war was just over and this was, I guess, in the air
01:27:06After the darkness of the war, the boom of prosperity in the 50's was a counterbalance
01:27:11of beautiful, wholesome mundanity.
01:27:13"So, there was something in the air [in the 50's] that is not there anymore at all. It
01:27:19was a really hopeful time, and things were going up instead of going down. Little did
01:27:23we know, we were laying the ground work then for a disastrous future. All the problems
01:27:28were there, but it was somehow glossed over. And then, the gloss broke, or rotted, and
01:27:34it all came oozing out."
01:27:36"The gloss broke and it all came oozing out" - the hopeful post-war period fell into decline.
01:27:43The Cold War went full swing with the constant threat of nuclear obliteration. The early
01:27:4850's were when the infamous Duck and Cover films were being shown to school children
01:27:52- the media was starting to spread the fear. The eggs had incubated long enough. They hatched,
01:27:59and the evil started to crawl its way into people.
01:28:02"People just got a bug in them that they wanted to know who killed Laura Palmer. Calling out
01:28:07for it. And one thing led to another, and the pressure was just so great that the murder
01:28:13mystery couldn't be just a background thing anymore."
01:28:15"People just got a bug in them" - this is the idea that it's the Zeitgeist, the collective
01:28:21unconscious that drove the demand for closure in Laura's case. The frogmoths we see in Twin
01:28:26Peaks are the bug of modern fear in America. In 1956, what allowed the bug to crawl into
01:28:34the youth? The media. Television. From pure air, the Woodsmen descended. Out of the Zeitgeist,
01:28:43the smoke before the fire billowed in looking for a light...
01:28:47Gotta light?
01:28:48... the light of storytelling, the light of electricity, the light of TV, where the smoke
01:28:53could conceal Bob's fire of mundane violence. The Woodsmen found radio stations and began
01:28:59to broadcast their evil direct to the consumer of evil over the airwaves.
01:29:04This is the water, and this is the well. Drink full and descend.
01:29:12"This is the wellspring of fear. Drink full and descend into the dark dream of mundane
01:29:18television violence." The people watching TV fell asleep to dream their television dreams,
01:29:24and this prepared them for the bug to crawl in. Once inside, it would grow and develop
01:29:29into an insatiable monster that hungered for ever more of the violence and death and sadness
01:29:35that TV would be happy to satiate.
01:29:37So, why did all of this happen in 1956, specifically? And, why August 5th, 1956, specifically? First
01:29:45of all, 1956 was the year Dorothy Gale's "dark dream" in The Wizard of Oz was first broadcast
01:29:51on television to a viewing audience of forty five million, an indicator that the audience
01:29:56for TV dreams had grown large enough to count. It was the year Reader's Digest published
01:30:01an article entitled "Let's Get Rid of Tele-Violence", quoting Estes Kefauver, a politician who tried
01:30:07to link violent television to juvenile delinquency. Yes, August 5th was the day The Platters'
01:30:13My Prayer hit #1 on the charts (and what is TV if not a dream you linger in at the end
01:30:19of the day?).
01:30:20My prayer...
01:30:22But, August 5th was also the day after the very last film serial was released, in the
01:30:30year the first half-hour soap operas started airing on television, so this marked the very
01:30:37day people stopped going to theaters for their soap opera dreams and started watching them
01:30:41at home on TV.
01:30:44Most importantly, David Lynch considers 1956 to be the year of the birth of rock 'n' roll.
01:30:49In '56, yeah.
01:30:50Why '56?
01:30:51I don't know. The birth of rock 'n' roll was very powerful.
01:30:55"And William Burns came running toward me from about three houses down the street, and
01:31:00he said, "You missed it!" and I said, "What?" and he said, "Elvis on Ed Sullivan!" But I
01:31:06felt this was, you know, the beginning of rock ‘n' roll for me - around the time Elvis
01:31:11really appeared."
01:31:12"It was happening before that, of course."
01:31:14"It had been happening, but now it was locked in."
01:31:18It's the year Elvis first appeared on TV, and also the year of his film debut in Love
01:31:23Me Tender.
01:31:25Love me tender...
01:31:291956 was the year rock 'n' roll entered film and TV storytelling in a big way. Elvis' 'vulgarity'
01:31:36was viewed as a bad influence by contemporary critics. Rock 'n' roll was moving the youth
01:31:42away from wholesomeness and corrupting them. For David Lynch, rock 'n' roll was what started
01:31:48the top spinning.
01:31:50Let's rock! Everybody-
01:31:54Let's rock!
01:31:56This guy can really light my F-I-R-E.
01:32:05"Sitting in front of a fire is mesmerizing. It's magical. I feel the same way about electricity.
01:32:13And smoke. And flickering lights."
01:32:16As we've seen, light flashes on characters' faces when they enter the Red Room as an allusion
01:32:20to the light that might flash on our own faces when we watch television. Lynch often makes
01:32:25use of flashing lights in episodes of the show he directed and in the film. The guy
01:32:30loves to shine lights directly into the camera. These flashes often accompany moments where
01:32:35something of extreme importance is happening. For example, the iconic scene at the beginning
01:32:40of the story, in which Agent Cooper digs under Laura Palmer's fingernail while a broken fluorescent
01:32:45light flickers. What has been interpreted as merely a comedic and quirky way to present
01:32:49the scene is actually the symbol of important information being transmitted to the audience
01:32:54through the light of their TV sets. The fluorescent light brightens and darkens our screens and
01:32:59causes a flashing light on our own faces as we receive this important clue in the investigation,
01:33:05a clue that will lead to even more clues. Later, the Log Lady makes this symbol clear
01:33:10as she flickers the lights in the room at the town hall meeting. Flickering lights is
01:33:14the universally understood indicator that everyone should settle down and pay attention
01:33:18while Agent Cooper tells us about the investigation.
01:33:22Light illuminates the darkness. Investigation is the light illuminating Laura Palmer's darkness.
01:33:28Flashes of light are used as a kind of "plot magic", driving the investigation forward
01:33:33and illuminating important clues that are leading down the path of good, the path that
01:33:37leads to Agent Cooper solving the case and learning the show's message in the process.
01:33:43In the pursuit of Laura's killer, I have employed Bureau guidelines, deductive technique, Tibetan
01:33:48method, instinct, and luck. But now, I find myself in need of something new, which for
01:33:52lack of a better word we shall call "magic".
01:34:01Lynch used this symbol liberally in the pilot episode in particular. The flashing reflection
01:34:05of light on the camcorder that leads to the questioning of Laura's friends, the flashlight
01:34:09in the train car that first shows us Laura's broken heart necklace, the copious amounts
01:34:14of flashing lights in all of the show's dream sequences, which always contain information
01:34:18pertinent to the case... If fire represents the evil blackening of television, then the
01:34:22resulting light from that fire must lead to the message of good that viewers were supposed
01:34:27to receive as more of the mystery was solved, as more of the darkness was exposed by the
01:34:32light of investigation.
01:34:34We know the origin of the evil blackness of the fire, but what is the origin of the light?
01:34:39In real life, the "fire" comes from the power plant. Is there such a power plant for Twin
01:34:44Peaks' fire?
01:34:46In Season 3, we find out that the Giant is known as the "Fireman", which can have more
01:34:50than one meaning. A fireman could be someone who controls or fights fire, and this is certainly
01:34:56the case when the Fireman creates Laura Palmer in order to fight and control Bob's destructive
01:35:01fire. A "fire man" could also be someone who makes fire... Inside the Fireman's castle
01:35:08we can see and hear what looks and sounds like a power plant generating electricity,
01:35:13generating fire. Is the Giant the one who supplies the electrical fire that Twin Peaks
01:35:23runs on?
01:35:24To explain why this should be the case, we need to talk about where the Giant resides.
01:35:29Does he live in the White Lodge? I say no. The Black Lodge is a doppelganger, an evil
01:35:37twin of the White Lodge. Both the White and Black Lodges are where Cooper ends up in the
01:35:42Season 2 finale, and it's difficult to tell them apart, as it should be. Here's a handy
01:35:47visual guide to help you navigate. The place where the Fireman lives looks nothing like
01:35:52the Red Room. It's somewhere entirely different. His castle is sat high on a rock jutting out
01:35:57of an endless purple sea, the same endless sea Agent Cooper ends up on the shores of
01:36:02when he's ejected into non-existence by The Arm's doppelganger.
01:36:08According to the show, this purple sea is non-existence. But, what does that mean exactly?
01:36:18Let's meditate on it for a bit.
01:36:21Transcendental Meditation, as taught by Maharishi Mahesh Yogi, is a mental technique. It allows
01:36:26any human being to dive within, experience subtler levels of mind and intellect, and
01:36:35to transcend and experience an ocean of pure consciousness within, at the source of thought.
01:36:41David Lynch is an avid proponent of the Transcendental Meditation movement, and has even founded
01:36:46an organization dedicated to the teaching and promoting of TM. I invite you to do your
01:36:51own research on the subject, as I am not making any judgements in this video and I'm not gonna
01:36:56get involved in any debates about it. I'm only mentioning Lynch's belief in the practice
01:37:00so that we can understand what he put on the screen in Twin Peaks.
01:37:04This ocean represents the ocean within every human being. And this ocean is an ocean of
01:37:13consciousness. It is unbounded and infinite.
01:37:17These clips are from some of the many, many presentations Lynch has given about Transcendental
01:37:23Meditation, accompanied by doctor of physics John Hagelin, who did some groundbreaking
01:37:27work in the field of string theory in the 80's.
01:37:29Hello, I'm John Hagelin, quantum physicist and teacher of the Transcendental Meditation
01:37:35Hagelin's work helped to develop the most convincing model yet for a concept in physics
01:37:40known as the "Unified Field". I'm not an expert in physics, but my understanding is that the
01:37:45Unified Field is an attempt to combine the disciplines of quantum mechanics and general
01:37:50relativity to link all aspects of physical reality in a single mathematical model. It
01:37:56is yet unproven, and considered to be the holy grail of physics. Dr. Hagelin thinks
01:38:03that the Unified Field can be defined by string theory.
01:38:06As modern physics has probed deeper levels of nature's functioning, it has revealed that
01:38:11more fundamental levels of nature are progressively more unified. The four forces of nature deep
01:38:17within the atomic nucleus become three, and two, and ultimately one unified field of all
01:38:24the laws of nature, shown at the basis of this chart.
01:38:27Dr. Hagelin also happens to be the current leader of the TM movement, and claims that
01:38:31using meditation to dive into the vast ocean of pure consciousness, as Lynch describes,
01:38:36is actually our minds joining with the Unified Field at the base-level of physical reality,
01:38:42where everything in the universe becomes "One".
01:38:46Meditation, properly understood and properly practiced, is a systematic technique to experience
01:38:52deeper levels of mind. And these deeper levels of human intelligence, shown on the right-hand
01:38:57side of this chart, correspond to the direct experience of deeper levels of intelligence
01:39:03in nature. This inward flow of the awareness quickly culminates in the direct experience
01:39:09of the Unified Field.
01:39:11Dr. Hagelin's physicist colleagues may not be convinced (and may have asked him to stop
01:39:15comparing the Unified Field to transcendental "Oneness"), but David Lynch certainly believes
01:39:21And the scientists well, they discovered molecules. Deeper they went and they discovered these
01:39:28atoms. Little electrons and neutrons and protons. And they went deeper and deeper and deeper,
01:39:37smaller and smaller particles. And then modern science, quantum physics, discovered the Unified
01:39:45Field. The scientists know this exists, but if they wanted to get there, any one of those
01:39:53scientists could practice a technique: Transcendental Meditation. And the deeper levels of mind
01:40:00and deeper levels of intellect correspond to deeper levels of matter. At the borderline
01:40:06of intellect, you transcend, experiencing Oneness - pure, unbounded, infinite consciousness.
01:40:17And so, this is exactly what we're seeing in Episode 8 of The Return. The nuclear bomb
01:40:23splits an atom, setting off a catastrophic chain reaction, and then we dive within...
01:40:29deeper and deeper into the blast, and then deeper and deeper still, smaller and smaller
01:40:34particles... until we go past the smallest particles, and then we transcend... we go
01:40:41beyond particles to the Unified Field, the vast ocean of consciousness.
01:40:46This ocean represents an ocean of consciousness.
01:40:52Stars, moons and planets remind us of protons, neutrons and electrons. Is there a bigger
01:40:59being walking with all the stars within?
01:41:03Everything that is a thing emerges from this field of "no-thing". Unmanifest it is. Unmanifest
01:41:16it is.
01:41:18And here we have our explanation for "non-existence": Cooper is sent out of the TV show and back
01:41:24to this field of "no hyphen thing" from whence he came, from whence all ideas come. Lynch
01:41:30often compares coming up with creative ideas to catching fish, and these ideas are swimming
01:41:34in this ocean of consciousness.
01:41:37And you don't go in there necessarily to get ideas, you go in there to expand that container
01:41:42of bliss. And then, when you come out all energized, refreshed, blissful, then those
01:41:49ideas are easier to catch. It's like the net goes deeper and deeper and deeper, and you
01:41:55can catch those fish.
01:41:57Twin Peaks is fueled by these ideas, so the Fireman's electrical generators, which power
01:42:02the television dream, must be drawing ideas up out of this ocean as fuel for the electrical
01:42:07fire. David Lynch is just channeling the ideas into the airwaves that fuel and shape the
01:42:12fire in our TV sets.
01:42:14Inside one of the Fireman's idea-powered generators is Phillip Jeffries, who describes the interior
01:42:20as, "Slippery."
01:42:21It's slippery in here.
01:42:24What might this mean? Is Lynch saying that ideas are slippery like fish...? Could be...
01:42:31or they could be slippery like something else...
01:42:33Uncle Leland, what is that smell? It smells like something's burning!
01:42:36Dad, is the engine on fire? It smells like something's burning.
01:42:39This was a smell like... like oil... scorched engine oil...
01:42:52Scorched engine oil!
01:42:53Oil can be fuel for fire, and since Bob is described numerous times as smelling like
01:42:59scorched engine oil, his fire must be fueled by this engine oil. But, oil is also a slippery
01:43:05lubricant - there must be oil inside the Fireman's machines, fueling the fire that they generate.
01:43:12Can we call it fish oil...? I don't see why not.
01:43:16It's slippery in here.
01:43:19But, fire makes light as well as causing destruction, and since the oil that powers Bob's destructive
01:43:25fire takes a literal, physical form in the show, does this mean the oil that fuels the
01:43:29light of investigation also takes a literal form?
01:43:33What did your husband say exactly about this oil?
01:43:36"This oil is an opening to a gateway."
01:43:41Intriguing, isn't it?
01:43:43The gateway to the Red Room is Glastonbury Grove, a ring of twelve sycamores surrounding
01:43:48a white-rimmed pool of the engine oil Bob's fire runs on. In the film, we can see the
01:43:54Red Room reflected in this pool before the gateway is opened... But wait just a minute,
01:43:58we've seen a similar image before! One of the more notable things about the finale episode
01:44:02of Season 2 is that it does not end with the credits rolling in front of Laura Palmer's
01:44:06homecoming photo, like all the other episodes do. Rather, it ends with the credits rolling
01:44:11in front of a shot of a cup of black coffee, in which is reflected the image of Laura Palmer
01:44:16smiling out at us from inside the Red Room... A white rimmed pool of dark liquid reflecting
01:44:23an image of the Red Room, just like the one at Glastonbury Grove... This is showing us
01:44:29that engine oil and black coffee must represent the same thing...
01:44:34You know, David Lynch has expressed his dismay that people think Phillip Jeffries ended up
01:44:39inside of a teakettle. I think what Lynch is regretting here is that if we think it's
01:44:43a teakettle, we're locked into that dead end idea and we stop thinking about it any further,
01:44:48from seeing it for what it really is. It's not a teakettle... it's a coffee machine.
01:44:55Having a fish in the old percolator is like having an idea on the brain, and ideas fuel
01:45:00the show the same way fire does. Someone once made the joke that Phillip Jeffries was the
01:45:04fish in the percolator... They have no idea how close they were to the correct answer.
01:45:10There was a fish in the percolator.
01:45:13So, the form the fuel for the fire takes coming out of the machines changes depending on the
01:45:22intention. Bob's bad fire of destruction runs on engine oil. Investigation is the light
01:45:28shining into Bob's darkness to reveal it, and what does that fire run on? Coffee. Agent
01:45:35Cooper, lead investigator of the mystery, literally runs on coffee, as well as any other
01:45:40investigator in the show. He's obsessed with coffee because he can't do his job without
01:45:46Who killed Laura Palmer?
01:45:49Harry, let me tell you about the dream I had last night.
01:45:55Not just coffee, coffee and doughnuts. Bitter and sweet, because bitter and sweet is balanced.
01:46:01Balance is good, and good is balance.
01:46:05A policeman's dream...
01:46:08What is an FBI agent? Someone who shines a light on evil and is authorized to use deadly
01:46:14force, destruction in the name of good. Balanced.
01:46:19Ah! The policeman's dream.
01:46:23What was the result of studio pressure to solve Laura Palmer's murder? It allowed the
01:46:27darkness to win. The cable company got in the way of the investigation and ended it.
01:46:32No more light. No more fuel for the light. The flow of coffee ceased. But, Lynch wasn't
01:46:39finished with Laura, so he brought the investigation back. How did Fire Walk with Me begin? With
01:46:45a stale pot of coffee.
01:46:47Why don't you have some coffee? Go ahead. It was fresh about two days ago.
01:46:53Laura's investigation was stale and needed freshening up with the Teresa Banks investigation.
01:46:58You can start that fresh pot of coffee right now.
01:47:00The coffee was back on, and since this was a film, there was nothing Sheriff CABLE and
01:47:08his impotent show of "strength" could do to interfere with it.
01:47:12The Fireman's association with coffee is locked in during the finale of Season 2. The Little
01:47:18Man offers Cooper some coffee, the funny old waiter from the Great Northern brings it,
01:47:22then reveals himself as the Giant. The Fireman supplies the coffee, freshly percolated in
01:47:28his castle.
01:47:29The Fireman's castle resembles a movie theater and is always shown in black and white. As
01:47:34we've seen from the rest of the show, black and white sequences signify past events. Why
01:47:39does the Fireman, who's in charge of powering our visual entertainment dreams, live in an
01:47:43old timey movie theater in the past? Well, where did people get their visual entertainment
01:47:48before TV became popular? They got their dreams at the movie theater, on the big screen in
01:47:54black and white. Lynch has made no secret that he considers film to be superior to TV,
01:48:00and now we know it's because film is capable of balancing light and darkness better than
01:48:05television can. This is exactly why the Fireman's castle, a power station for visual storytelling,
01:48:11is located on the infinite sea of consciousness.
01:48:14This field within is a field of balance. It's just a huge field of balance.
01:48:22We may have moved from the big screen to the TV screen, but the dreams we dream through
01:48:26both have the same origin. TV is descended from film, so its fire is still going to be
01:48:32powered by those film storytelling ideas, especially if it's a TV show created by a
01:48:39The entrance to the TV realm is marked by a pool of the engine oil that powers violence
01:48:43and fear. What marks the entrance to the realm of film and balance? A pool of gold liquid.
01:48:49Why would this be?
01:48:50The analogy is, if you want to make a white cloth gold, you dip it in the golden dye and
01:48:58hang it up on the line in the sun to dry. And the dipping it into the golden dye is
01:49:03transcending, and hanging it on the line in the sunlight is activity. And at the very
01:49:09beginning, the sunlight burns out almost every little bit of gold. Maybe a few little specks
01:49:14stay. So, you dip it again and hang it up. You transcend and go into activity, transcend
01:49:19and go into activity, and little bit by little bit, that white cloth gets more and more gold.
01:49:26And this is why we see a blob of pure gold floating at the center of the nuclear blast
01:49:31right before transcending. Gold is the entrance to transcendence just as fear is the entrance
01:49:37to television.
01:49:38As the Fireman's purpose is revealed by his coffee delivery, he makes a "whooping" noise
01:49:43and exclaims, "Hallelujah!"
01:49:46Woowoowoo! Hallelujah!
01:49:51What the heck is that supposed to mean? Well, what does this noise sound like, other than
01:49:55a stereotyped Native American war cry? Let's think of all the places we've heard it before:
01:50:00We've heard it from the Little Man when he introduces himself as Mike's Arm.
01:50:04I am The Arm, and I sound like this: Woowoowoo!
01:50:20By the way, the Little Man is the manifestation of the arm that Mike chopped off. That's common
01:50:25knowledge, right?
01:50:27Mike's arm had a tattoo that allowed him to control his familiar, Bob.
01:50:30He was my familiar.
01:50:31I, too, have been touched by the devilish one. A tattoo on the left shoulder. But when
01:50:33I saw the face of God, I took the entire arm off.
01:50:47We see Bob bowing to Mike's former Arm at the end of the film, so we can see that The
01:50:52Arm is still Bob's master. Bob's master sounds like this:
01:50:58We hear a similar sound when Mike goes to warn Laura about Bob's presence inside her
01:51:07We hear that sound come from the TV Leland smashes when he's murdering Teresa Banks while
01:51:11possessed by Bob.
01:51:17And we hear it coming from the #6 telephone pole that introduces the Convenience Store
01:51:21scene where Bob sits with The Arm.
01:51:34We can conclude that in all of these situations, the sound accompanies Bob. It warns us about
01:51:40Bob, and Bob is fire... The sound isn't a war cry, it's a fire alarm. The Little Man
01:51:47controls Bob's fire, so he makes the fire alarm sound. The Giant is the Fireman, who
01:51:53both supplies and fights the fire, so he also makes the fire alarm sound.
01:52:00Now, this word, "Hallelujah." What does it mean? It's a Hebrew word that literally translates
01:52:06to, "Praise you, God." This is said immediately after the Giant appears with coffee and makes
01:52:12the fire alarm sound, which tells us that the Fireman is the God of Fire- BUT, he's
01:52:19not the only one. The two say, "Hallelujah," to each other.
01:52:28Is the Little man also a God of Fire?
01:52:31We can only investigate so far as we have clues to give us a lead. The light of investigation
01:52:36runs on coffee, just as it runs on clues. The Fireman brings the coffee that powers
01:52:42the light from the world of film. He supplies the film storytelling clues. But, it's established
01:52:47early on in Twin Peaks that the Little Man is the one who distributes them.
01:52:53She's my cousin, but doesn't she look almost exactly like Laura Palmer?
01:53:01In the finale, the Little Man makes this perfectly clear by giving us a display of his power,
01:53:07showing us that he controls the flow of coffee, the flow of clues. He starts rubbing his hands
01:53:13together (like you might do if you want to get some heat going), and at his command,
01:53:17the coffee flows freely, it flows slowly, and it stops altogether. If he wants the investigation
01:53:23to move forward, he can crank up the flow of clues, and thus the flow of coffee that
01:53:28powers the investigators. If he wants the investigation slowed or stalled, he can stop
01:53:33the flow. The Little Man is in direct control of how much light gets to shine through the
01:53:40"Light shining through" - how does a dream appear on the big screen in a movie theater?
01:53:46An electrical arc lamp shines light through the film, projecting the image onto the formerly
01:53:51dark screen. But, how does a dream appear on your TV screen at home? As we now know,
01:53:56the tube wants to make the screen bright white, and you have to control the amount of light
01:54:01being projected by blocking the light and adding darkness to the formerly white screen.
01:54:08Film good, TV bad. Film light, TV dark. The Giant supplies the light, he's the God of
01:54:14Light. The Little Man controls the light with darkness, he's the God of Darkness. The Giant
01:54:20lives in a movie theater, the Little Man lives behind the curtains of TV - the Giant is the
01:54:25god of the balanced big screen, the Little Man is the god of the evil small screen. Giant
01:54:32screen, giant spirit. Small screen, small spirit. Together, they are the gods of the
01:54:38electrical fire that powers film and TV.
01:54:44The Woodsmen, the smoke, the thing in the air floated in looking for a home for Bob,
01:54:49a way to spread the fire. Before TV took off, this would have been through film. They were
01:54:55looking for the God of Light!
01:54:57Gotta light?
01:54:59Gotta light?
01:55:00God of Light?
01:55:03But the spirit of film, with his home located on the sea of balance, is far too balanced
01:55:08to spread evil. So, what do the Woodsmen find instead? A mic.
01:55:14The Little Man is Mike's Arm, so he's just a part of a greater whole. The Arm controls
01:55:19the violence on TV, Mike is the spirit of TV that could be, and together they should
01:55:25be balanced, but the evil has been acting on its own. Just imagine how much bigger TV
01:55:31could be if it weren't so focused on evil and violence all the time...
01:55:3760's TV series The Fugitive, immensely popular during its four-season, 120-episode run, is
01:55:47about police Lt. Philip Gerard's pursuit of Dr. Richard Kimble, who is wrongfully accused
01:55:52of killing his wife. While on the run, Dr. Kimble is pursuing the actual killer, the
01:55:57infamous One-Armed Man. Originally, the one-armed Twin Peaks character known as Phillip Michael
01:56:02Gerard was nothing more than an homage to The Fugitive, a clue for the viewer to consider
01:56:07on the path to discovering the show's literal TV nature. However, when Lynch was forced
01:56:12to write a conclusion to the pilot episode of Twin Peaks for the international release,
01:56:16that's when he came up with the idea for the Red Room, and the homage became a resident
01:56:21of this room, and therefore an integral part of the inner workings of Twin Peaks.
01:56:26"It's the same thing with The Fugitive: where is that one-armed man? Yet each week, you
01:56:31know, they hardly ever dealt with that. And that's the beautiful thing. You keep wondering,
01:56:36'When will he find this guy and set everything straight?' But then you knew that would be
01:56:41the end."
01:56:42The Fugitive's One-Armed Man is an iconic TV murderer in an ongoing TV murder mystery
01:56:47that successfully ran for a long time, but did eventually succumb to audience demand
01:56:52for closure. As such, he's a perfect symbol for TV itself succumbing to the spread of
01:56:58consumable violence. Mike used to be the spirit of TV that spread that consumable violence,
01:57:04but now he is intent on stopping his former partner's evil, and so has severed the Arm
01:57:09that controls Bob.
01:57:10I saw the face of God and was purified.
01:57:18Mike saw Laura Palmer, balance, come out of the face of the God of Light.
01:57:23I took off the Arm, but remained close to this vessel for one single purpose.
01:57:31To find Bob.
01:57:32To stop him!
01:57:34Mike's former Arm is the embodiment of Mike's former evil intent. One-Armed Mike now inhabits
01:57:40the body of Philip "Michael" Gerard. Mike is now INSIDE Philip Gerard. What does this
01:57:48mean? The pursued has become the pursuer. The Fugitive's One-Armed Man has severed his
01:57:54evil to become an agent of good, the man sworn to chase down and stop his fugitive familiar
01:58:00from causing pain and suffering for entertainment. Ultimately, Philip Michael Gerard embodies
01:58:06television turning its back on ongoing mystery, but then having a change of heart and attempting
01:58:11to stop its own darkness with a new ongoing investigation.
01:58:15But, The Arm is still a necessary part of Mike and of Twin Peaks, because the show's
01:58:20method of stopping the evil is not to eliminate it or contain it - Laura Palmer still has
01:58:25to die. We still need a Bob to make that happen, and the show must direct and control Bob's
01:58:31evil to perform in such a way that we can receive the core message of balance, so Mike
01:58:36and his Arm, good and evil, are working together as one complete, balanced spirit of TV storytelling
01:58:43(at least where Twin Peaks is concerned). This is why we can see both Mike and his Arm
01:58:48laughing as Laura is killed; their plan to cause and then expose Bob's evil in the story
01:58:53of Twin Peaks begins here.
01:58:58One day, the sadness will end.
01:59:06The key to goodness is balance between the darkness and the light, and Laura Palmer embodies
01:59:11the concept of balance that David Lynch seeks. She has bad aspects and good aspects in equal
01:59:17measure. She's involved with drugs... and helps Josie with her English. She sleeps around
01:59:22and prostitutes herself... and tutors the disabled. She covers for her boyfriend murdering
01:59:27a guy... and delivers food to the elderly. The people who are associated with her good
01:59:31side generally can't believe she had a bad side, and vice versa. The balance in Twin
01:59:36Peaks came from an equal amount of stories about people connected to both sides of Laura.
01:59:41It's no wonder Laura Palmer was born out of the Unified Field - she is good and bad together
01:59:46as one, she is "The One", she is "Oneness".
01:59:52The one leading to the many is Laura Palmer. Laura is The One.
01:59:57But, I've heard a thing, "Knowledge and experience of combined opposites," and this is the story
02:00:04of the Unified Field, where opposites are together. They say, "Infinite silence, infinite
02:00:10dynamism together in this unity beneath matter and mind."
02:00:15Any thing that is a thing has emerged from this field of unity. It's "Oneness".
02:00:23Laura is The One.
02:00:25If Laura's balance is Twin Peaks, then Bob trying to get inside her and turn her fully
02:00:30over to the side of evil is the wind of the Zeitgeist trying to corrupt the TV show like
02:00:36it has so many times before. Leland turns on the ceiling fan outside of Laura's room
02:00:41every time he goes to abuse her. As Laura stands under the fan, we can see its wind,
02:00:47the Zeitgeist, entering her and hypnotizing her to be more receptive to Bob's evil.
02:00:53On some deep level, Laura knows that she was born to eventually succumb to the evil, either
02:00:58becoming possessed of it or victim to it. In the end, Laura's struggle between darkness
02:01:03and light is a metaphor for the struggle of Twin Peaks to exist in a world with mundane
02:01:07violence. We enjoy that violence, and Lynch's hope was that Laura's tragic story would allow
02:01:13us to see the evil for what it was and to see what it was doing to us, thus breaking
02:01:19the feedback loop of fear in the Zeitgeist entering the TV to cause more fear in the
02:01:27Bob feeds on fear... and the pleasures. They are his children.
02:01:34Bob's primary goal is to cause as much pain as is possible for his audience to enjoy.
02:01:40He inflicts pain, then feeds on the pain he inflicts, which strengthens him and drives
02:01:44him to inflict more. This is a literal manifestation of the idea that an inflictor of pain is damaging
02:01:50their own soul, which might lead them to inflict more pain. Similarly, their victims become
02:01:55damaged, which pushes the victims towards accepting evil into themselves and inflicting
02:02:00it on further victims.
02:02:02Pain for the victim, pain for the inflictor of pain. A circle of pain. A circle of suffering.
02:02:10This circle of pain extends to the audience that watches television. Bob enjoys his work,
02:02:16and we wouldn't watch Bob's work if we weren't also enjoying it. We have an appetite for
02:02:21pain and suffering, Mike would use Bob to satisfy it, creating a supply and demand of
02:02:26consumable violence on TV. The more pain he caused, the more we wanted to see, and the
02:02:32more Bob entered us to darken our own souls. David Lynch sees us as suffering for it.
02:02:38"That's a real sickness to me. That's a real sick thing."
02:02:44Only two types of people can see Bob's true face.
02:02:46This is his true face, but few can see it. The gifted...
02:02:51The "gifted", the characters in the show that were given this ability by the script and
02:02:57the director, characters who are in touch with their "intuition"...
02:03:06... and the damned.
02:03:07... and the "damned". Mike looks directly at the audience when he says this. He's talking
02:03:11directly to us. We are the damned. We are the ones suffering from the endless growth
02:03:17of fear and negativity fed to us and demanded by us through the TV. We are the walking dead!
02:03:24Bob and I, when we were killing together, there was this perfect relationship: appetite,
02:03:29satisfaction. A golden circle.
02:03:33A golden circle... A ring!
02:03:43Mike calls the killing a golden circle of appetite and satisfaction, Cooper relates
02:03:47this to his ring, and so the golden circle takes physical a form: the Owl Ring, a literal
02:03:54golden circle that ends up on the ring fingers of Bob's victims. The symbol stamped into
02:04:03it is the same symbol we see in Owl Cave in the second season, which resembles an owl
02:04:07in flight from a head-on perspective.
02:04:09In Season 3, Mr. C tells Ray Monroe to put the Owl Ring on his left hand ring finger.
02:04:14This is the same finger on which we see Teresa Banks and Laura Palmer wearing it. Gordon
02:04:19Cole tells Tammy Preston that the left hand ring finger is, "the spiritual mound, the
02:04:24spiritual finger."
02:04:25This is the spiritual mound, the spiritual finger. You think about that, Tammy.
02:04:30A Google search for "spiritual mound" will reveal a Wikipedia entry about Spirit Mound
02:04:35Historic Prairie in South Dakota (a good portion of Season 3 happens to take place in South
02:04:40Dakota). "[Spirit Mound Historic Prairie features] a prominent hill on the Great Plains. The
02:04:45Plains Indians of the region considered Spirit Mound the home of dangerous spirits or little
02:04:51people." We see the ring appear on a hill or mound of dirt, reminiscent of this mythical
02:04:56home of evil little people, we see Mike wearing the ring on his little finger, and we see
02:05:01Mike's little person left Arm in possession of the ring. This tells us that the ring currently
02:05:06belongs primarily to The Arm, and it makes perfect sense that the golden circle of ever-growing
02:05:11evil would belong to the evil extension of TV storytelling.
02:05:15In both the film and Season 3 we see that if a character dies while wearing the ring
02:05:18on their "spirit finger", their spirit is transported to the Red Room, where Mike and
02:05:23his Arm reside. Why? Because the Owl Ring is Mike's wedding ring.
02:05:29With this ring, I thee wed.
02:05:36When you get married, accepting a wedding ring onto your wedding ring finger symbolizes
02:05:39that you're giving yourself body and soul to your spouse. When people in Twin Peaks
02:05:44accept the Owl Ring onto their "spirit fingers", they are marrying themselves to Mike's evil.
02:05:50Their left arms even go limp to signify their commitment to the one-armed embodiment of
02:05:57Just before her time, Teresa's arm went completely dead.
02:06:02Upon death, their souls are taken to the Red Room because they now belong to Mike. This
02:06:07is all a literal interpretation of the idea that if we accept television's evil, golden
02:06:12circle of appetite and satisfaction, we become victims of Bob and give our souls over to
02:06:17the TV. Mike TV owns his audience, and we are married to the violence.
02:06:25This is how the ring used to work for these spirits of television before Twin Peaks. I
02:06:30posit that before the show, Mike's golden circle was ONLY a golden, wedding band-style
02:06:35ring with no ornamentation, and that the green stone was affixed to the ring AFTER Mike's
02:06:40change of heart. To explain why I think this, we need to talk about the meaning of the Owl
02:06:45symbol that's engraved into the ring.
02:06:48The owls are not what they seem.
02:06:52What does the owl symbolize? If we look to the current prevailing theories, what the
02:06:56owls seem to be are "familiars" that carry spirits from the Lodge to the real world and
02:07:01back. Somewhat of a stab in the dark, but it's got a glimmer of truth to it. If we work
02:07:06backwards from what Phillip Jeffries shows us in Season 3, we can get the whole story.
02:07:11Cooper wants to travel back to a point in time. Jeffries shows him that point in time
02:07:15on an infinite loop. The symbol for the infinite loop of time comes from the Owl symbol, so
02:07:22the Owl symbol and the infinite time loop must represent the same thing. But, what could
02:07:28it mean that the Owl symbol represents an infinite loop of time? We could say that the
02:07:32plot of the original show begins with Cooper receiving clues from a dream of his future
02:07:37self, and it ends with Cooper entering that dream, where he waits twenty five years in
02:07:42the "waiting room" to be the future self he was dreaming about at the beginning. So we
02:07:47could say that, in this way, the plot begins where it ends and ends where it begins. All
02:07:52of the time in the original plot is contained in that infinite loop...
02:07:57What can we conclude? The Owls represent the entirety of the plot of the first two seasons,
02:08:04from beginning to end and back to the beginning. The wings on the Owl symbol even resemble
02:08:08two mountain peaks; Twin Peaks, the story.
02:08:12Watch and listen to the dream of time...
02:08:17The Owl Ring was first introduced in the film, which was created in addition to that story,
02:08:22and this is why the Owl symbol on the ring has an extra line coming off the top of the
02:08:27owl's head. This is extra time that has been added to the original plot.
02:08:32Why was the Owl chosen as a representative of the story? Firstly, owls have enormous
02:08:38eyes that can see in the darkness like Lynch wants us to do. Second, Lynch shows us a more
02:08:44literal comparison in the final episode of Season 3: transmission towers! Only the very
02:08:50jaded can look at this and say that it doesn't resemble a stylized, cartoon owl. What does
02:08:56a transmission tower do? It props up the power lines. The "owls" literally carry electricity!
02:09:03We repeatedly see the images of owls carrying light throughout the show.
02:09:08I combined Major Briggs' tattoo with the Log Lady's.
02:09:12This looks exactly like the one at Owl Cave.
02:09:15The larger symbol from Owl Cave, when seen in its complete form, is very obviously an
02:09:20owl totem pole, just like we see elsewhere in the show. We are shown the diamonds from
02:09:24the totem design during the owl to infinity symbol transition just to make sure we know
02:09:29that this is an owl totem pole. This totem pole is topped by a fire symbol. The owl is
02:09:36carrying the fire; telephone poles and transmission towers are carrying the fire. The owls carry
02:09:44the electrical fire, the plot carries the show, the loop of time that is the plot is
02:09:49the same as the owl, the owl represents the plot which carries the electrical fire.
02:09:55So, why is the Owl symbol stamped into the green stone affixed to the Owl Ring? Next,
02:10:01we'll need to ask, "What is the green stone?" It's not jade!
02:10:07This is a formica table. Green is its color.
02:10:17Why would Mike's Arm call attention to this oddly specific detail, that he's sitting at
02:10:21a green, formica table? If we look closer at the table, we can see a circular hole about
02:10:27the size of the stone on the Owl Ring... The green stone on the Owl Ring seems to have
02:10:32been pulled from this green formica tabletop. But why formica? Because formica was originally
02:10:40invented as an electrical insulator, which is a concept that works on several levels.
02:10:46The design in a formica table looks a heck of a lot like TV static, mirroring the fact
02:10:51that if we literally block the signal we get nothing but static on the screen. We're "insulating"
02:10:56ourselves from the show. The ring itself represents the "golden circle" of appetite and satisfaction,
02:11:02and gold happens to be one of the best conductors of electricity. Watching TV, marrying the
02:11:08evil and wearing the "golden circle" would allow for Mike and Bob's evil electricity
02:11:12to enter our souls more easily. But, the story of Twin Peaks was created as an attempt to
02:11:17"insulate" TV from Bob's electrical fire of consumable violence, and here, we see the
02:11:23symbol of that story, the owl, is now engraved in a piece of formica that literally breaks
02:11:29the golden circle that TV maintains with its viewers, insulating us from Bob's electrical
02:11:35So, with Twin Peaks as an insulator on the ring, Laura is marrying a spirit of TV that's
02:11:41had a change of heart, insulating her from Bob's possession, and it is hoped that, through
02:11:46watching Twin Peaks, we are also insulated through a marriage to this new, balanced spirit
02:11:51of TV.
02:11:52Now we have an explanation for why Leland is so upset about the dirt under Laura's wedding
02:11:56ring fingernail.
02:11:57There's dirt way under this fingernail.
02:12:01In this moment, Laura is not yet fully possessed of Bob's evil and still has the potential
02:12:06to put the ring on and insulate herself from him. Mounds of dirt symbolize the Little Man,
02:12:12and the Little Man is part of Mike, so dirt under the wedding ring fingernail signifies
02:12:17Mike's goodly influence on her soul.
02:12:19But not a one of us is going to start eating until Laura washes her hands. Wash your hands!
02:12:29Bob abusively demands that she wash her hands to cause her pain, thus pushing her toward
02:12:35the side of evil and hopefully cleansing Mike's influence. He doesn't succeed, Laura chooses
02:12:41the side of good, marries Mike, insulates and protects herself from Bob's possession,
02:12:46and Bob murders her like a good little servant to his little master. After the murder, Bob
02:12:51goes back to the Red Room to return Mike's garmonbozia...
02:13:08Creamed corn, or "garmonbozia", is a physical manifestation of pain and sorrow. Evil entities
02:13:14of the Black Lodge run on garmonbozia like a fuel, and enjoy both its creation and consumption.
02:13:20We know it's a fuel because, at the time they're supposed to return to the Lodge, we can see
02:13:24Cooper's doppelganger and Dougie Jones vomiting up spent garmonbozia as its evil energy runs
02:13:29out. Before Mike cut his Arm off, he would "marry" Bob's victims with his ring, and Bob
02:13:35would kill them, delivering their souls to the lodge where Mike could harvest the garmonbozia
02:13:39from them. He would can it and store it in the Convenience Store for future use.
02:13:44I had it canned over the store!
02:13:49Mike and Bob, powered by garmonbozia, would enter the world and commit murder, then return
02:13:53to the Lodge with fresh garmonbozia, which could be used to fuel more evil acts, and
02:13:58so on in a cycle... until the day Mike cut his Arm off and swore to stop the violence.
02:14:03The first of Bob's victims after Mike's change of heart was Teresa Banks.
02:14:06I wonder where her ring is?
02:14:09Somehow, Bob was able to steal the garmonbozia from this kill out from under Mike, despite
02:14:14Mike using the Owl Ring.
02:14:16You stole the corn!
02:14:20How did Bob do it? One would presume that he's taking it from the Lodge directly, or
02:14:24getting it from The Arm, who has a healthy supply of it on his formica table. But no,
02:14:29Bob is actually generating it himself using his infamous ‘fingernail letters'. Usually,
02:14:36when Bob kills someone, Mike claims their soul by placing his ring on their "soul finger".
02:14:41Bob gets around this by planting letters from his own name deep under their wedding ring
02:14:45fingernail. Mike may have claimed their soul, but the pain and sorrow buried deep within
02:14:51their soul belong to Bob, and he's putting his name on it.
02:14:55The letters under the fingernails? R-O-B-T? Bob was spelling his name; a signature on
02:15:00a demon's self-portrait.
02:15:01But, Bob doesn't necessarily need the garmonbozia from his murders; he's capable of entering
02:15:06the world and causing mayhem on his own parasitically by living on the pain and sorrow in the soul
02:15:11of his host. So, why does Bob steal Mike's garmonbozia? Is it really for the simple pleasure
02:15:16of eating pain and sorrow, or is there a deeper reason?
02:15:20What really is creamed corn? Is it a symbol for something else?
02:15:25So much of the symbolism in Twin Peaks is about different types of fuel. Oil fuels the
02:15:30fire, and that electricity fuels the show. Coffee and doughnuts fuel the investigation.
02:15:36Cherry pie fuels love and companionship.
02:15:38This world of Twin Peaks seems to be filled with beautiful women! Join us for pie!
02:15:44But, what fuels the audience? The obvious answer would be, "Food,"
02:15:49and that would be a pretty dumb joke if it weren't the actual answer to the question.
02:15:53Food is interesting. For instance, why do we need to eat?
02:15:58Most of the time, a film or TV audience is guaranteed to be eating while we watch a movie
02:16:03or TV show. Movie theaters have concession stands filled with snacks, and somewhere between
02:16:09the 50's and 90's, loving, family dinners at home started to dissolve into dinner time
02:16:13in front of the TV. When we watch a movie in a theater, we eat the classic, quintessential
02:16:19movie food: popcorn. If we were watching TV in the early 90's, we might have eaten a TV
02:16:25dinner... which might have included some creamed corn. Corn is the common denominator; it's
02:16:32the food an audience eats when we watch a film or TV show, and so creamed corn has come
02:16:38to represent the audience's *attention* and enjoyment of the pain and sorrow we're watching
02:16:44on TV while we eat our TV dinners. We give our TV dinner eating time to the TV; Black
02:16:52Lodge beings create the pain and sorrow of a murder mystery, we dedicate our corn-consumption
02:16:57time to it, they eat our corn-stuffed attention as fuel to create more pain and sorrow for
02:17:03us to pay attention to. We have an appetite for it, and it satisfies.
02:17:09Appetite, satisfaction.
02:17:12Are our appetites, our desires, undermining us?
02:17:18Is this just crazy talk? Let's look for the evidence.
02:17:22Here's Chad. He's a dirty cop, so he's possessed by evil. He's eating not one but two TV dinners
02:17:29and a big bowl of creamed corn while he reads a gun magazine. He's spending his corn-consumption
02:17:35time on violent entertainment.
02:17:37Here's Sarah Palmer. She shows us that she's possessed by evil, and she spends all her
02:17:42time at home watching violence on TV. Lynch refers to TV violence as, "Animals eating
02:17:47each other."
02:17:48Mmm... Animals... Animals eating each other...
02:17:49Mm hmm, that's what you're watching.
02:17:54Yeah, it's my kind of stuff.
02:17:59Animal life.
02:18:00And what does Sarah eat while she watches? The only food she buys at the store to go
02:18:04with her bloody marys: TV dinners.
02:18:08Here's Carrie Paige. She's involved in the murder of some guy, so she's also possessed
02:18:13by evil. What's she been eating while hiding out from the police? Nothing but TV dinners.
02:18:20Traditionally, corn is used as a fertility symbol, and this is also true in the world
02:18:24of Twin Peaks, but in a more literal way. Our creamed corn eating gives birth to the
02:18:28show - intercourse between the two worlds gives birth to the dream. The show may be
02:18:33physically run by electricity, but what keeps the power running is our attention to it.
02:18:39This works on a couple of levels. On a personal level, if we don't give the show our attention,
02:18:44the show doesn't exist for us; we haven't shared in the dream. On a broader level, if
02:18:49enough people don't give the show attention, then the show gets cancelled and ceases to
02:18:53exist for everyone. In either case, Black Lodge entities don't get to consume our attention
02:18:59unless we have seen their handiwork.
02:19:02Why does Bob want garmonbozia? Because he wants an audience for his work! If the only
02:19:08clue we had after a murder was the impression left behind by the Owl Ring, then Mike and
02:19:12his Arm would get our attention, because we see them in possession of the ring and that
02:19:17would make them the prime suspects. But by leaving his signature on the kill, we know
02:19:22it was Bob who was responsible, and this keeps our interest on his work, which further powers
02:19:28him because we want to see his serial killer mystery play out. And so, Bob gets to consume
02:19:34our attention. He steals the attention away from Mike and his Arm.
02:19:38You stole the corn!
02:19:42We can keep going with this! TV dinners and creamed corn, also known as convenience foods,
02:19:47are produced for us to easily consume and enjoy, just like the pain and sorrow that
02:19:51fuel a murder mystery show - TV and TV dinners wrapped in plastic for our convenience.
02:20:00She's dead, wrapped in plastic.
02:20:04It should be no wonder, then, that garmonbozia is stored in a gas station convenience store,
02:20:09a place that literally stores fuel and convenience foods.
02:20:15the look on her face when it was opened, there was a stillness...
02:20:21When Mike yells at Bob for stealing the corn, he says he had it "canned over the store"
02:20:26and that there was a stillness on Teresa's face when it was "opened" (very interesting
02:20:30that the corn wasn't opened until after she was killed). The "canning" of garmonbozia
02:20:36happens when a murder is committed before the story begins. This is potential energy
02:20:40that is stored in the Store until the audience is brought in at the start of the story during
02:20:45the murder investigation. Teresa's garmonbozia was canned and stored during her murder, and
02:20:50during her autopsy scene, where we see the stillness on her face, Bob's fingernail letter
02:20:55is revealed and our attention is consumed by Bob. This is what Mike is talking about.
02:21:00So, the Convenience Store acts as a kind of power station for the story, generating and
02:21:06storing negative plot details, and this is because we want the negativity. The oil comes
02:21:11from the Fireman's castle, and our attention and desire for negativity refines that oil
02:21:16into gasoline to fuel Bob's fire. The power station for TV's darkness is a dirty, highway
02:21:23gas station full of gasoline and creamed corn - the power station for the light of film
02:21:28is a giant's castle on a purple sea of dreams full of coffee and lantern oil... Which do
02:21:33you think Lynch holds in higher regard?
02:21:41The first time we see garmonbozia, it's at the Tremond's house when Donna is delivering
02:21:45food for Laura's Meals on Wheels route.
02:21:47I requested no creamed corn.
02:21:51Mrs. Tremond does not want garmonbozia. Her grandson, Pierre, is studying magic, and he
02:21:56moves the corn around the scene with and as if by magic. It's on the plate, then it's
02:22:02in Pierre's hands, then it's gone - very interesting to watch and think about... attention grabbing,
02:22:08even... How does Pierre's trick work? And I don't mean, "How might he be able to pull
02:22:13it off in real life?" I mean literally, how is this magic trick actually being done when
02:22:17we're watching it? Through editing! The corn, our attention, is being moved around the scene
02:22:24through cinematography and editing. Each cut is an instant, magical move of our attention
02:22:30from one place to another.
02:22:32Sometimes, things can happen just like this.
02:22:39And who controls the editing and cinematography? The director! The director literally directs
02:22:44the audience's attention around in a scene. So, if the editing is the magic, then the
02:22:50director must be a magician.
02:22:53"I feel it takes away too much for the film when you know too many of the magician's secrets,"
02:22:57Sabrina Sutherland responds to questions about how Lynch directed a scene.
02:23:01Furthermore, this particular little magician has David Lynch's signature haircut and was
02:23:05originally played by none other than Austin Jack Lynch, David Lynch's own son. Pierre
02:23:11Tremond seems to be another David Lynch self-insert. He's never seen without his grandmother, who
02:23:17despises creamed corn. One of Lynch's first films was The Grandmother, which is about
02:23:22a little boy who grows his own grandmother to be a source of love.
02:23:26A small boy plants a seed and grows a grandmother, because a grandmother is a source of love.
02:23:32So, of course baby Lynch's grandmother despises negativity fuel. Pierre Tremond proves to
02:23:38us that Lynch is the director is the magician. And now, we have an identity for the magician
02:23:44from the famous Twin Peaks poem, and we can fully decode its meaning:
02:23:47Through the darkness of future past The magician longs to see
02:23:54"Through the darkness of future past."
02:23:57What is "future past"? Well, when you make a recording, when you shoot video or film,
02:24:02you intend to watch it in the future. What you will be watching at that time is a record
02:24:07of the past. "Future past" is a film or TV show. The "darkness" we're talking about here
02:24:13is the dark dream of Twin Peaks... the TV show.
02:24:16So, "Through the darkness of Twin Peaks, the magician" - the director, David Lynch - "Through
02:24:21Twin Peaks, David Lynch longs to see, one chants out" - the one CHANCE we have of getting
02:24:27out of this golden circle of destruction. And yes, I know Lynch meant it to be, "One
02:24:32CHANTS out," with a 'T', like someone chanting. But, we're playing a lot of games with meanings
02:24:36and homonyms and "sounds alikes" anyway, so all that matters is that it SOUNDS like "chance".
02:24:41"Between two worlds" - between the TV world and the real world.
02:24:45"Fire walk with me" - this could be a couple things, but they both have kinda the same
02:24:49meaning. It could be a reference to the Electrician's walking stick, planting those telephone poles,
02:24:54walking with the fire to connect our TV's with the dream. It could also be meant as
02:24:59The Arm means it when he says it to Bob and then walks Bob out into the world. "Come along
02:25:04with me, Bob, and we will use your darkness to send a message." The second seems more
02:25:09likely, because that's what would lead to the "one chance out".
02:25:12So, when we see Pierre ordering Bob to commit murder, he's directing the violence in a certain
02:25:17direction and then, through editing, directing the audience's attention in that direction.
02:25:22He's walking with the electrical fire, using it to create his show... Actually, no. Notice
02:25:30how Pierre directs Bob directly, but The Arm holds his hand up to restrain Bob, and he's
02:25:35the one who walks Bob out into the world.
02:25:38Fire, walk with me.
02:25:42To understand the director's indirect control of Mike's Arm, we will use the concept of
02:25:48Bob certainly wears Leland like a mask, possessing his body for his dark purposes. But, David
02:25:53Lynch is kind of using his magic to possess our TV's for his purpose, so can we say that
02:25:57Lynch is wearing TV like a mask? The answer is yes, but again, not directly. First of
02:26:03all, David Lynch is wearing the character of Pierre as a mask, isn't he? And then, Pierre
02:26:07wears a literal mask of his own, resembling a character in the Convenience Store known
02:26:11as the "Jumping Man". This character jumps up and down with frantic, evil glee on a milk
02:26:15crate while carrying a wooden branch. We can see Pierre carrying the same branch while
02:26:20wearing the mask and jumping around in a parking lot later in the film during a flashback,
02:26:24which tells us that the Jumping Man is nothing more than a mask for Pierre Tremond. The branch
02:26:30looks like a kind of talisman, and the actor who played the Jumping Man, Carlton Lee Russell,
02:26:35says that Lynch told him his character was a "living talisman".
02:26:39David told me that my character was this "talisman come to life", and so that's what I went with.
02:26:47What the heck does that mean? Well, a talisman is an object with magical powers. We already
02:26:52know that David Lynch is a magician, and that the magic he practices is directing attention
02:26:57around through editing... If Lynch's child-self is carrying the magic talisman, and the Jumping
02:27:03Man is the talisman come to life, does this mean that the Jumping Man is the embodiment
02:27:07of the magic of editing? That would explain his frenzied behavior. There's a lot of energy
02:27:13in a cut from shot to shot. It's instant movement. You're jumping from one place to another instantly,
02:27:20from one time to another instantly. In Season 3, he's only shown in times of transition,
02:27:26in that jump from the Convenience Store to the Dutchman's. The Jumping Man's nose is
02:27:30long and very sharp. What does one do with a sharp object? CUT things with it.
02:27:36So, if the Jumping Man represents editing, then the director is wearing the editing as
02:27:40a mask. The twig coming out of the forehead of the mask grows into the director's magical,
02:27:46wooden talisman - this is the director's personality, his sensibility, his mind, his intention coming
02:27:52through in the editing. Remember that the show creator's intention is what controls
02:27:57the balance of positive and negative electricity in our TV sets - the Jumping Man's face is
02:28:02painted white, like active electricity, and like alternating current, he alternates between
02:28:08jumping up onto a milk crate to make himself taller and jumping down and crouching to make
02:28:12himself shorter. He happens to be wearing the same suit as our Little Man from Another
02:28:16Place, and Carlton Lee Russell is between David Lynch and The Arm's actor, Mike Anderson,
02:28:21in height - he appears to be in a transitional state between our director and our little
02:28:26spirit of TV. All of this tells us that Lynch wears Pierre as a mask, Pierre wears the editing
02:28:32as a mask, the editing wears TV as a mask, and TV wears our TV sets as a mask. Pierre
02:28:39tells Bob to kill, and through this series of masks, Bob receives the order from the
02:28:44spirit of TV storytelling, who then takes Bob out into the world to collect garmonbozia.
02:28:50Back to the original question. Now that we know what garmonbozia is, we can see why Bob
02:28:55returns it to Mike at the end of the film. If he enjoys the attention so much, why would
02:28:59he willingly give it back? It's because he has no choice but to give it back. He is compelled
02:29:05to by the director's magic. This is simply the part of the film where Lynch directs our
02:29:10attention to the revelation that The Arm is Mike's arm, and that it is Bob's master. Lynch
02:29:16shows us that Bob doesn't act alone, which compels Bob to bow to his master, and with
02:29:21that bow Lynch takes our attention away from Bob and gives it to The Arm, who eats it right
02:29:28A TV show requires attention to exist, but things in Twin Peaks need to be part of Laura's
02:29:33mystery (or mysterious in their own right) to get our attention. If it's part of the
02:29:39mystery, then it requires the audience's investigation... and therefore, it's part of the FBI's investigation.
02:29:46Special Agent? Special Agent, are you there?
02:29:56Remember what we talked about before:
02:29:57"The mind is a detective."
02:30:00"Intuition is the detective in us."
02:30:03"[Dale Cooper is] really a very intuitive detective."
02:30:07FBI agents are a manifestation of our own detective minds engaging with the mystery
02:30:13of Twin Peaks. This is why the director of the show plays the director of the FBI, because
02:30:18he gives his investigators mysteries to investigate. Dale Cooper was the one assigned to Twin Peaks,
02:30:24so he's the agent who most directly represents the audience that watches Twin Peaks. But,
02:30:30Cooper's connection with the audience, like everything else in this show, goes further
02:30:33than just being a symbol. He is the literal embodiment of our detective intuition. This
02:30:39is why he's so in touch with his intuition and believes that his dreams are a reliable
02:30:44source of information. We are "dreaming" Twin Peaks as we watch it, we are getting information
02:30:49through this "dream" and using our detective skills to interpret it. Dale Cooper is doing
02:30:54the same, and as the embodiment of our minds, he shares our intuition with us and can "feel"
02:31:00the information we've gathered as viewers, just the same as our ability to witness his
02:31:05intuition through watching the show.
02:31:07How do we know this is true? Prime example: The scene in the film where Cooper tells Albert
02:31:12that he knows things about the next victim in his murder case.
02:31:16Lately, I've been filled with the knowledge that the killer will strike again, but because
02:31:20it is just a feeling, I am powerless to stop it.
02:31:22He feels that the killer will strike again because we already know that the killer will
02:31:27strike again. He's powerless to stop it because we've already seen the result in the first
02:31:31two seasons, and that's also why he feels that Albert will help him solve the case,
02:31:36because we already know that, too.
02:31:38One more thing, Albert. When the next murder happens, you will help me solve it.
02:31:42He then rattles off a whole bunch of details that he can intuit through our prior knowledge
02:31:46of Laura.
02:31:47A woman. Blonde. She's in high school. She is sexually active. She's using drugs. She's
02:31:54crying out for help.
02:31:55What's she doing right now?
02:31:57She's preparing a great abundance of food.
02:32:02These are all things we visualize when we think of Laura, and he's tapping into our
02:32:06imaginings of her as part of his intuition. But then, why does he know she's preparing
02:32:11an abundance of food at this moment? Because Lynch immediately cuts to her doing so. Our
02:32:16intuition connection is a two-way street - Cooper feels what she's doing, so now we know what
02:32:22she's doing.
02:32:24She's preparing a great abundance of food.
02:32:32The letter that was extracted from beneath the fingernail of Teresa Banks gives me the
02:32:36feeling that the killer will strike again. But like the song goes, "Who knows where or
02:32:46We knows where and when. It's during the events of the Twin Peaks TV show. We are reminded
02:32:51of this by Agent Cooper's line. We picture the show in our heads, and that's why Lynch
02:32:55immediately cuts to the title shot of the TV show. "Like the song goes..." Bowww...
02:33:01Boww bowwwwwww...
02:33:03Another example: When Agent Cooper goes to investigate the disappearance of Chet Desmond,
02:33:08Carl Rod tells him exactly what Chet was doing and where he was doing it.
02:33:11That's her trailer over there, and I never touched a goddamn thing. Agent Chet Desmond
02:33:16come by a second time and asked to see Deputy Cliff Howard's trailer over here, which I
02:33:22showed him.
02:33:23Cooper has the feeling that he needs to investigate another lot in the trailer park despite there
02:33:27being nothing about that lot that should draw his attention.
02:33:31That's not the way out to Deputy Cliff's trailer, I told ya.
02:33:35I'm not going to Deputy Cliff's trailer.
02:33:36Well, where the hell are you going?
02:33:39I'm going over here.
02:33:41What's over there?
02:33:42Why would he go to that lot? There's nothing there, and he wouldn't know that there was
02:33:45anything there...
02:33:47It's because we saw Chet Desmond disappear at that specific lot. When Cooper arrives
02:33:52at the trailer park, we think that he should investigate the last place we and only we
02:33:57saw Desmond alive, and so Cooper's intuition feels this from us and tells him that's where
02:34:03he needs to go.
02:34:05Agent Cooper represents the detective part of our minds, so it makes sense that any time
02:34:10we see past the red curtains into the realm of dreams, Agent Cooper must be there to represent
02:34:15us in that realm, too. If Cooper's not there, then we're not there. The first Red Room sequence
02:34:22is presented as a dream of Agent Cooper's, so we get to watch. He's there, so we're there.
02:34:28The end of Season 3 reveals that Agent Cooper was still in the Red Room in some capacity
02:34:32during the whole of the third season, so we're able to see through Season 3 and into that
02:34:37Red Room dream at any moment. He's there, so we're there. When Laura has her Red Room
02:34:43dream in the film, we share her dream by watching it, so our representative must also have shared
02:34:49that dream.
02:34:50Laura and I had the same dream.
02:34:53In that dream, Cooper warns Laura not to take the Owl Ring.
02:34:56Don't take the ring, Laura.
02:34:58It has long been wondered why he warns her about it. Does he know what the ring is? Does
02:35:03he know what it does? The answer is that he's intuiting that she shouldn't take the ring.
02:35:09Cooper has seen nothing of the Owl Ring before this moment... but we have. Through Agent
02:35:14Desmond's investigation at the beginning of the film, we saw that Teresa Banks was wearing
02:35:19the Owl Ring before she was killed, and that Agent Desmond disappeared when he found the
02:35:23ring. Now The Arm is showing it directly to us, and we already know he's probably not
02:35:28the best person to be associated with. At this point in the film, it looks to US like
02:35:33the Owl Ring had something to do with Teresa's murder. Because we think it's bad news, now
02:35:38Cooper can intuit through us that it might be bad news and warn Laura not to take it.
02:35:43Neither he nor we know at this moment that it's actually good that she take the ring
02:35:47later (and ends up dead).
02:35:50One final example to hammer it home: In order for us to see into a dream, Cooper has to
02:35:55be there in the dream... but, what if the dream is about real reality, like Gordon Cole's
02:36:00Monica Bellucci dream, where he dreams about meeting the real life Monica Bellucci at a
02:36:05real life cafe next to a real life gallery where Lynch really had an art show in real
02:36:11Cooper was there, but I couldn't see his face.
02:36:15Cooper was there because we're watching the dream on TV, so we are there. Gordon Cole
02:36:20couldn't see his face because this was a dream about real reality, where the character "Agent
02:36:24Cooper" doesn't exist. Even so, the cameras were rolling - the actors can't see our faces,
02:36:31but we're still there inside the viewpoint of the camera witnessing the dream. We're
02:36:36there in the dream through the power of watching, so Cooper is there. But, TV characters can't
02:36:42see the audience watching them.
02:36:44Cooper was there, but I couldn't see his face.
02:36:48And now that we have firmly established that Cooper is a literal manifestation of the audience's
02:36:53intuition, we can fully understand the very first scene of Season 3. The Fireman tells
02:36:59Agent Cooper to listen to "the sounds". He tells Cooper to remember, "430, Richard and
02:37:07Linda, two birds with one stone." Agent Cooper states definitively that he understands.
02:37:12I understand.
02:37:15The Fireman tells him he's far away, and Cooper disappears. The internet is chock'a'block
02:37:20with theories about the significance of the numbers 4, 3 and 0, essays about famous Richards
02:37:25and etymologies of the name Linda, possible interpretations of birds and stones, and dubious
02:37:31audio analyses of the mysterious sounds. In reality, these things don't have any significance
02:37:37beyond what they are in the show. It doesn't matter what exactly made the sounds during
02:37:41production, but someone who has seen the whole show could tell us that the only other time
02:37:46we hear them is when Agent Cooper goes back in time to rescue Laura Palmer. Someone who
02:37:53has seen the whole season could tell us that "two birds with one stone" is Agent Cooper's
02:37:57plan to find Judy.
02:37:59Cooper told me, "I'm trying to kill two birds with one stone."
02:38:04And someone who has seen the last episode could tell us that 430 is the number of miles
02:38:09Cooper and Diane travel to cross over to some new reality...
02:38:13Exactly 430 miles.
02:38:15... and that the Richard and Linda the Fireman is talking about are the new identities of
02:38:19Cooper and Diane as they cross over.
02:38:22Richard? Linda...
02:38:24This Agent Cooper doesn't know the names, but someone who has seen Season 3 would recognize
02:38:28the names from this very scene.
02:38:31Richard? Linda?
02:38:32Is the Fireman telling Cooper to remember these things, or is he asking him if he remembers?
02:38:39The only way we would understand so assuredly is if we had seen these things before.
02:38:45I understand.
02:38:47And since Cooper represents us, this must be a Cooper from some time in the future that
02:38:52has seen these things. This Cooper is a representative of an audience that has already watched the
02:38:58whole season and is re-watching it from the beginning. The Fireman tells this future Cooper
02:39:04that he's far away.
02:39:06You are far away.
02:39:09This is Episode 1, and we've got an entire season to get through before we can say we
02:39:13understand. Therefore, this Episode 18 Cooper disappears from Episode 1, and if this is
02:39:19our first viewing, our understanding of what the Fireman is talking about disappears with
02:39:24him into the future.
02:39:26The intuition connection that the audience has with Cooper explains the meta reason for
02:39:30his growth as a character throughout the original series. As many have pointed out, Cooper starts
02:39:35the Laura Palmer investigation with boyish enthusiasm, but over the course of the show,
02:39:40he matures to become more solemn and somber. This mirrors what Lynch hopes is happening
02:39:44to his audience.
02:39:46At the beginning, Cooper is almost perverse in his enjoyment of what should be a very
02:39:50grim situation, just like the TV murder mystery audience Cooper is channeling. He enjoys it
02:39:56because we do. As the story unfolds and the darkness is uncovered, we should get closer
02:40:00to the deeper meaning of the show, the reality of Laura's tragedy. We should be no less interested
02:40:05in the mystery, but we should lose our perverse enjoyment of the suffering, and this hoped
02:40:10for change is what's reflected in our representative. He gets serious because we're supposed to.
02:40:17Bob was the desire for a murder mystery without the darkness that comes with real murder.
02:40:22When the audience rejected the investigation into Laura's mystery and forced its conclusion,
02:40:26they were refusing to face more of her darkness. They just wanted the answer, no matter what
02:40:32the cost, and this was the audience becoming possessed by Bob. This was reflected in the
02:40:37latter part of Season 2. Cooper was possessed by Bob because the audience was.
02:40:44One more thing before we go on. David Lynch has a character that represents him, and we
02:40:47have a character that represents us. Does this mean that Mark Frost has a character
02:40:51that represents him? If anyone, I put my money on Major Briggs.
02:40:55Major Garland Briggs... Bobby, your father was well aware of what's going on here today.
02:41:00Many years ago, information your father gathered brought him together with director Gordon
02:41:06Cole. And that's what's brought us to where we are today.
02:41:10In the show, Major Briggs works for the government decoding secret messages from radio waves
02:41:14in space, which he interprets to the page and shows to Agent Cooper. Mark Frost receives
02:41:19idea waves from the Unified Field via Lynch and translates them to the page to show them
02:41:23to the audience. If you've read the books, you'll know how this possible connection might
02:41:27have translated into a literary metafiction there.
02:41:33Now, we've established that the show's existence relies on attention and investigation. Therefore,
02:41:42if something or someone is not part of the mystery, then it doesn't get our attention,
02:41:46and this is cause for it not to exist in the show. The prime example of this is Teresa
02:41:53One year ago, almost to the day, in a town in the southwest corner of this state, the
02:41:57body of a young girl named Teresa Banks was found.
02:42:00Teresa was someone who, prior to the film, got no attention. The mystery of the TV show
02:42:05unfolded in Cooper's investigation of Laura's connections to everyone in the town. In contrast,
02:42:11Teresa Banks was a loner nobody; no family, no friends, nothing important or interesting
02:42:16about her other than the serial killing connection to Laura Palmer.
02:42:20No one came to claim the body. No known next of kin.
02:42:24The reason Teresa is not in the show is because she's not connected to the show beyond that
02:42:29and doesn't require further investigation, but more importantly, the reason she's a nobody
02:42:35is because she's not in the show and not being investigated.
02:42:38A basic kill. Banks was a drifter and nobody knew her.
02:42:42As a result, she is the very essence of consumable TV violence, consequenceless murder, nothing
02:42:49more than the kind of plot stepping stone that needed to exist before Twin Peaks could
02:42:53come along and fix the problem.
02:42:54She had no family, no one came forward to claim her body, it wasn't even news... until
02:43:01In this world where things don't exist unless they're a part of the mystery, how does Lynch
02:43:05put attention on Teresa so that she can appear on the screen? He makes her a prostitute colleague
02:43:11of Laura's that Leland was seeing, and has her find out about this connection and decide
02:43:15to blackmail Leland over it...
02:43:16she was blackmailing somebody...
02:43:18She even asked me what your fathers looked like.
02:43:22which results in Leland killing her and planting Bob's letter. Now she's really interesting
02:43:27to us because now she's connected to Laura beyond just being Bob's previous victim. We
02:43:32need to watch and investigate these new scenes, so now there's a reason for the film to exist.
02:43:38But this means that there need to be FBI agents on Teresa's case representing us. Filling
02:43:43in for our detective minds are Agents Desmond and Stanley.
02:43:46You can start that fresh pot of coffee right now.
02:43:51I'm now ordering you to release all pertinent information concerning Teresa Banks, both
02:43:55while living and deceased.
02:43:56In addition to being a teaching tool for the audience, Agent Desmond is also illustrative
02:44:00of the fact that our director requires investigators for his mysteries, whether those investigators
02:44:06are Agent Cooper or not.
02:44:08Sam, you stick with Chet! He's got his own M.O. - modus operandi!
02:44:14Notice how his part only lasts long enough to get us through the investigation, at which
02:44:18point he literally disappears, both in the film and from the film. His disappearance
02:44:24serves no less than four purposes.
02:44:27First purpose: to illustrate that characters are only part of the show long enough to serve
02:44:31their purpose, and then they lose our attention and they're out of the show. Unknown, new
02:44:35character Desmond's purpose was to investigate Teresa, find the ring, and hand the case off
02:44:40to good ol' fan favorite Cooper. The second Desmond loses our attention to Cooper, his
02:44:45time in the film has run out, so the film literally runs out and freezes on the last
02:44:49frame as we turn our attention to the guy we actually care about.
02:44:53Second purpose: Lynch has to put some more emphasis on this ring. At the time, all we
02:44:58know is that Teresa was wearing it before she died. If Agent Desmond disappears when
02:45:02he takes it, that makes it more mysterious and more threatening and gives us more cause
02:45:06to wonder about it so Cooper can feel our apprehension and warn Laura about it later.
02:45:12Don't take the ring, Laura.
02:45:13Third purpose: It's another hint about the mechanics of the ring. The ring is supposed
02:45:18to insulate us against the black fire of consumable TV violence, and meaningless violence is what
02:45:23the Teresa case is all about. She doesn't know anyone, so nobody will miss her, so there's
02:45:28no real baggage to unearth to show us how sad her death is supposed to be. What's more,
02:45:32she's not a very good person and is only in the movie to blackmail a murderer and to add
02:45:36to the sum total of evil in Twin Peaks.
02:45:40Hey, handsome. It's your little party girl.
02:45:43Going into this case any further than we need to would be the antithesis of the message
02:45:47of Twin Peaks, so when our intuitive mind's representative comes in contact with the ring,
02:45:53the insulation from the evil begins, and the investigation into Teresa's consumable violence
02:45:58stops instantaneously. Our mind is removed from that investigation, making room for the
02:46:04fourth purpose: It's a reason to bring Agent Cooper into the serial murder investigation.
02:46:09So, Agent Desmond disappears, then Agent Cooper goes to the trailer park to investigate his
02:46:14last-known location... Well, that's how the movie SHOULD go, but instead, after Desmond
02:46:20disappears, David Bowie interrupts what would be a logical progression of scenes to tell
02:46:23us about a supernatural meeting he witnessed.
02:46:26Who do you think this is, there?
02:46:29Agent Desmond to David Bowie losing his mind over a formica table top back to Cooper looking
02:46:33for Desmond. It's a total non-sequitur! It's disturbing and jarring, it feels completely
02:46:39out of place, and it doesn't make any sense, right?
02:46:41The Convenience Store meeting scene by itself, without Jeffries, contains information essential
02:46:46to the inner workings of Twin Peaks, but in terms of editing, it doesn't really fit into
02:46:50the film anywhere that makes sense sequentially. It's like a deleted scene that was never deleted.
02:46:55Nonetheless, Lynch needs us to give it our attention. So how does he do it? First, we
02:47:00have to follow the established mechanics of the show, so in order for our attention to
02:47:04be in the scene, there has to have been an FBI investigator there to represent us in
02:47:08this look into the dream world of the Lodge. Otherwise, it's invisible to us. So, Phillip
02:47:14Jeffries was there on our behalf investigating the meeting, and it's through his story that
02:47:18we are able to witness the scene.
02:47:19Listen up, listen carefully. I've been to one of their meetings. It was above a Convenience
02:47:27Now, the issue of getting our attention to it. One of the ways Lynch could do this would
02:47:31be to stop the movie, tear our attention away, and give it to Jeffries so that he can tell
02:47:35us about the meeting, then bring us back to the movie to continue. But, he's already got
02:47:40our attention on the film, so why tear it away now when Lynch can just tear Jeffries
02:47:44away from wherever and whenever he is and bring him to our attention? The scene itself
02:47:49is being forced into the film at a time and place where it doesn't belong, and Phillip
02:47:53Jeffries is the one who needs to tell us about it, so therefore Phillip Jeffries is being
02:47:57torn out of his own story and forced into a time and place where he doesn't belong,
02:48:02and he's bringing the whole sequence with him. When I said David Bowie is interrupting
02:48:06the film, I meant it literally.
02:48:08At the beginning of the scene, Cooper is doing his security camera dance back and forth.
02:48:13On the last pass, while standing in the security room, he sees himself on the monitor still
02:48:17standing out in the hallway when Jeffries is warped in through the elevator from his
02:48:20hotel in South America two years ago. The movie has been put on pause. Then, Jeffries
02:48:27is literally brought into being by the mystery of having been missing for a number of years.
02:48:32Cooper, meet the long lost Phillip Jeffries! You may have heard of him from the academy!
02:48:37If there was nothing interesting about him, he wouldn't be in the movie. But since he's
02:48:41been missing for two years, we think he's mysterious, so here he is. The attention-grabbing
02:48:46casting of superstar David Bowie jerks us out of the narrative and makes us pay attention
02:48:51to him and forgive that he's stopped the movie in order to bring a crazy, unrelated scene
02:48:56with him, which he then describes for us.
02:48:58It was a dream. We live inside a dream.
02:49:05Throughout the scene, Jeffries reacts the way our minds are surely reacting the first
02:49:09time we see this confusing and disturbing imagery that shows up out of nowhere. He's
02:49:13here to tell us about what he witnessed, but we have no idea what it is that we're looking
02:49:17at, so as an audience representative he doesn't even know what he saw. After the scene, his
02:49:25purpose is fulfilled and it's time to hit play on the movie again, so Jeffries is forced
02:49:29back down the power lines into non-existence, and it's just as traumatic for him as it is
02:49:34for us because we have no idea what it was we just witnessed.
02:49:37He's gone! He's gone! Albert, call the front desk!
02:49:46The film resumes and we find out that Jeffries was never really there...
02:49:49I've got the front desk now. He was never here.
02:49:52The lady at the front desk wouldn't have seen him because the movie literally paused itself
02:49:57for the duration of Jeffries' visit. Time in the film was stopped! But, the scene did
02:50:01happen. We just watched it, so the record of it being part of the film still exists.
02:50:07He was here.
02:50:08And then, Lynch emphasizes the similarity of Jeffries' and Desmond's characters as mere
02:50:13vehicles for the audience's investigative minds.
02:50:16But where did he go? And where is Chester Desmond?
02:50:20They both went the same place. Just like Desmond, Jeffries' purpose is fulfilled, he's out of
02:50:26the film and out of the dream and out of our imaginations. And then, "Oh yeah, what did
02:50:31happen to Agent Desmond?" We go right back to the trailer park like we would have without
02:50:35the interruption.
02:50:36So, we can see Jeffries as a plot device, meant to temporarily remove us from the film
02:50:41and connect our attention with outside information. It's no wonder that after he's ejected from
02:50:47the film and back to the non-existence of the great creative consciousness that he ends
02:50:50up inside one of the Giant's electricity machines. He has become literally what he was symbolically.
02:50:57Just like his symbolic purpose in the film, in Season 3 he's a literal part of the storytelling
02:51:02machinery, a plot device, whose function is to disconnect our minds, in the form of Agent
02:51:07Cooper, from the show, take us back in time, and once again interrupt the film, inserting
02:51:13us into a time and place where we don't belong.
02:51:16As we know, that interruption would change Twin Peaks forever. "The past dictates the
02:51:23future," and right now, with our complete understanding of Twin Peaks' past, we have
02:51:27all the pieces required to understand how its future would unravel. Let's quickly recap
02:51:32what we know.
02:51:34The past dictates the future.
02:51:43Twin Peaks was originally about Dale Cooper's investigation of the murder of Laura Palmer.
02:51:48This mystery was supposed to be ongoing, because the investigation was the light shining in
02:51:52the darkness of consumable TV violence fed by the Zeitgeist of modern fear in America.
02:51:58Making the darkness consumable with closure - this was the evil that Twin Peaks was created
02:52:03to fight. The studio and the general audience were too short-sighted to get the message
02:52:08and rejected it. They demanded the solving of the murder, and when they got it, they
02:52:13moved on. This killed the show and proved David Lynch's point - TV audiences simply
02:52:19did not care about Laura Palmer, they just wanted to know who did it and what it had
02:52:24to do with Bob. Ironically, Bob was the representation of the evil of that very mindset. Bob had
02:52:31already possessed the audience, and so Agent Cooper, as the audience's representative,
02:52:37reflected that fact.
02:52:38David Lynch tried to fight back, again using Laura Palmer as a weapon against Bob's consumable
02:52:43violence. Fire Walk with Me would try to make the audience care about Laura by going straight
02:52:48to the source of the pain and sorrow. Did this heartbreaking story finally release audience
02:52:53hearts from Bob's clutches? Quite the opposite. The film was a complete failure, with the
02:53:00#1 complaint being that the story was about Laura Palmer and not about Bob's possession
02:53:05of Cooper. At this point, there was no hope for the message of Twin Peaks. Nevertheless,
02:53:11David Lynch brought Twin Peaks back to TV twenty five years later.
02:53:16But, for what reason? From David Lynch's point of view, we didn't get the point the first
02:53:20time, certainly not the second time, so why bother trying a third? Well, it's really the
02:53:26fans who brought it back. An incredible love of the show had grown stronger with time,
02:53:32but even more was this desire for an explanation of what was really going on and what would
02:53:36have happened next that rivaled the original desire to know who killed Laura. Desire for
02:53:42closure killed the show, and as I will be demonstrating, desire for closure brought
02:53:46it back to life... And so, that's what Twin Peaks: The Return is really about, Twin Peaks
02:53:54fans bringing Twin Peaks back from non-existence for the purpose of closure; a resolution to
02:54:00Cooper's story and an explanation of every last bit of mystery.
02:54:05David Lynch gave us exactly what we wished for: a Twin Peaks devoid of its original intentions.
02:54:17Look in the mirror. What do you see? Is it a dream or a nightmare?
02:54:24The first thing we see in The Return is a dreamy glimpse of the past, a reminder of
02:54:28how Twin Peaks began and what it was really about. Then, the Fireman re-establishes our
02:54:33intuition link with Agent Cooper. Immediately after that, the first real thing we see in
02:54:38the show is the wind in the trees... David Lynch is making a modern TV show, so he needs
02:54:44to feel the air and find out what's driving modern TV. So before anything can happen,
02:54:50the Zeitgeist needs to blow in the mystery, and this happens as Dr. Jacoby gets his shipment
02:54:56of shovels. Later, we find out exactly why the wind should blow in with Dr. Jacoby. In
02:55:01his Dr. Amp internet show, Jacoby personifies the wind that stokes the fire of modern fear
02:55:06fueled by modern media, the constant assault of public health scares, political polarization,
02:55:13environmental catastrophism; these are the "things in the air" that TV is built from
02:55:18Cancer! Cacterial toxins, environmental toxins! Our water, our earth, the very soil itself,
02:55:26our food! Our bodies poisoned! Poisoned!
02:55:31Why is Dr. Jacoby the voice of the Zeitgeist? Why him? Well, it makes perfect sense if we
02:55:37understand who he was in the original series. Remember, David Lynch says that everything
02:55:41must serve the central idea, so what about the central idea dictates that Dr. Jacoby
02:55:47should be such a wackadoo? Dr. Jacoby is a wackadoo because he wears 3D glasses. He doesn't
02:55:53wear 3D glasses because he's a wackadoo, he's a wackadoo because he wears the 3D glasses,
02:56:00because when he was being written, that's the kind of person that he had to be to wear
02:56:053D glasses all the time. What's the idea behind Dr. Jacoby wearing 3D glasses? TV characters
02:56:12are usually very shallow, so they're easier to digest in a short time period. 1-dimensional,
02:56:162 if we're lucky. But, there was more going on with the Twin Peaks characters than those
02:56:21of other shows at the time. To illustrate this, psychiatrist Dr. Jacoby is able to see
02:56:26these characters as fully three-dimensional people. For example, he almost exclusively
02:56:31has intimate knowledge of Laura Palmer's dual nature of good and bad, while all the other
02:56:35characters only really know her as one or the other.
02:56:38Laura had secrets...
02:56:41His therapy session with Bobby Briggs is another example. As a TV character, Bobby is a no-good,
02:56:48selfish, drug-dealing, cheating, punk teenager, and in any other show he'd be nothing more
02:56:52than that. But Dr. Jacoby, with his 3D glasses, his ability to see Bobby as more than just
02:56:58a 1-dimensional ne'er-do-well, is able to break him down into a blubbering child who's
02:57:03only playing with fire and isn't able to face real darkness, like the fire inside Laura
02:57:09Laura wanted to corrupt people. Is that what happened to you, Bobby? Is that what Laura
02:57:20did to you?
02:57:22She wanted so much. She made me sell drugs so she could have them.
02:57:24So, we can see that Dr. Jacoby sometimes dresses like a pimp because that's the kind of person
02:57:29who would wear 3D glasses all the time because he's a psychiatrist who can see three-dimensionally
02:57:35because that ability serves the base-level idea that this is a television show made with
02:57:40film sensibilities, where the characters are more than 1-dimensional.
02:57:44In Season 3, Dr. Jacoby is the voice of the Zeitgeist because he's the character who can
02:57:49see what's really going on behind the scenes, man. As Lynch and Frost obviously see it,
02:57:55the people who claim to see what's really going on nowadays are the conspiracy theorist-types,
02:57:59hosting video podcasts about corporations and the government conspiring and colluding
02:58:05to crush the souls of the citizenry!
02:58:09The same vast, global, corporate conspiracy, different day. You can't see it without a
02:58:14cosmic flashlight. Guess what? I've got one.
02:58:18"And if you listen to me, you might be saved (and by the way, buy my products if you want
02:58:23to have any hope of escaping your dire situation)!"
02:58:25This is your shiny, gold shovel. Dig yourself out of the ****. $29.99!
02:58:33Remember, David Lynch believes that Transcendental Meditation is a way to dip the consciousness
02:58:37into gold, and that the more gold we can retain, the more peace, love, and unity we can obtain
02:58:43to counter fear. With Dr. Jacoby in The Return, Lynch and Frost are saying that the new media
02:58:49and conspiracy theorists who claim to see beyond our surface-level reality are capitalizing
02:58:55on that "fear in the air", putting a price tag on false hope and false solutions. Garbage
02:59:01spray painted fake gold.
02:59:03Two coats, guaranteed. Shovel your way out of the **** and into the truth.
02:59:11One of the people buying into this false hope is Nadine Hurley. Why? Again, it makes perfect
02:59:16sense if we understand who she was originally. Nadine is married to big Ed Hurley, who shows
02:59:21her nothing but loving care, and all she can see is how miserable she is.
02:59:26Ed, you make me sick!
02:59:30She's got that eyepatch - she's only seeing half the picture. She sees the negative but
02:59:35not the positive in her marriage. What does she think will cure her misery and bring her
02:59:40happiness? Not the love of her husband... Money. Commercialism.
02:59:45We're gonna be so rich.
02:59:49She's gonna sell drape runners that shut out the light, made with engine oil - false happiness
02:59:55based in TV-fueled negativity - so, of course she would buy into that fake gold. The golden
03:00:01shovel of false happiness takes its rightful place in the window next to the false happiness
03:00:05of her engine-greased get-rich-quick invention.
03:00:08As for big Ed Hurley, well... The owner of the 'gas station' is 'married' to 'negative
03:00:15Nadine'... Looking at this symbolically, gasoline is pain and sorrow, and the provider of gasoline,
03:00:22the TV or perhaps David Lynch, is married to negativity. Ed doesn't want to be married
03:00:28to negativity. The love the gas station owner is trying to get is Miss Twin Peaks herself,
03:00:33Norma Jennings.
03:00:34So, Norma, are they gonna honor you tonight on your twentieth anniversary of winning Miss
03:00:39Twin Peaks?
03:00:40She owns the RR Diner, serving up that good balance of coffee and cherry pie, bitter and
03:00:45sweet. Everything that happens in that diner is about companionship and love. Norma and
03:00:50her diner are the very essence of Twin Peaks.
03:00:54The TV, or David Lynch, wants to put out love and positivity. This is David Lynch's hope
03:00:59for TV... but the golden circle wedding ring keeps him tied to the audience, crying out
03:01:05for more of its childish desires. Notice how Nadine wakes up from her coma with superhuman
03:01:10strength thinking she's a kid again at the start of Season 2, after the audience and
03:01:15studio started pressuring for the killer's reveal. Negative Nadine is the audience, a
03:01:21powerful, crying baby forcefully demanding to be fed and keeping the gas station owner
03:01:26from true love. Anything that happened in Lynch's absence is totally suspect, so Ed
03:01:31and Nadine's breakup during Season 2 should be taken with a grain of salt. But in The
03:01:35Return, Nadine gives Ed (with his David Lynch haircut) his freedom again!
03:01:39Norma, everything has changed. I just spoke with Nadine. She's given me my freedom.
03:01:46Why this repetition? Well, she wasn't in her right mind the first time, but this time,
03:01:51we as an audience have changed.
03:01:53Ed, I've come to tell you I've changed.
03:01:58We love Fire Walk with Me now, we're sorry we killed it with our bad reviews, and we
03:02:02know deep down on some level that we're sorry we demanded the death of the show.
03:02:07But, I've been a selfish bitch to you all these years. I kept the two of you apart because
03:02:13of my jealousy, and I manipulated you, Ed.
03:02:17David Lynch "felt the air" and sensed that a Twin Peaks return was now viable.
03:02:21Have you been watching that show of Jacoby's?
03:02:25I mean, we had twenty five years to think about it, for our appreciation to develop,
03:02:31and the times just support it.
03:02:33Ed, I told you, I walked all the way here. I had plenty of time to think, turn back,
03:02:41but I didn't because this is how I really feel. And you can thank Dr. Amp.
03:02:48We wanted more Twin Peaks, and we wanted David Lynch to do what he wanted to do with it.
03:02:53But, true love is giving the other what makes them happy. I want you to be free!
03:03:01What happens next between Ed and Norma is glaringly obvious if you know one particular
03:03:05detail about the production: David Lynch almost abandoned Season 3 before production started
03:03:11due to budget constraints. On April 5, 2015 David Lynch tweeted that he had, "left because
03:03:17not enough money was offered to do the script the way he felt it needed to be done." But
03:03:22just a month later, after some more negotiation, the project was back on. And so, Season 3
03:03:28shows us Norma Jennings, Miss Twin Peaks, in a romantic relationship with Walter Lawford,
03:03:34who is franchising Norma's diner and telling her she's spending too much money to be profitable.
03:03:39Norma, you’re a real artist, but love doesn’t always turn a profit.
03:03:44Ed (with his David Lynch haircut) drives his solid gold pickup truck (that's a lot of meditation
03:03:50the owner of the gas station has been doing) to the diner to tell Norma he's coming back
03:03:54to her.
03:03:55She's given me my freedom.
03:03:58But here comes Walter, Mr. Franchise, to get between them. No Miss Twin Peaks for David
03:04:03Lynch, the studio is in charge. Ed sits at the counter dejectedly. But! Norma tells Mr.
03:04:08Franchise that he can buy her out and take a hike!
03:04:11You're making a huge mistake.
03:04:14And then, it's a marriage of love, David Lynch and Twin Peaks together at last, out of the
03:04:20clutches of the studio. This is also happening at the beginning of Episode 15, the episode
03:04:25where Dougie finally remembers he's Cooper and decides to come back from being gone for
03:04:29so long. It's almost like this marriage of love is what's bringing Agent Cooper back
03:04:33down the power lines to TV...
03:04:36... Or at least, that's the dream, isn't it? Otis Redding provides the soundtrack for this
03:04:42I've been loving you too long to stop now You were tired and your love is growing cold
03:04:47My love is growing stronger as our affair grows old
03:04:52What was it that we gave Lynch his freedom to direct? Can it still be Twin Peaks after
03:04:57all this time? Does it even want him back? While Ed (with his David Lynch haircut) is
03:05:02sitting at the counter, he orders a cup of coffee (a little dream fuel), and closes his
03:05:08eyes, perhaps to dream that things are really going his way, and it's only then that he
03:05:15gets to be with his Miss Twin Peaks...
03:05:18Back to the beginning of the dream. Dr. Amp's wind ushers in a variety of mysteries: the
03:05:23glass box experiment, Mr. C's visit to Buella's cabin, Ruth Davenport's murder, the Log Lady's
03:05:28message that something was missing in Laura's investigation... if there's going to be a
03:05:32Twin Peaks, there needs to be mystery, right? Everything follows the rules. Once these mysteries
03:05:38are established, our representative, Dale Cooper, is visited in the Red Room by Mike
03:05:42and Laura (we'll come back to them shortly), and then he sees the white horse...
03:05:49It has long been accepted that the white horse is a harbinger of death, or of Bob's fury...
03:05:59or that it's a representation of drug use. Or, maybe it's some other crazy thing? The
03:06:04connection to the "pale horse" that Death rides into the Apocalypse is the easiest connection
03:06:08to make, though not quite accurate. Margaret Lanterman refers to the "Pale Horse" by name
03:06:13in her introduction to the episode in which the horse appears to Sarah Palmer while her
03:06:16husband is killing Maddy...
03:06:17Woe to the ones who behold the pale horse.
03:06:22... and Agent Cooper focuses on a white horse inside Carrie Paige's house next to the dead
03:06:26guy in her living room. But, these are only three of the many white horse references in
03:06:31the whole of Twin Peaks. The first time Mrs. Palmer sees the horse, it's during one of
03:06:35her husband's nights with Laura, after she's been drugged, and this is where the drug theorists
03:06:40get the idea that the horse stands for death but also drug use.
03:06:44The rest of the horse cameos don't really have much to do with drugs or death. There's
03:06:48a white horse kiddie ride in front of Judy's Coffee Shop in the final episode, there's
03:06:52a reference to the horse in the name of the Silver Mustang Casino, and horses can be heard
03:06:56neighing distantly at the end of the infamous Episode 8, and it's this episode that holds
03:07:01the one, true, definitive answer to our question.
03:07:05What does the white horse represent? The Lincoln Logger doesn't mince words. He means it like
03:07:09it is, like it sounds.
03:07:12The horse is the white of the eyes, and dark within.
03:07:17The horse is the white of the eyes. When do you see the whites of somebody's eyes? When
03:07:23they are LOOKING THE OTHER WAY. When we see white horses in Twin Peaks, something evil
03:07:30is happening. The white horse represents looking the other way in the face of evil, and the
03:07:36darkness we allow into ourselves when we do so. What's the key feature of the evil doppelgangers
03:07:42from the Red Room? White eyes - dark within. The doppelgangers represent the idea that
03:07:48every person has this evil within themselves, and therefore the capacity to do evil, and
03:07:54therefore the capacity for balance.
03:07:56Before Season 3, Sarah Palmer's only function as a character had been to give birth to Laura
03:08:01Palmer, allow her to be abused and killed, and then sit by and not do anything about
03:08:05it. There's no way she was able to live in that house without knowing the abuse was going
03:08:10on for so long, even if she was being drugged, and yet she never says a thing to anyone.
03:08:16After all, if she'd reported her husband's activities to the police, there would be no
03:08:19murder mystery for us to enjoy. So, she looks the other way, and in Season 3 we see the
03:08:25end result of this willingness to go along. We catch a glimpse of the evil that now wears
03:08:30her character as a mask. Her daughter smiles out from behind a black wedding ring finger,
03:08:36indicating that the guilt of looking the other way while her husband abused and murdered
03:08:39her daughter has turned her soul black. White of the eyes, dark within.
03:08:46Agent Cooper looks the other way when he sees the body in Carrie Paige's house. He's with
03:08:50the FBI, and the object of his investigation seems to have just committed a murder, or
03:08:55is at least accessory to one. But, there's no time to deal with that - he's got business
03:08:59with this apparent criminal. He needs to take her to Twin Peaks for his own purposes. By
03:09:03this time in the episode, he's already shown that there's a certain kind of darkness inside
03:09:07of him that allows him to do this. White of the eyes, dark within.
03:09:12The white horse in front of Judy's Coffee Shop looks like a reference to the tolerance
03:09:15its staff has for the behavior of some of its more disreputable patrons. Cooper's intervention
03:09:20seems to be the first time they've ever faced negative consequences for their actions.
03:09:24The slogan "What happens in Vegas stays in Vegas" should be all the explanation we need
03:09:29for the Silver Mustang Casino's reference to the white horse. White eyes, dark insides.
03:09:35The horses we hear in the distance after the Lincoln Logger brings the dark dream of television
03:09:39to the masses are the result of the bug that has crawled into TV viewers. Desire for TV
03:09:45violence creates more and worse TV violence to fill the TV violence hole in our hearts.
03:09:50"Woe to the ones who behold the pale horse," because looking the other way for the sake
03:09:56of entertainment may well turn our souls black...
03:10:00So, knowing this, why would Agent Cooper see the white horse while sitting in the Red Room
03:10:04at the beginning of Season 3? Before he sees it, Laura gives us our final warning:
03:10:11You can go out now.
03:10:16Our intuitive minds can leave now. "Last chance to turn the TV off and walk away before we
03:10:23get what we wished for."
03:10:25Nadine, I want you to think real hard about what you're saying, because you're not making
03:10:29any sense. Honey, tomorrow you're gonna wish you'd never said these things.
03:10:34If we keep watching past this point, we either don't hear Laura's warning or we don't want
03:10:39to hear it. After she tells us we can leave, Cooper asks:
03:10:43When can I go?
03:10:45We've already been told that we can go out any time we want, but as long as we're watching,
03:10:50Dale Cooper will have to be there in the TV. And then Laura gives us that mysterious, whispered
03:10:56message. What's she telling us? It shouldn't even be a question. We already know what she
03:11:02Laura kissed me and she whispered the name of the killer in my ear.
03:11:08My father killed me.
03:11:11With that revelation, we got our closure twenty five years ago. Laura Palmer was consumed
03:11:17by the fire of consumable TV violence and Twin Peaks died with her... yet, here we are
03:11:23at the beginning of a new season! We want to know what's next. We want our explanations.
03:11:29So, we look the other way. We look the other way as Laura's essence is sucked out of the
03:11:35show. The wind kicks up and the curtains rise like a show is about to begin, but this isn't
03:11:41the Twin Peaks we once knew. There's nothing but blackness behind the curtain. White of
03:11:46the eyes, dark within... and there's the white horse. We cut straight back to the beginning
03:11:52of the scene, which plays out again... but this time Laura is missing. By showing us
03:11:58the same thing twice, with and then without her, Lynch is making absolutely sure that
03:12:03we know that the darkness we're about to allow into our hearts is the absence of Laura Palmer.
03:12:09And what is the dream that we're treated to? With the all-important Laura Palmer case dead
03:12:14and buried, what's left for this self-aware TV show to be self-aware about? Just that:
03:12:21it's self-aware that it's not itself. "You can't go home again." The Twin Peaks version
03:12:28of this phrase is, "Change or die."
03:12:31I only want to die or change. Bushnell, please help me. I only want to make things right
03:12:38Lynch knows we're not going for Laura Palmer Round 3, we've rejected it twice already,
03:12:42so the show will have to change what it's about or it's dead on arrival. Problem is,
03:12:48this ends up being a "magician's choice", where the outcome is the same no matter which
03:12:52option is chosen. As we've already seen in the stark contrast between Season 1 and the
03:12:57latter half of Season 2, Laura Palmer's mystery was so essential to the show that without
03:13:02it, the whole thing drifts and Twin Peaks is basically not Twin Peaks anymore, anyway!
03:13:07I told all your colleagues to fix their hearts or die.
03:13:12But, the cat is out of the bag, the genie is out of the bottle, the beans are spilt,
03:13:16the bird has sung and the bell has been rung. We got our closure, and "the past dictates
03:13:23the future". Twin Peaks changed so it wouldn't die, and now it inevitably must die.
03:13:29The Return is lacking in its original purpose so that it's unrecognizable. What's more,
03:13:35it's irrelevant to modern audiences. Twin Peaks is old, sick and dying, and what mystery
03:13:41is left is being explained out of existence. These are the persistent themes of Twin Peaks:
03:13:47The Return.
03:13:48When you see me again, it won't be me.
03:13:54Is it the story of the little girl who lived down the lane?
03:14:09Is it the story of the little girl who lived down the lane? Not since 1992 it's not. It
03:14:14looks like Twin Peaks, it might even occasionally sound like Twin Peaks... But, without purpose,
03:14:19it's a hollow shell of what it once was, and it just doesn't feel right. Just think about
03:14:24how empty and stilted The Return feels compared to the original series. It's probably the
03:14:28first thing you noticed, almost comedic in how lifeless it is compared to the original
03:14:34No. It's not about the bunny.
03:14:38Is it about the bunny...?
03:14:42No. It's not about the bunny.
03:14:45The Return is a different show walking around in Twin Peaks' corpse. Most of The Return
03:14:51doesn't even take place in Twin Peaks! Most of the time, we're in Buckhorn, South Dakota
03:14:55or Las Vegas. As a result, the show itself doesn't even know what it's about anymore,
03:15:01and the characters in the show can all sense that their dream has been replaced with something
03:15:05it wasn't meant to be.
03:15:07Your room seems different.
03:15:09Well, I'm not sure who I am, but I'm not me.
03:15:12I'm not me... I'm not me...
03:15:13Something happened to me! I don't feel good! I don't feel good!
03:15:21Even the jerky isn't real jerky!
03:15:22I don't remember seeing those beef jerky there before...
03:15:25It's the same as beef jerky except it's made from turkey.
03:15:32Twin Peaks did not return, and what did return is grappling with its own identity. The theme
03:15:38of lost identity has been distilled in Jerry Horne's story. In the first episode, swimming
03:15:44in his mind, as he says,
03:15:45Swimming in my mind...
03:15:47(much like ideas) swimming in his mind is a drug that he's grown in the mountains of
03:15:51Twin Peaks, a product of Twin Peaks that he says is
03:15:54... ideal for creative sojourns of a solitary nature.
03:15:59... a "sojourn" being a temporary visit to a place. Just like us watching The Return,
03:16:04Jerry visits the woods of Twin Peaks thinking he's going on a trip to a familiar, beautiful
03:16:10dream world. But, before he falls asleep, he watches some of that new media... he watches
03:16:15Dr. Amp and gets the fear-filled wind in him... When he awakens, he doesn't know where he
03:16:22I don't know where I am!
03:16:26He's lost in woods that he should know, that he's been in a thousand times before. He doesn't
03:16:30even feel at home in his own body!
03:16:35I am not your foot.
03:16:38I'm not me... I'm not me...
03:16:40Dr. Amp's wind has turned his visit to the Twin Peaks woods into an unrecognizable nightmare.
03:16:46He never does escape, no matter how hard he tries to tell himself he's in a place he knows
03:16:50and loves.
03:16:51You can't fool me! I've been here before!
03:16:57One of the most important moments in The Return is Dale Cooper waking up after being stuck
03:17:01without a personality for fourteen agonizing episodes. During his vacancy, we see repeated
03:17:06reminders of the old show and hope that one of them will be the thing that wakes him up
03:17:10to his true identity. "Remember! This is Twin Peaks! Remember Twin Peaks? You're an FBI
03:17:20"Remember Audrey and her red heels? Coffee and cherry pie! Remember!"
03:17:25Damn good coffee!
03:17:28But he doesn't, because the context isn't there. We're fooling ourselves if we think
03:17:32that all you need for a Twin Peaks revival are a few Twin Peaks memes.
03:17:36What does finally snap Cooper out of inaction is a particular scene from Sunset Boulevard.
03:17:41Get Gordon Cole. Tell him to forget about her car. Tell him he can get another old car
03:17:50What's so special about this scene? Washed up old actress Norma Desmond gets a call from
03:17:54Gordon Cole at Paramount film studio asking for a meeting.
03:17:58You know better than to interrupt me.
03:18:00Paramount is calling!
03:18:03Paramount Studios!
03:18:04She goes to the studio thinking that this will be her triumphant return to the silver
03:18:08screen. For a brief moment, it's like she's back in the spotlight...
03:18:12There's Norma Desmond!
03:18:14Norma Desmond!
03:18:15Norma Desmond!
03:18:16Why, I thought she was dead!
03:18:20But it turns out that Gordon was only calling to see if he could rent Norma's car.
03:18:24It's that car of hers, an old Isotta Fraschini. Her chauffer drove it in on the lot the other
03:18:28day. It looks just right for the Crosby picture.
03:18:32Oh, I see...
03:18:34Sound familiar? David Lynch, who plays Gordon Cole, brings Miss Twin Peaks (Norma) back
03:18:40to the studio. For a brief moment, it's like the show really is back in the spotlight...
03:18:45But David Lynch wasn't bringing Twin Peaks back, he just wanted to borrow the 'vehicle'.
03:18:52Cars standing in for TV shows as "vehicles of intention" is another recurring theme in
03:18:57The Return, but to be certain Lynch is being literal in this way we first need to talk
03:19:01about luck.
03:19:07There is no such thing as luck in a TV show. Occurrences that might be considered lucky
03:19:12or unlucky in real life are, to a TV character, fated according to the script. Whether a TV
03:19:19character has good or bad luck is dependent on the intention of the show's creators.
03:19:23It depends. It depends upon the intention, the intention behind the fire.
03:19:30Fellas, coincidence and fate figure largely in our lives.
03:19:35Why is the first Woodsman played by an actual, real life Abraham Lincoln impersonator? Simultaneous
03:19:41with his appearance, the 50's girl finds a lucky penny and rubs the face of Abraham Lincoln.
03:19:48How and why are these related? Pennies are made of copper, which is an electrical conductor
03:19:53that made up the majority of household wiring for quite some time. TV power comes through
03:19:59copper... And we know that the Lincoln Logger is looking for a way to broadcast his evil
03:20:03to TV audiences. We've got Lincoln on a penny, and Lincoln on the antennae. Lincoln is both
03:20:10a literal and metaphorical conduit for intention.
03:20:14It depends. It depends upon the intention, the intention behind the fire.
03:20:19The boy tells the girl he hopes the penny brings her good luck.
03:20:22I hope it does bring you good luck.
03:20:24He hopes the intention coming through the copper will be good. As we soon find out,
03:20:29black Lincoln has nothing but bad intentions for his audience. Bad luck coming through
03:20:35the copper wire...
03:20:36Heads, I win. Tails, you lose.
03:20:40Consider Dale Cooper and his doppelganger, two sides of the same coin. Dale Cooper has
03:20:45nothing but good intentions. His double? Nothing but bad. When Cooper becomes Dougie Jones
03:20:50and is unable to act, what keeps him out of trouble? Sure, there's plenty of trouble.
03:20:55Yes there's something obviously wrong with him and nobody seems to notice. But luckily,
03:21:00the things he's stupidly repeating are just coincidental enough to give the people around
03:21:04him the general impression that probably nothing is wrong!
03:21:07Dougie Jones.
03:21:08Is he okay?
03:21:10Gee, I hope he's okay.
03:21:12And we'll come back to everyone's non-concern for Dougie in a bit. But in all those troubles,
03:21:17how does he even stay alive? It's pure, dumb, good luck that keeps Cooper safe! We couldn't
03:21:24ask for a more appropriate setting for a story about luck than Las Vegas. Thirty mega jackpots
03:21:29in a row - is this an unbelievably lucky streak? Obviously not. The higher power of TV is making
03:21:36this happen. Coop's luck goes way beyond Mike helping him at the casino. Every event has
03:21:41a way of accidentally working out in his favor, and his good fortune rubs off on everyone
03:21:47involved in his life! Even the dumbest little thing, like Cooper taking Frank's coffee,
03:21:51but luckily there's an extra green tea latte that Frank likes even better! What unbelievable
03:21:56good luck this man has! But, there's no such thing as luck in a TV show. All this love
03:22:03that Dougie spreads around and receives in return was intended by the creators, just
03:22:08like at the casino. In contrast, it's pretty obvious what kind of luck you'll have if you
03:22:13get involved with Mr. C. Everyone in his life seems to meet a very "unfortunate" end...
03:22:18Here's where the concepts of luck and intention collide with vehicles: The good Cooper is
03:22:22on his way to meet the Mitchum brothers, who intend to kill him. By some luck, Cooper just
03:22:27happens to have a cherry pie, like in a dream Bradley had the night before...
03:22:32Cherry pie!
03:22:34... which saves Cooper's life and turns the Mitchums over to the side of good.
03:22:38I love this guy!
03:22:41Before traveling to the meeting, Bushnell Mullins gives Cooper a knock on the jaw.
03:22:45Knock ‘em dead!
03:22:47Cooper repeats the word "dead" while rubbing his face ("heads") for good luck...
03:22:53... before getting into the back of a stretched, WHITE LINCOLN Town Car, driven by five-star
03:22:58stand up comedian Jay Larson.
03:23:00Red door.
03:23:02White Lincoln; good copper. Here, the ‘copper' is a vehicle that delivers happiness and good
03:23:09intentions, and so Cooper luckily doesn't end up dead. After encountering Dougie Love,
03:23:15the Mitchums have hearts of gold.
03:23:18They do. They really do.
03:23:21They give the Joneses a white car as a gift and ditch their black Mercedes in favor of
03:23:26riding in that stretched, white Lincoln. White vehicles of good intention.
03:23:31Earlier in the show, the bad Cooper rubs the face of his apparently empty mechanic before
03:23:36getting into the front of a BLACK LINCOLN Town Car. Black Lincoln; bad copper. The mechanic's
03:23:44face rub imparted some pretty bad luck for him, because he ends up dead.
03:23:49I killed Jack two hours ago after he wired the car.
03:23:53Mr. C uses the copper as a vehicle to deliver bad intentions.
03:23:58TV shows are vehicles of intention, and today's TV is a world of truck drivers.
03:24:04It's a world of truck drivers.
03:24:08Badguys in big, black, gas-guzzlers running kids down, wife-beaters hopped up on drugs
03:24:13reving suped up muscle cars, rednecks in crappy family minivans with crappy families causing
03:24:18random gun violence.
03:24:19Everybody down! Get down!
03:24:20The sickness of that oppressive fear in the air jams up the TV traffic with negativity,
03:24:28only stopping long enough to sell you some commercialized, false happiness.
03:24:32Sheriff Truman, are you interested in seeing my new car? It's a 20-
03:24:39What we desperately need is to go home to the message of love that Twin Peaks was trying
03:24:43to spread.
03:24:44We have to get home! She's sick!
03:24:48But, "You can't go home again." The vehicle was hijacked by evil when Laura's case was
03:24:54closed, and now it's unrecognizable.
03:24:58Someone stole my car!
03:25:06Our TV's have become truck stops for gasoline-powered evil. Or, perhaps we could call them Roadhouses?
03:25:13What is the Roadhouse? It's a bar where bikers and truckers stop for entertainment, complete
03:25:18with a red-curtained stage. Much like the TV-esque hotels and motels that are in-between
03:25:22places for different souls night after night, the Roadhouse is an in-between place for vehicles
03:25:27on the road, just like the TV world of the Red Room is an in-between place for vehicles
03:25:31in the power lines. This association is affirmed by the image of the Roadhouse's red neon sign
03:25:37reflected in a puddle in the asphalt, exactly as we see the red curtains of the Lodge reflected
03:25:42in the oil. Equating the Roadhouse with the Red Room makes it a symbol of the TV dreamspace.
03:25:47In the original show, the Bang Bang Bar was the shadow self of Norma's RR Diner, a dive
03:25:52bar with rough patrons and ownership that dealt in drugs and prostitution, but also
03:25:57a secret meeting place for secretive friends and lovers who wanted to keep their secret
03:26:01business secret, a dark mirror of the open love and friendship at the RR. The Roadhouse
03:26:06band dressed like tough bikers but played nothing but love songs. Both the diner and
03:26:11the Roadhouse were, together and individually, microcosms of the Twin Peaks experience, light
03:26:16and dark in balance and alive with mystery. This was Lynch's idealized vision of television.
03:26:22And, sitting in the Roadhouse in the pilot episode is a biker dressed strangely specifically
03:26:27like Marlon Brando's lead character in the 1953 film The Wild One. Why was this film
03:26:32being referenced here? The Wild One was infamous in the 50's for the fear that it would have
03:26:36a corrupting influence on the youth. It was about rival biker gangs invading the smallest
03:26:41of small towns to wreak havoc, which provokes the locals into violent reaction. The confrontation
03:26:47exposes the fear and darkness in the outwardly good people of the town, and the only reason
03:26:51any of this is happening is because Johnny Strabler, the no-good, low-down leader of
03:26:55the Black Rebels, is taken with the sheriff's daughter and gets caught in the balance between
03:27:00love and delinquency.
03:27:01How the whole mess happened, I don't know, but once the trouble was on its way I was
03:27:06just going with it. Mostly, I remember the girl... sad chick like that... But, something
03:27:13changed in me. She got to me.
03:27:15The film's message is exactly the core idea behind Twin Peaks: "Via the love of a small
03:27:20town girl, expose the darkness so we can recognize the light."
03:27:24The love song-listening, book-reading bikers in Twin Peaks' Roadhouse reflect this message
03:27:28of balance. This balance is no longer found at the Roadhouse, and this is why the reference
03:27:33to the Wild One comes up again in The Return. Wally Brando is dressed identically to Johnny
03:27:39Strabler, and Michael Cera is at least attempting a Marlon Brando impression.
03:27:42I came to pay my respects to my godfather and extend my best wishes for his recovery,
03:27:48which I hope will be swift and painless.
03:27:51He's a badboy with a heart of gold. Balanced.
03:27:55My shadow is always with me. Sometimes ahead, sometimes behind.
03:28:00But, the product of Lucy and Andy's love is only here to pay his respects to the dying
03:28:05sheriff of the dying town and then leave. Love and friendship have no place here anymore.
03:28:11My dharma is the road. Your dharma...
03:28:18Sheriff truman is stuck here in this loveless husk of a town. The balanced biker's dharma
03:28:25is some other Roadhouse.
03:28:26In The Return, the love takes a back seat to violence and depravity. There's bullets
03:28:31flying in through the windows - the fear is invading the meeting place of love. The Roadhouse
03:28:36is now a nexus for modern television, where trashy people drop in with their trashy vehicles
03:28:41to talk trashy gossip and fight each other.
03:28:43It's good to see you, Renee.
03:28:44You got a death wish?
03:28:47I tr- I was just trying-
03:28:49To what?
03:28:50I was just trying to be polite. I- I like her.
03:28:54Replacing the hopeful love songs of Julee Cruise are songs that are basically about
03:29:00the sorry state Twin Peaks is in. The best example is the first example by the Chromatics:
03:29:07At night I'm driving in your car pretending that we'll leave this town
03:29:10We're taking the Twin Peaks vehicle for a ride and pretending it can be something else.
03:29:16We're watching all the street lights fade and now you're just a stranger's dream
03:29:21The David Lynch light of the old show faded, and what we're left with is what the audience
03:29:27I took your picture from the frame and now you're nothing like you seem
03:29:31Twin Peaks was removed from TV, and now it's not what it's supposed to be.
03:29:37My dream is to go to that place where it all began on a starry night long ago
03:29:42But now it's a dream No stars
03:29:46We're never getting the magic that pilot episode delivered to us again.
03:29:51I was watching on the day she died We keep licking while the skin turns black
03:29:56Cut along the length, but you can't get the feeling back
03:29:59She's gone She's gone
03:30:02[Laura's] gone away
03:30:03... etc. It's not even cryptic! The characters of Twin Peaks have returned to the in-between
03:30:10place, now completely taken over by evil, and the music the Roadhouse patrons enjoy
03:30:15reflects the "knowingness" that they have inside themselves, the intuition that something
03:30:20is not right.
03:30:21The pinnacle example of this concept is Miss Audrey Horne.
03:30:27This is Existentialism 101.
03:30:37Twin Peaks, as a 1990's soap opera that was a product of 1980's television, does not fit
03:30:43with modern television conventions or modern audiences.
03:30:45I'm old-school, Denise! You know that!
03:30:49There are constant reminders of this within The Return. Agent Cooper's hotel room key.
03:30:53Wow. My god, that's an old one. We switched to cards over twenty years ago.
03:31:00Lucy's inability to understand cellular phones.
03:31:03Cell phones... that means they're mobile, punky.
03:31:06The ancient-looking 80's phone that Margaret uses to call Deputy Hawk.
03:31:11Hawk, can you hear me?
03:31:14Sheriff Truman's crazy motorized desk unit he uses to hide his monitor for out-of-place-looking
03:31:19Skype conversations.
03:31:20Uh, do you know what Skype is, Doc?
03:31:24Here's a more obscure one: Jack Rabbit's Palace... Jack rabbits have rabbit ears. That's what
03:31:31they used to call TV antennae.
03:31:33Jack Rabbit's Palace.
03:31:35It was our make believe world. You know, where we made up stories.
03:31:40"Rabbit ears where made up stories are told." Nobody uses rabbit ears anymore, it's all
03:31:46digital now, so you can't get a vehicle to Jack Rabbit's Palace anymore. The road is
03:31:52But, there's no road. The road's gone.
03:31:55Twin Peaks is from a different time. This is a show that's being dragged out of the
03:32:00past and into a future it was never supposed to see and where it doesn't belong. Or in
03:32:05Audrey's case, where it doesn't want to be. Audrey stands in for the part of the show
03:32:10that fears its own age.
03:32:13Who was Audrey Horne as a character in the original show? She was willful and self-centered.
03:32:18She didn't care about Laura, but she was determined to solve the case for herself. Why did she
03:32:22care? Because she wanted to be the star of the show.
03:32:25I wanted to help you for Laura.
03:32:29You said you and Laura weren't exactly friends.
03:32:31We weren't friends, but I understood her better than the rest.
03:32:34She was a go-getter, and what she went to get was attention. She was Agent Cooper's
03:32:39love interest because she was in love with attention, and the audience had no problem
03:32:43giving her plenty of it.
03:32:44I'm Audrey Horne, and I get what I want.
03:32:48In The Return however, Audrey is quite the opposite. Far from being the center of attention,
03:32:52her story doesn't even start until two-thirds of the way into the season. She's still just
03:32:57as willful, but she's confused about her reality, unsure of herself, afraid to leave her own
03:33:02house. Audrey has apparently settled for much less than Billy Zane or Dale Cooper. We find
03:33:07her in a loveless marriage to a curmudgeon named Charlie, who may or may not have some
03:33:11control over her life...
03:33:13Are you going to stop playing games, or do I have to end your story, too?
03:33:18Audrey's goal is to find Billy, a mystery man with whom she's cheating on her husband.
03:33:23You have no balls. That's why I'm in love with Billy.
03:33:27Why Billy? Perhaps it was because Billy Zane was the man with whom she was cheating on
03:33:32the "audience" after the killer's reveal... or perhaps not. We don't know and we don't
03:33:37really need to know. Whether or not we actually see him in the show doesn't matter. All that's
03:33:44important is that there is a "Billy". When Audrey goes looking for him at the Roadhouse,
03:33:49it becomes clear to us that her reality is not reality. The emcee introduces Audrey's
03:33:56Ladies and gentlemen, Audrey's Dance.
03:34:01This is the song that played during her famous diner dance scene in the original show, and
03:34:06for this brief moment Audrey's dream is coming true. She recreates her dance scene for her
03:34:11audience, and Twin Peaks is all about her again... until the darkness of modern TV interrupts.
03:34:18Barney! That's my wife, *******!
03:34:24Frightened of the nightmare her dream has become, Audrey runs to Charlie to get her
03:34:28out, at which point she "wakes up".
03:34:32Where is it that she awakens, and who is Charlie that he has this power to awaken her? Is she
03:34:37really in a mental institution, as people think? Maybe in Mark Frost's books, she is.
03:34:42Is Charlie actually her therapist? Let's look at it more symbolically.
03:34:48She's looking Charlie dead in the face when she asks him to get her out of the Roadhouse.
03:34:53After the cut, she's staring herself in the face. What if we take this to mean that he
03:34:58is some part of herself, that looking at him is looking at herself in the mirror? If so,
03:35:05which part? Well, she's in a bright white room, and there's nothing in the room except
03:35:10a mirror, so all focus has to be on her face. She's not wearing any makeup, her hair is
03:35:15plainly styled, she has no distinctive clothing; this is the reality of who she is, wrinkles
03:35:21and all. She imagines she can still be the young, sexy girl the audience was in love
03:35:26with, costumed and made up and on the set with everyone paying attention like in the
03:35:30old show, but in reality, that's not her anymore. She's old and forgotten. If we follow this
03:35:37track, then we can see that Audrey looking Charlie in the face is really Audrey looking
03:35:41her own age in the face. This realization, combined with that key line, gives us our
03:35:49When Charlie tells Audrey, "You're supposed to go to the Roadhouse to look for Billy..."
03:35:53You're supposed to go to the Roadhouse and see if Billy is there.
03:35:59... it's because that is what her character was written to do and what she inevitably
03:36:04must do by the end of her story arc. When he says, "Are you going to cooperate, or do
03:36:10I have to end your story, too..."
03:36:12Are you going to stop playing games, or do I have to end your story, too?
03:36:16... he's very clearly alluding to Laura Palmer.
03:36:19Is that the story of the little girl who lived down the lane?
03:36:23Yes, Laura Palmer was the little girl who lived down the lane, and her story is over.
03:36:29What ended Laura's story? What made the studio force Lynch to end the mystery? The build-up
03:36:36was too great, and people just had to know. It was the passage of time making people desire
03:36:44their closure. So, Charlie must be the embodiment of the past, or the passage of time, or time
03:36:52that has passed. And his character certainly fits; he's infuriatingly calm, deliberate,
03:36:59uncooperative, matter of fact.
03:37:01I have a deadline. Billy is out there somewhere, but you're not gonna find him tonight.
03:37:07There's no arguing with the passage of time. It's emotionless.
03:37:11Okay, Audrey, I'll go with you. I'm so sleepy, but I'll go.
03:37:20You can't hurry it up or slow it down, and no matter how you rage at it, it will pass
03:37:24with or without you.
03:37:26Put your coat on, Audrey. It's already late and I'm so sleepy.
03:37:31His house looks like it's stuck in the past - the furniture is old-fashioned, the decoration
03:37:35is old-fashioned, their clothing is old-fashioned, there's not a single piece of modern technology
03:37:40to be seen.
03:37:41In one ******* second, I'm taking my coat off and staying in for the night. You're the
03:37:46one that wanted to go to the Roadhouse, not me.
03:37:49Charlie doesn't want to go to the Roadhouse, the nexus of modern television. He just wants
03:37:54to rest, to let the past be passed.
03:37:58Before she joined The Return, Audrey lived in the past, in our memories of her character
03:38:03on the show and her importance to us there. At the start of her story in The Return, she's
03:38:08still there, married to the past and living in this "past-world". Her story is completely
03:38:15disconnected from the rest of the show - she hasn't yet returned with The Return. But,
03:38:20we're watching her nonetheless... TV stories require mysteries to draw our attention. The
03:38:25mystery of Billy, who's missing and stole someone's truck and was bleeding into someone's
03:38:29sink and all this crazy stuff, we want to know what that's all about and what it has
03:38:33to do with anything, and this allows Audrey's story to appear to us.
03:38:38Audrey is cheating on the past, Charlie, who lives in past-world, with this new person,
03:38:43who she suspects is at the Roadhouse, which is present TV-world. She wants to go looking
03:38:49for him, but she's afraid of what that might mean for her character. She senses that it
03:38:53won't be what she wants it to be. She explains it like this:
03:38:57I want to stay, and I want to go. I want to do both. Charlie, help me. It's like Ghostwood
03:39:06Why is it like Ghostwood? What was Ghostwood? It was Benjamin Horne's conspiracy to purchase
03:39:11the land the Packard Sawmill sat on, demolish the mill, the center of the dream, and replace
03:39:16it with something new. The Ghostwood project was as ongoing as Laura's mystery, completely
03:39:23stuck, never able to move forward, and if it ever did, it would have meant the death
03:39:27of an important fixture of Twin Peaks history. Audrey's situation is like Ghostwood because
03:39:33she's stuck between the past and the present. She wants to stay in the past where Twin Peaks
03:39:39was good and balanced and she had our attention and the Packard Sawmill was still snoring
03:39:44away, and she wants to stay in the past-world that she's living in currently because at
03:39:48least here things can be about her. But, she also wants to return with Twin Peaks to the
03:39:53present because it's in her character's nature to crave the spotlight, even though she senses
03:39:59the horror that the old show has been demolished and replaced with something new.
03:40:04I feel like I'm somewhere else. Like I'm somewhere else and like I'm somebody else. Have you
03:40:10ever felt that?
03:40:11"Is it future, or is it past?" It's neither. It's not the old show, that's in the past.
03:40:12It's not the future continuation of what the old show was about because Laura's gone and
03:40:13you can't do that anymore. However, it's inevitable that Audrey go to the Roadhouse because she's
03:40:14already there on our modern TV's in this Twin Peaks replacement.
03:40:15AUDREY: I feel like I'm somewhere else. Have you ever had that feeling, Charlie? [...] Like
03:40:16I'm somewhere else and like I'm somebody else. Have you ever felt that?
03:40:17Who is Billy? Audrey's frightening, violent new fling to replace the past she's married
03:40:18to. What did he do? Stole a vehicle. Who did he steal it from? Chuck. Charlie. The past.
03:40:27The new stole the vehicle of the old. And Chuck didn't press any charges. The past is
03:40:33going along with the theft of the vehicle because Twin Peaks is returning, and "the
03:40:38past dictates the future".
03:40:41Audrey is finally able to go to the Roadhouse after talk of her friend Billy finally makes
03:40:45it to the Roadhouse - this is what connects Audrey's mystery with current TV and pulls
03:40:49her out of past-world to join us in The Return. Once she takes the spotlight, only to realize
03:40:54the violent nightmare that Twin Peaks has become in the present, she runs to the safety
03:40:58of the past, but it can't save her because there's no past to return to. Twin Peaks died
03:41:04with Laura Palmer's mystery and, just like the show, Audrey's time has passed. Like the
03:41:10show, she's old and withered and cannot be who she once was. Eddie Vedder plays at the
03:41:16Roadhouse when she arrives:
03:41:18Now it's gone and I am who I am Who I was I will never be again
03:41:25Running out of sand
03:41:26Who I could have been I could never be again
03:41:30Wasted potential. Twin Peaks could have been so much more if it was allowed to be, but
03:41:35just like Gersten Hayward, who had such talent and promise, the drug of closure married it
03:41:41to mundane violence.
03:41:44It is In Our House Now
03:41:52With the failure of the original series to change our hearts, the growth of fear has
03:41:58been running unchecked since the 50's, getting worse with each generation.
03:42:03Goodbye, my son.
03:42:08The corruption and poisoning of the youth is another major theme of The Return. Reflected
03:42:15in the show is the legacy that older TV audiences have left for the new. "The past dictates
03:42:22the future" - the new audience is receiving the failure of Twin Peaks and the failure
03:42:27of TV from past generations, and it's turning our hearts blacker than ever before.
03:42:33Shelly, just like us, marries the danger and the violence, even though it turns on her
03:42:38and hurts her. Since the darkness won, we're doomed to repeat the cycle and pass it on
03:42:43to our kids, just like Shelly passed her issues on to her daughter, who's affected twice as
03:42:49Richard, the product of evil Cooper forcing himself on Audrey Horne, is probably the most
03:42:53rotten piece of garbage you could imagine, and his evil ultimately ends up killing a
03:42:57poor little member of the next generation. Look what you've done, Dick.
03:43:02The Return is darker, bleaker, more terrifying, more violent, and more uncaring about victims
03:43:07than Twin Peaks was ever meant to be.
03:43:10He's dead.
03:43:12Today's audiences are used to much more graphic television than early 90's audiences, and
03:43:17we like it that way. Our modern garmonbozia has been downgraded from creamed corn to fast
03:43:22food and artificially flavored and colored Corn Snax™.
03:43:25It's the last bag, Hutch. It's the last ******* bag.
03:43:29These are the new TV-watching foods, which we happily enjoy completely free of any and
03:43:33all semblance of empathy, compassion or concern.
03:43:39Next stop, Wendy's!
03:43:42We are like Sarah Palmer, watching the darkness beat the light in an endless loop on our TV
03:43:47sets. The evil is inside of us like the new evil of Twin Peaks is literally inside Sarah
03:43:52- that sharp, cutting tongue, like the sharp, cutting nose of the dark spirit of Lynch's
03:43:57editing. That evil now wears Twin Peaks as a mask like it wears us as a mask, and like
03:44:02it wears Sarah as a mask. She's the one who let all of this happen in the first place,
03:44:07so of course she would be the one to represent the part of both the show and us that was
03:44:11ineffective at stopping the evil and now wallows in it day in and day out. "It is in our house
03:44:18now" and we have to live with it.
03:44:21Is somebody in the house?
03:44:26No, just something in the kitchen.
03:44:29It's not going anywhere, and it's not going to be resolved. And that's the explanation
03:44:35for all those side-stories and vignettes that have been criticized for leading nowhere.
03:44:40The evil is just festering in this town, and there's no answer to it anymore, so we get
03:44:45no satisfaction.
03:44:46Beverly is married to sickness - her husband has cancer, he uses it to guilt his wife,
03:44:52she's sick of it, it's terrible, that's it. Let that sit inside your brain for awhile.
03:44:57Becky is married to violence - her husband is a druggie, he beats her, he's cheating
03:45:02on her, he kills himself, it's awful, that's it. The end.
03:45:07The characters in the Roadhouse with their seedy stories...
03:45:10"To listen in to two or three characters talking about what’s going on in their lives in
03:45:14Twin Peaks was the thing. They’ve all got their problems, and [they’re] dealing with
03:45:21There is no 'why'.
03:45:24The absence of balance means that the light of investigation cannot illuminate these stories.
03:45:31My flashlight's broke.
03:45:35The murder of Laura Palmer, that is this beautiful little goose, and the little goose is laying
03:45:42golden eggs.
03:45:44If Laura Palmer's mystery was the goose laying the golden eggs, and the golden eggs were
03:45:48all those wonderful little side-stories in Twin Peaks that branched off of the mystery
03:45:53and led to new and interesting places, then these awful, disconnected side-stories that
03:45:58lead to dead ends must be rotten eggs. The golden eggs come from the ideas swimming in
03:46:04the balanced Unified Field, and they ended up in the gas station of the original show;
03:46:09the Big Ed's Gas Farm logo is a literal goose egg, glowing like the golden sun. The rotten
03:46:17eggs that end up in the rest of the TV shows come from the ideas spewed out of the fear-infected
03:46:23Zeitgeist... Except the fear-infected Zeitgeist is something we all feed into with ideas from
03:46:28our own heads.
03:46:31Oh my god!
03:46:36Lynch repeatedly uses the imagery and sounds of heads cracked open like eggs, and heads
03:46:45that resemble rotten versions of the eggs that were spewed from the Mother of all evil.
03:46:49These are rotten egg heads. Our minds create the Zeitgeist, which lays rotten idea eggs
03:46:55in our TV's, which enter our egg heads to rot our brains which spew their rotten insides
03:47:00back out into the Zeitgeist. Yes, really, the moral of Lynch's story is that TV is rotting
03:47:08our brains.
03:47:09I completely understand now why David Lynch doesn't like the meaning behind his work minimized
03:47:15by the smallness of mere words, because the entire message behind Twin Peaks can be reduced
03:47:21to one simple phrase, and that phrase really is, "TV rots your brain."
03:47:29But, this is where I disagree with Lynch, because if I had told you that the message
03:47:32behind Twin Peaks was, "TV rots your brain," at the beginning of this video, then yes,
03:47:37you probably wouldn't have believed me and you'd think it was really stupid. But now,
03:47:42after all of this groundwork was laid and the concepts stacked up on top and expanded,
03:47:48the trite little phrase is bigger than just its words. It's imbued with all that meaning
03:47:54and understanding we were exploring.
03:47:57"Closure. It's like a drug."
03:48:00This is your brain on closure.
03:48:10Fear enters the TV station, rots the brains of the people working there, and the rot oozes
03:48:15out into the airwaves, heightening the fear in the air and turning the souls of each generation
03:48:21blacker and blacker. The Arm, the spirit of television, has evolved along with the Zeitgeist
03:48:27to reflect the current state of decay: the more evil the spirit of TV gets, the closer
03:48:32it resembles its nuclear mushroom cloud mother; a big, rotten egg on top of an electric tree
03:48:38laying rotten eggs into the air. He is The Arm, and he sounds like the evil wind of the
03:48:51I guarantee that the actor that plays Dick Horne was chosen because his head is shaped
03:48:56like one of those rotten egg heads. He is the definition of a bad egg created by television
03:49:02audiences. He's the child of the selfish attention getter and the selfish attention giver...
03:49:08which brings us to our representative in The Return.
03:49:13That is not the Dale Cooper that I knew.
03:49:21If Dale Cooper is the audience's detective mind, then the good Dale Cooper must be our
03:49:26desire for Laura Palmer's continuing mystery, our desire to seek balance through it, our
03:49:32desire for good. But in The Return, our desire for mystery is being held hostage by our evil
03:49:38double. In the two-part premiere, Mr. C is driving a silver Mercedes, a well-intentioned
03:49:44vehicle, and locks it down to start driving his negatively-intentioned black Lincoln.
03:49:49He comes in driving Twin Peaks, the well-intentioned show, and traps the good intentions so he
03:49:54can turn it into a negatively-intentioned show.
03:49:58Someone stole my car!
03:50:00The good Cooper is trapped, first in the Red Room, then in the identity of Dougie Jones.
03:50:06The doppelganger's goal is opposite Cooper's; our desire for evil, our desire for Bob's
03:50:11consumable violence, our desire for explanation and closure. What we 'want' is closure. What
03:50:18we 'need' is balance.
03:50:19What I want and what I need are two different things, Audrey.
03:50:25What is it that the good Cooper needs to do in The Return? We need to find Laura, to get
03:50:30back to the original point.
03:50:32Find Laura.
03:50:34And, what is it that the bad Cooper needs to do in The Return?
03:50:38"Want", not "need". I don't need anything. I want.
03:50:43This is what I want.
03:50:47Who is Judy?
03:50:49He wants to find Judy. He doesn't know who or what Judy is, he just wants it.
03:50:54Why didn't you want to talk about Judy? Does Judy want something from me?
03:51:06Judy's identity might just be the biggest mystery since Laura Palmer's killer, even
03:51:10before The Return, all thanks to that Phillip Jeffries scene. Before the Season 3 finale,
03:51:16it had to be the single most talked about mystery of all.
03:51:20I'm not gonna talk about Judy. In fact, we're not gonna talk about Judy at all. We're gonna
03:51:25keep her out of it.
03:51:26Who is Judy? Is she related to Josie, as some like to think? Does she live in Seattle, or
03:51:32in South America? Was it the same Judy that Phillip was meeting with before he was transported
03:51:37to Philadelphia? What was she positive about?
03:51:40Judy is positive about this.
03:51:43And why does David Lynch's monkey-sona bring her up again at the end of the film?
03:51:48Does this mean that Judy actually is the key to everything? We don't know who Judy is,
03:51:54we don't know if she matters at all, and we don't even need to know. We just want it.
03:52:01Who is Judy!?
03:52:03We have elevated Phillip Jeffries' Judy Question to the status of representing the closure
03:52:10that we so crave in Season 3. Judy is the answer to all our questions (or so we hope).
03:52:17Who is Judy!!??
03:52:20Can we confirm that this is true? What does our director have to say about it?
03:52:24An extreme negative force called, in olden times, "Jowday." Over time, it's become, "Judy."
03:52:34"An extreme negative force" - in the context of Twin Peaks, what has David Lynch established
03:52:41as the greatest source of negativity? You know the answer by now: The reveal of Laura
03:52:47Palmer's killer. Closure. Explanation and closure end the mystery, causing us to move
03:52:54on and keeping us from balance. Makes sense so far.
03:52:58What is the meaning of the name "Judy"? There have been some attempts on the internet to
03:53:02discover the etymology of "Jowday", and the best people have been able to come up with
03:53:07is the Mandarin Chinese "jiāodài". "Jiāo" certainly sounds like "Jow", and "dài" could
03:53:14be read as "day" by someone who doesn't speak the language, and someone who regularly mispronounces
03:53:19"ai" as "ay", as is the case when David Lynch pronounces the character "Naido's" name. Mr.
03:53:25C has hidden Diane inside of this Naido person, played by a japanese actress, and "Naido"
03:53:31is a Japanese-esque way of saying the name "Diane" backwards.
03:53:36And Andy's gonna stand and let go of Naido's hand, and he's gonna disappear.
03:53:42"Nay-do's hand."
03:53:44Here's the tree... right?
03:53:49Here's Naido.
03:53:51"Here's Nay-do."
03:53:54Naido, NAYdo. Jiāodài, JowDAY. There are many who say that the similarity between "jiāodài"
03:54:02and "Jowday" are nothing more than mere coincidence, but what a coincidence it must be, because
03:54:10what does "jiāodài" mean?
03:54:11To hand over, to justify oneself, to account for, to brief, to tell about, to confess,
03:54:20to make clear, to EXPLAIN, and humorously, to FINISH or COMPLETE.
03:54:28EXPLANATION. CLOSURE. Judy is explanation and closure, and we want closure by means
03:54:39of an explanation. Who is Judy? You're watching Judy right now... I'm still not so sure how
03:54:47I feel about that...
03:54:49Major Briggs, Cooper, and I put together a plan that could lead us to Judy.
03:54:55Lynch and Frost, at the demands of the audience, brought closure to the mystery.
03:54:59And then something happened to Major Briggs, and something happened to Cooper.
03:55:05The audience moved on, and Frost didn't want to help write the movie.
03:55:09Now, the last thing Cooper told me was, "If I disappear, do everything you can to find
03:55:17me. I'm trying to kill two birds with one stone."
03:55:21This was the audience speaking. If the audience is gone and they want us back, they would
03:55:25have to give us what we want, which is Judy. "You, Lynch and Frost, do what you can to
03:55:32bring us back. We want two birds killed with one season." One bird is the goose that was
03:55:38laying the golden eggs, Laura Palmer's mystery. Once that bird is explained to death, you
03:55:44automatically kill the other bird - the owl that represents and carries the plot of the
03:55:49original show.
03:55:51What is the symbol that represents Judy?
03:55:52Do you know what this is? Huh? Did you ever see anything like this?
03:55:58Have we seen anything like this? We have: The Owl Symbol. The Owl Symbol represents
03:56:04the plot of Twin Peaks, and Judy represents the explanation and closure that leads to
03:56:09darkness taking over, so the Judy symbol is a big black void, darkness growing to completely
03:56:16eclipse Twin Peaks.
03:56:18Who is Judy?
03:56:20You've already met Judy.
03:56:22What do you mean, "I've met Judy?"
03:56:26We have already met Judy, several times! Once when we got our explanation and closure from
03:56:30the killer's reveal in Season 2, again from the Season 2 ending that literally ended the
03:56:36show. The evil living in Sarah Palmer, that same evil we see in Season 3, told Major Briggs
03:56:41that it was in the Lodge with Cooper, because it was - Judy was in there with him; the show
03:56:47was ending in there with him.
03:56:50I'm in te Black Lodge with Dale Cooper.
03:56:57It was waiting for Briggs because Mark Frost is the co-creator and he needed to be there
03:57:01to help David Lynch end the show.
03:57:03I'm waiting for you.
03:57:09Again we met Judy in the film when we got the full chronology of Laura's murder and
03:57:13the explanation of the literal TV meta. With the film, we already had everything we needed
03:57:19to fully solve the mystery, and that was closure we didn't even know we were getting.
03:57:24Now it makes perfect sense that a monkey is whispering Judy's name at the end of the film.
03:57:29Ever heard of Curious George? Monkeys are a symbol of curiosity, and we all know what
03:57:35curiosity did to the cat... Remember Lynch's idea of "action and reaction" - he never knows
03:57:40where a project might take him until he's let the work speak to him, and with the film,
03:57:44he was returning to the world of Twin Peaks so that he could also figure out where the
03:57:48show was going before the mystery was taken from him... And this is why the monkey appears
03:57:53behind baby Lynch's mask, because Lynch's curiosity is fueling the film's story just
03:57:58as much as ours is, and in the end, the monkey is telling both Lynch and us that our curiosity
03:58:05has paid off.
03:58:09When we forced Lynch to solve the mystery, both we and the show became possessed by Bob.
03:58:14At that point, Twin Peaks ceased to be the dream David Lynch wanted it to be and became
03:58:20the dream the audience wanted it to be. Lynch left, and Twin Peaks became the audience's
03:58:27The Log Lady stole my truck!
03:58:32Pete, Windom Earle stole your truck.
03:58:36This new dream, OUR dream, is what we brought back twenty five years later for explanations
03:58:40and closure. And since we never knew we had already gotten our explanations numerous times,
03:58:47neither does Mr. C. We brought the show back to life to get more, and therefore so did
03:58:54Mr. C.
03:58:56We never really find out what Mr. C had been up to in that twenty five-year break... It's
03:59:00because the show didn't exist for all that time. We weren't paying attention for all
03:59:04that time. We were absent for all that time. How does Season 3 begin? With a man sitting
03:59:12in a room along with numerous cameras, all watching an empty glass box 24/7. An intriguing
03:59:19mystery, to be sure! What is it about this box that requires so much attention...? We
03:59:25find out later that Mr. C was the one who created and funded this experiment. Mr. C
03:59:31is a Dale Cooper that's possessed by Bob and who comes from the in-between world of the
03:59:35Red Room, so "in-universe", he knows how the mechanics of TV dreaming work. He demonstrates
03:59:41this throughout the course of the season with his various manipulations of electronic devices.
03:59:46Mr. C is actively and knowingly using his intuition connection with the audience to
03:59:51manipulate the plot of the show. Mr. C is the audience wanting answers, but he's also
03:59:58a character in the show who knows that Twin Peaks needed a mystery to exist again, so
04:00:03the glass box experiment is Mr. C setting up a mystery by putting enormous attention
04:00:10on a box in order to draw audience attention to the "box" with the tube at the back of
04:00:16it that's open to pure air.
04:00:19The guy who's watching the box gets a coffee delivery from a girl who's super into him.
04:00:23The coffee is from a place called SZYMON'S, with a cherry pie for an 'O' and a big, bold
04:00:29'Z'. Pie and coffee are fuel for the love and investigation of the TV dream that we
04:00:34dream while we catch our Z's, and this TV viewer is getting all the love and investigation
04:00:39fuel he needs to stay awake and pay attention to our dream. Then we wonder what all this
04:00:44is about, so WE pay attention to our dream.
04:00:48We create a demand for the mystery, Mr. C creates a demand for the mystery. His subject's
04:00:53attention to the mystery he created gives us a mystery to pay attention to, and thus
04:00:59The Return is literally brought back to life by this recursive attention generation. Mr.
04:01:05C's investigation of Judy begins after the revival of TV attention in these scenes - that's
04:01:11what we brought the show back for. Does he find her? You bet! He just doesn't know he's
04:01:17getting what he wants. Just think of all the things explained in The Return:
04:01:21What Judy is. The origin of the fear that created Twin Peaks.
04:01:24The origin of Bob. The Woodsmen.
04:01:26The Unified Field. The Fireman.
04:01:29The origin of Laura Palmer. The importance of Laura Palmer.
04:01:32The Blue Rose. TV as a dream.
04:01:34The dirt mounds. The mechanics of the Owl Ring.
04:01:37The Owls. The fish in the percolator.
04:01:40The Owl symbol. What Laura Palmer saw behind James.
04:01:43We're getting our explanations, we just don't know we're getting them. Ergo, the infamous
04:01:48sweeping scene, where we watch a guy sweep the floor for two-and-a-half minutes.
04:01:53We give David Lynch his show back, and then we watch fifteen episodes of Twin Peaks not
04:01:57coming back. But, we're trusting our director and we're going along with it. We're patiently
04:02:03waiting for something to happen, but nothing is happening. We feel as though we're being
04:02:07shown some abstract concept, but we don't know what that might be, so we continue to
04:02:12wait for it to be given to us. We think we want an explanation, but explanations don't
04:02:18hold our attention, mystery does. Very slowly, everything is getting straightened up, every
04:02:25last detail, every clue being explained to us, nice and tidy, and that should leave us
04:02:30with satisfaction, some sense of closure... but it's not satisfactory. It's hollow. It's
04:02:37nothing. All the loose ends are tied up, but the evil remains.
04:02:42I sent him two, he owes me for two. The Roadhouse has been owned by the Renault family for fifty
04:02:48seven years. We're not gonna lose it now because of a couple of fifteen-year-old, "straight
04:02:53A" students, no no.
04:02:56That squeaky clean facade of closure is just covering for the evil under the surface...
04:03:02By the time Mr. C is able to bring our attention back, the garmonbozia generated by Season
04:03:072's ending has become stale and rotten in the show's twenty five-year absence. A lot
04:03:11of people stopped caring. His time is about to run out, as the show is back on the air
04:03:16and the audience is way more interested in seeing Agent Cooper escape the Lodge to stop
04:03:21Mr. C than we are in seeing what Mr. C is up to. So, to counter the balance, Mr. C concocts
04:03:27a plan to keep our attention on himself...
04:03:30I'm supposed to get pulled back into what they call the Black Lodge, but I'm not going
04:03:34back there. I've got a plan for that one.
04:03:37... he creates Dougie Jones. What looks like an existential Indiana Jones idol switch,
04:03:43where Dougie is substituted for Mr. C during Cooper's exit, is actually the creation of
04:03:48a new mystery to hold our attention on the doppelganger. The misadventures of Cooper
04:03:53as Dougie Jones may be mildly amusing, but they're far less interesting than the question
04:03:58of how the double created Dougie and what the double's dark plan might be.
04:04:02Mr. C keeps our attention on himself and not on boring, empty Dougie Jones by repeatedly
04:04:06creating mysteries for us to puzzle over. What is the information Mr. C wants? What
04:04:11is the black spot he's trying to find? Why is he looking for Judy? What is Mr. C's connection
04:04:17to the Hastings family? Who is Mr. Strawberry, and what do severed dog legs have to do with
04:04:22him? What is that little "cow jumped over the moon" box that shrinks into a rock? Along
04:04:26with the garmonbozia he gets from simply having Bob living inside him, these questions that
04:04:30will never have answers are the fresh attention Mr. C runs on for the duration of Season 3.
04:04:36And why would he answer them? They are his fuel. We want answers, he leaves breadcrumbs
04:04:41for us to follow, and that keeps him going. We want Judy, so he wants Judy, but we also
04:04:48want answers about him, so the FBI is also investigating him to represent us on that
04:04:56In a dream, are all the characters really you?
04:05:00These are all versions of us. And, if Dougie is a version of Cooper, then he must also
04:05:04be a representative of the audience, right?
04:05:07The first time we see Dougie Jones, he's in a development that's meant for happy families
04:05:11but nobody lives there. He doesn't seem to have any love for his own family since he's
04:05:15cheating on them. He's not particularly expressive or emotional. If Mr. C is the evil version
04:05:20of us, then Dougie is what's left of the good... There's not much of it. When the real Cooper,
04:05:27the real love, returns to our TV screens through the tube from pure air, the TV is empty because
04:05:32without Laura Palmer the Twin Peaks vessel is now empty. Once there, the love goes back
04:05:38to the Unified Field from whence it came, because what actually returned is unbalanced,
04:05:43loveless evil and death that we, ourselves, have created through the intercourse between
04:05:47the two worlds that is giving birth to The Return, the nightmare that annihilates our
04:05:52souls... All of this is being foreshadowed by Sam and Tracy here.
04:05:56Hawk, something is missing, and you have to find it. It has to do with Special Agent Dale
04:06:05What is it?
04:06:06The way you will find it has something to do with your heritage.
04:06:11What's missing that has to do with Cooper? We're talking about the good Cooper here,
04:06:15so it must be love that's missing.
04:06:17That is not the Dale Cooper that I knew. It's something here... There's something that definitely
04:06:28ISN'T here.
04:06:30The way to find it is through Hawk's Indian head coin that leads him to the bathroom stall
04:06:34door that contains a renewed interest in Laura Palmer's mystery... Laura's balance. Love.
04:06:41Luck. Las Vegas. We have to find the love hidden in Dougie's Las Vegas story and inside
04:06:48of ourselves - that love is nowhere to be found in the town of Twin Peaks.
04:06:52But, hold on... the love did return to the TV, it didn't just go straight back to non-existence.
04:06:58Cooper came through when Sam was out of the room. The love was there... we just weren't
04:07:02paying attention! It's still there... and we're still not paying attention! The good
04:07:08Cooper, the representative of the good side of our detective minds, fully returns to a
04:07:13life of love and happiness and unfathomably good luck, but that's not what we wanted!
04:07:21We're not returning the love that's being given to us! OUR love never made it back - it's
04:07:26still non-existent. Now, we want to see Coop go after the badguys and win, we don't want
04:07:32all this "love" nonsense, this "mundanity". We're not interested, and that is why Cooper
04:07:39as Dougie is empty, because our attention is not there! Our attention is in Buckhorn
04:07:49where Mr. C's cool murder mystery thriller is happening. We're frustrated by these Dougie
04:07:54scenes. They're corny and goofy, and we would really rather they weren't in the show, right?
04:07:59Meanwhile, David Lynch loves the mundane. Dougie is the funniest, most heartfelt story
04:08:05to him. He knows we're going to be like Albert, patiently waiting for him to get on with it,
04:08:10but Lynch is all like, "You go ahead and be impatient and humorless over there, I'll be
04:08:14over here enjoying all this mundane beauty."
04:08:19Tres bon.
04:08:22It's a good one!
04:08:24Why won't anyone help Dougie? Something is obviously wrong with him. Why won't anybody
04:08:30do something? It's because it wouldn't match reality. Cooper has to mirror our attention.
04:08:36We're not interested, but the show's still playing out, we're still watching it. The
04:08:41story has a beginning and an end, there are beats in between, and these TV characters
04:08:45in this story must inevitably play out their parts from beginning to end whether we're
04:08:51interested or not. Think of it like a stage play where the lead actor is being fed lines
04:08:57that he can't remember the whole time and all the other actors are pushing him through
04:09:02it, trying to hold this production together, because the show must go on.
04:09:07For anyone who says they genuinely love all of Dougie's storyline every time they see
04:09:13it... that's all well and good, and I agree, but we're in the minority and we're not supposed
04:09:18to, because Lynch is trying to make a point about what the audience as a whole wants.
04:09:24We want the evil. It entertains us. To prove it, the only time Cooper is able to act is
04:09:30when something evil is happening. Then, we snap right to attention! Base-level pleasures
04:09:36like food and sex.
04:09:39Cheating at gambling. Spotting liars.
04:09:42He's lying.
04:09:43Here comes the tiny hitman! Now we're in for some of that tasty violence! This is what
04:09:47i'm talkin about!
04:09:50Squeeze his hand off! Squeeze his hand off!
04:09:55We're suddenly paying attention, so now Cooper is suddenly paying attention. The second the
04:10:01acton's over, however, Cooper goes right back to emptiness because we go back to not caring
04:10:06about Dougie's boring, mundane life.
04:10:09"Let's get back to Mr. C. I'm getting bored here." Mr. C's murder mystery thriller in
04:10:14Buckhorn is the most interesting, most suspenseful, best acted part of The Return with the highest
04:10:20production value. Of course, it would have to be to keep our shallow, darkness-loving
04:10:25attention. We can't wait for Dougie's farcical comedy to finish. So, what finally wakes Cooper
04:10:32up, saves him from Dougieland and joins our full attention up with Mr. C's story? The
04:10:38ultimate evil: closure. By the end of this story, Dougie's job is saved, the insurance
04:10:44company is saved, Dougie's debts are paid off, the Mitchum brothers are good guys now,
04:10:49Sonny Jim has his father back, Janey-E has her husband back, the hitman situation just
04:10:54kinda works itself out, and everyone loves Dougie.
04:10:57Oh, Dougie... it's like all our dreams are coming true.
04:11:02Well, that's a good ending to the story. We got our closure. Looks like we're all done
04:11:07here. Time to get on with it and move on! Fork in the socket. Get me out of here, I
04:11:11can't take it anymore.
04:11:14If love hits the jackpot in the woods but nobody's around to pay attention, are the
04:11:20woods still balanced?
04:11:24The bad Cooper didn't go back into the good Cooper to make a complete, balanced Cooper.
04:11:30Twin Peaks is no longer balanced. If there's no balance, that means one of them has to
04:11:35win and the other one has to die.
04:11:39You were tricked. Now one of you must die.
04:11:45I'll give you three guesses which one is which. There's no love left in Twin Peaks or in the
04:11:52audience, so obviously it's not Mr. C who's gonna die... Except, during the climax, where
04:11:59love finally and literally takes the wheel of the vehicle, Mr. C does die.... or at least,
04:12:06that's the dream, isn't it?
04:12:08Light and dark are inside all of us. Evil cannot be destroyed, it can only be beaten
04:12:15by light exposing it. Even if Mr. C is vitally wounded, the smoke dances around as Bob's
04:12:21fire is rekindled by the fresh blood of violence that literally enlivens our interest.
04:12:28Then you see this guy over there, and you lift his head up and you show him his head,
04:12:32like this! You show him his head! And you lift up the- more blood! And you put blood
04:12:37all over his face, and you show him his face!
04:12:40"Show him his face," because when we see Bob, our attention is brought to life. You can't
04:12:45kill Cooper with violence, because we are Cooper and we love violence! It always brings
04:12:50us back for more. So, how is it that Bob is destroyed at the end of The Return?
04:12:56... He isn't. Not really. Notice how cleanly and completely and easily everything gets
04:13:03wrapped up in this scene. That's not usual for David Lynch, is it? Cooper's dismayed
04:13:08face overlay, like a reflection of the viewer's face on a TV screen, is such an incredibly
04:13:13visceral way to convey to us that what we're watching is not correct. It's not REAL. Something
04:13:20has gone terribly wrong here.
04:13:22We live inside a dream.
04:13:26Twin Peaks was David Lynch's dream, but The Return is our dream. We brought the show back
04:13:32to the screen to get our closure, and this scene is the closure we imagined, the closure
04:13:38we thought we wanted. Mr. C finally gets his coordinates, and they take him to... Twin
04:13:45Peaks, the place where he'll find Judy. This was the dream, that we would return to the
04:13:49old Twin Peaks and the bad Cooper would be captured and good would destroy the evil and
04:13:54everything would be set right, right?
04:13:57What is this?
04:13:58Little did we know that everything being set right is the true evil. The only thing keeping
04:14:04the show going for twenty five years was that Season 2 cliffhanger, so Mr. C's defeat brings
04:14:10that mystery to a close and ends up being Judy's triumph. The effortless destruction
04:14:16of evil via Freddie's "deus ex machina" is the true evil. Mr. C's death is paradoxical.
04:14:24What does Agent Cooper do once Mr. C's story is brought to a close? It's the time of completion!
04:14:29Time's up. There's no more time left in the show. Time to move on, because that's what
04:14:34we do once we get our closure. Time and time again, we get our closure and we move on.
04:14:43253. Time and time again.
04:14:49And when we move on, the mystery dies.
04:14:54Walk with me on this: Laura Palmer was born to die on TV to create the continuing mystery
04:15:03that was Twin Peaks. "As soon as a show has a sense of closure, it gives you an excuse
04:15:08to forget you've seen the damn thing." If you forget you've seen it, it might as well
04:15:13not have happened! We brought Laura's mystery to a close, therefore Laura's murder didn't
04:15:19matter, therefore it might as well not have happened. Therefore, we're in exactly the
04:15:25same position as if Twin Peaks never existed in the first place.
04:15:30It's our doing, even if we thought we were doing something good, and this is illustrated
04:15:34perfectly by our mistakenly well-intentioned representative going back in time to rescue
04:15:40Laura from her fate, thus erasing the reason for Twin Peaks.
04:15:45I only wanted to do good. I wanted to be good.
04:15:53The show is suffering so badly without her that part of it even wishes she was never
04:15:58born. But, you can't take it back. Laura did exist. Her memory can't be destroyed, and
04:16:04Twin Peaks is shambling along without her. This is another paradox: The show can't exist
04:16:10and then be wiped out of existence if Laura's mystery never existed in the first place.
04:16:15"The past dictates the future."
04:16:18What happens next is best understood if we first understand who Diane really is.
04:16:28After the copy of Diane is killed, Tammy Preston reasons that she was a tulpa.
04:16:33That was a real tulpa.
04:16:35And by the way, once we get that realization, this Diane's story is brought to a close and
04:16:39there's no mystery left in her, so we get to hear the wind literally escaping her as
04:16:44she disappears. What is a tulpa? Heck if I know. The best description I could find is
04:16:53that a tulpa is an imaginary friend that is somehow sentient. It knows it's imaginary
04:16:59and it's got its own personality. It lives in your head, and you can communicate with
04:17:03it as if it's a separate person. Somebody gave me the example of Wilson from Castaway
04:17:08if Wilson weren't a volleyball and was instead only in Tom Hanks' mind. If this is a bad
04:17:14description, I don't care.
04:17:15Now, from what I understand, tulpas are not outwardly manifested clones that other people
04:17:20can see and interact with, so the evil clone of Diane that Mr. C creates in Twin Peaks:
04:17:25The Return is not technically a tulpa... Or is she? Twin Peaks is already inside our own
04:17:33heads, a dream that's the product of watching TV. Who was Diane in the original show? Our
04:17:40representative relayed his thoughts on the case to Diane through tape recordings. He
04:17:44would bounce his ideas off of and have full conversations via tape recorder with this
04:17:49person that we never saw. We could only imagine her as a separate, sentient being. Sounds
04:17:56similar to a tulpa to me. Diane is and always was the audience's tulpa. Now, Twin Peaks
04:18:03was David Lynch's dream, so only he knew what she might look like, and only he and Frost
04:18:08knew how she might be responding to Cooper. But The Return is our dream, so the Diane
04:18:15in The Return is the tulpa that we manifest and can see in our dream.
04:18:21Mr. C hides the real Diane inside of a different person, one whom he has blinded, and who therefore
04:18:26cannot watch TV and share the dream with us. She's locked away in this identity prison.
04:18:33He makes a copy of Diane who thinks she's the real Diane for the purpose of evil. The
04:18:38text messages that he sends her are the new form of tape recordings. But, since we're
04:18:42now in our imagined version of Twin Peaks, she can respond with feedback about how far
04:18:47along the investigation has progressed. He's waiting for the climactic moment at the end
04:18:52where the FBI discovers the good Cooper in Las Vegas, the time of completion, at which
04:18:57point the evil copy of Diane is supposed to kill the investigators.
04:19:02Diane is this mental projection of what we think Diane is, and the world she's living
04:19:07in is a mental projection of what we think the new Twin Peaks should have been. So, if
04:19:11we equate the tulpa that Diane is to Twin Peaks, then we can see that just like with
04:19:18Diane, Mr. C hides the goodness of Twin Peaks inside of a different person, one who is disengaged
04:19:23and unable to communicate. It's locked away in this identity prison. The new, evil show
04:19:29thinks it's the real Twin Peaks (which is self-aware and knows it's imaginary), but
04:19:34it's the equivalent of Diane's tulpa, a copy that we created from our rotten brains for
04:19:39the purpose of evil. As we watch, we wait for the climactic moment in the end when the
04:19:45FBI discovers the good Cooper in Las Vegas, the time of completion, at which point the
04:19:50evil copy of Twin Peaks kills our souls with closure.
04:19:55In this way, Diane represents Twin Peaks itself. How can we verify this? Let's run with it
04:20:03and apply it to a different scene. Intercourse between the two worlds created the original
04:20:09show, a beautiful dream with a message of love from Twin Peaks to us. We irrevocably
04:20:15changed the show when we butted our stupid heads in demanding explanations.
04:20:20One night... No knock, no doorbell... he just walked in. I was so happy to see him. He only
04:20:29wanted to know about what had been going on at the bureau. It felt like he was grilling
04:20:35And explanations we got. We got our way... We had our way with the show and took what
04:20:44we wanted... The intercourse between two worlds became forced. We forced ourselves on the
04:20:52show to get the answer to Laura Palmer's mystery.
04:20:56DIANE: He ***** me... He ***** me...!
04:21:00In Season 3, when we get our closure, we are getting the Twin Peaks that we imagined we
04:21:06wanted. What we imagined was the real show that we loved, the one that was gone for so
04:21:10long, is finally able to return to the screen, or so we imagine. What we imagined was the
04:21:17real Diane that Cooper loved, the one that was gone for so long, is finally able to return
04:21:22to the screen... or so we imagine. Look how happy we are to finally have our show back!
04:21:29Except, this isn't real. It used to be the real Twin Peaks, but now that we've got our
04:21:35ending, it's become a tulpa that we made up from rotten egg ideas in our rotten heads.
04:21:41All this time, we've just been superficially copying what the original show was saying
04:21:46to us and spewing it back out, stupidly and tinged with blood.
04:21:51Damn good joe, huh Dougie?
04:21:54Damn good joe.
04:21:57Red hair and black and white fingernails like the Lodge! Twin Peaks memes equals Twin Peaks
04:22:02show, right? Wrong.
04:22:04What the **** is wrong with you?
04:22:06What the **** is wrong with you?
04:22:09When good Cooper returns to the empty TV box, he emerges from the tube that's embedded into
04:22:13a metal section of the wall that resembles a crematory oven, complete with wires arranged
04:22:18so they look like coffin rollers. Twin Peaks is rising from its own cremated ashes after
04:22:24having been consumed by the fires of consumable violence. After he's sent back into the oven
04:22:30and banished to the Unified Field, he finds the Diane that he doesn't recognize in a big
04:22:35stone room... This is the mausoleum of the mind in which Twin Peaks was buried. The idea-powered
04:22:42generator Phillip Jeffries ended up inside of is located in this mausoleum - the ideas
04:22:47that powered Twin Peaks are just as old and dead as the show.
04:22:51When we started Season 3, we wanted to rush straight for that climactic reunion. "Twin
04:22:55Peaks is back! We gotta get our closure!" So, we want to come back to TV through the
04:22:59power lines via the #15 electrical socket - Episode 15 is where Cooper gets closure,
04:23:07remembers who he is and goes for the socket, which is the beginning of the end. It's too
04:23:12early for that, this is only Episode 3. Our loving friend, Twin Peaks, warns us that to
04:23:18go straight to the return and the closure means certain death. Naido flips a switch
04:23:27and sends us back in time a bit to the #3 electrical socket so we'll emerge in the correct
04:23:33episode. If you're not with me by this point, I have no idea how to help you.
04:23:40The whole time this is happening, the Mother of all evil/Judy/closure is banging down the
04:23:44door trying to get in to Twin Peaks' resting place-of-the-mind to destroy the show once
04:23:49and for all. But, it can't get into our memories. The memory of Twin Peaks will always remain
04:24:01Our projection of what Twin Peaks was supposed to be resides in the Episode 15 mausoleum,
04:24:05but Episode 3's mausoleum houses Ronette Pulaski, credited as the "American Girl". Laura Palmer
04:24:12was the original American Girl, but this is a Twin Peaks we've created after we've already
04:24:17turned away from Laura Palmer, and the only other American girl involved in the murder
04:24:21in the real Twin Peaks was Ronette Pulaski. No Laura Palmer, Ronette takes her place.
04:24:28Now, before we return to the Episode #3 socket, the floating head of Major Briggs reminds
04:24:33us of the blue rose...
04:24:36Blue rose.
04:24:38... and then we see the blue rose next to the socket on a table. At this early point,
04:24:44some mystery is still left in the show. By the time we get to Episode 15, the show has
04:24:49become fully transformed by our rotten ideas, and this is why the imprisoned Diane takes
04:24:55the place of Ronette and the blue rose is missing. By Episode 15, all traces of the
04:25:00old show are gone and replaced with our fake show.
04:25:05Now, there are some things that will change.
04:25:15After Laura Palmer's murder is erased from history, the show appears to reset itself.
04:25:20This is the second time this has happened. The first time was way back at the beginning
04:25:24when the mystery was still alive. "You can go out now." Last chance to leave with the
04:25:30mystery intact. "When can I go?" We're not getting it, so we're gonna keep watching.
04:25:35Laura disappears, we look the other way, and we settle in to dream up our own Twin Peaks,
04:25:41one where we get what we always wanted in the climax. That's not to say none of it was
04:25:45real - it did happen. Twin Peaks always was a dream, we just replaced it with our own.
04:25:51When ours is over, the show resets again and we see the reality of Twin Peaks come back
04:25:56to show us what we have just done to the show in reality. Everything that happens after
04:26:01this point is a recap of what just took place in our fake dream. Now, we're back to the
04:26:07real, original Dale Cooper, but this one has seen and accepted the darkness through our
04:26:12dream of closure. Mr. C is back inside. Cooper now has the good and the bad in him, so he's
04:26:18balanced and can leave the Red Room under his own power... But, the damage has been
04:26:23done. Judy has already won, and the closure must play itself out.
04:26:28We leave the limbo we've been in for twenty five years to go back to the TV forest, where
04:26:33we find the real Twin Peaks that we once knew and loved.
04:26:36Is it really you?
04:26:40We drive the old vehicle back to the "owls", back to the power lines, trying to put the
04:26:45show back on TV. Because we just watched the whole season, Cooper's intuition connection
04:26:51with us tells him that Twin Peaks might be different once it returns to television...
04:26:56Once we cross, it could all be different...
04:26:58... and Twin Peaks agrees that it might not be such a good idea.
04:27:02Just think about it, Cooper.
04:27:04But, we're gonna do it anyway.
04:27:07Cooper drives the vehicle through some kind of portal between two worlds, where Cooper
04:27:11and Diane's infamously disturbing love scene takes place. What's happening here? They are
04:27:16moving from world to world - they are between worlds. This is "intercourse between the two
04:27:23worlds". Cooper represents us in the real world, and Diane represents Twin Peaks in
04:27:29the TV world - this is "intercourse between the two worlds" between the two worlds, symbolizing
04:27:35the return of Twin Peaks to the airwaves. We thought that returning to our love affair
04:27:40would restore the dream, but this intercourse is wiping the show out of existence...
04:27:46Except, Twin Peaks does still exist in the past. We can watch the past any time we want
04:27:52on TV. It's forever there in TV-world, looping from Cooper's dream to Cooper's reality and
04:27:58back, and that's why we are able to see Diane way out there in the woods of television-past.
04:28:04We even left a manufactured copy of whatever good memories we might have had, if any, in
04:28:09the manufactured memory of the manufactured copy of a dream that was The Return. It too
04:28:14is still a version of Twin Peaks that is in the past but on TV for us to watch and re-watch,
04:28:19looping from Cooper leaving the Red Room to the show resetting back to the Red Room so
04:28:23he can leave again. But now, after our intercourse between worlds destroyed the show, we're moving
04:28:29to a world where Twin Peaks doesn't exist anymore, and the only place it doesn't exist
04:28:36is outside of TV-world in the present... and this is where we wake up after our destructive
04:28:43dream, in the real reality of the present, where there are no such people as Cooper,
04:28:49Laura, or Diane.
04:28:50Cooper becomes someone named Richard.
04:28:54See if you can guess why (hint hint, it's because we just destroyed the future of Twin
04:28:58Peaks for our kids). Laura becomes some stranger called Carrie Paige...
04:29:03Carrie Paige.
04:29:04... much to our dismay.
04:29:06Carrie Paige?
04:29:07That's right.
04:29:08And Laura's childhood home is now occupied by the actual, real-life owner of the real-life
04:29:14Palmer house. Gee, I wonder why.
04:29:17Diane becomes this Linda person...
04:29:21... and ironically goes back to being a tulpa, an imagined other consciousness.
04:29:26At the in-between motel, she is occupying the space between worlds where she becomes
04:29:31this other, real-life Linda person, so in that moment she's both people at the same
04:29:36time. When she's watching herself watching herself, she is simultaneously the real life
04:29:42person who watches TV and the character who is being watched on TV. Dale Cooper, on the
04:29:48other hand, doesn't see a copy of himself at the motel. He is us, so he remains the
04:29:53"us" who is on TV while we remain the "us" who are watching ourselves on TV.
04:29:59During "the scene", Diane does all the work while Cooper just kind of watches her do it.
04:30:05Of course. He's us, and we're watching TV. Just watching. Diane covers Cooper's face
04:30:11and begins to cry. Now, there is the valid interpretation that she can't bear to look
04:30:16at him because he's the man who forced himself on her, and he did. We did... and we're kind
04:30:22of doing it again... But there is another reason, and that is that Cooper is becoming
04:30:28who he is in real reality - the viewer in the real world. Agent Cooper is just us watching
04:30:36the show through the power of the camera, and Diane, being a TV character, is unable
04:30:42to see the real-life face of Agent Cooper, just like Gordon Cole couldn't in his dream
04:30:48of reality.
04:30:50Cooper was there, but I couldn't see his face.
04:30:54We're there in the dream through the power of watching, but they can't see that. TV characters
04:30:59can't see the audience watching them. Yes, Diane can't bear to see the face of her attacker,
04:31:05and also she is compelled not to see it because TV characters literally can't even.
04:31:12Once crossed over to the real world, we're still aware of the irony that we're watching
04:31:17the real world on TV and we still need a representative in the show, so Cooper gets to remember and
04:31:22keep his identity as Cooper, even though Cooper doesn't exist in the real world and we're
04:31:28now watching a Twin Peaks that doesn't exist. This is the show we put on the air - a non-existent
04:31:34Twin Peaks. That old vehicle we drove in with is gone. This Cooper is less of who we remember
04:31:40him to be because he's not a TV caricature of a person anymore. Coffee isn't investigative
04:31:46fuel, it's just coffee. Nothing to get jazzed about. He does harm in the name of good - he's
04:31:51somewhat balanced, because in real life we can't split ourselves into good and bad. We
04:31:56all have the capacity for both within us.
04:31:59Throughout the finale, we do what we've been doing the whole time Season 3 was happening,
04:32:04both as our representative in the show and as viewers outside the show watching - we
04:32:10try to make Twin Peaks exist in a world where it doesn't exist. Twin Peaks memes! "Judy's
04:32:18coffee shop, just like the Judy in the show! A white horse, just like the one Sarah Palmer
04:32:23saw! Ooh, that guy kinda looks like Bob, doesn't he? Carrie Paige says she isn't Laura Palmer,
04:32:28but she has to be! Her mother's name is Sarah!"
04:32:30Sa- Sarah...?
04:32:31"There was a missing diary page - Carrie Paige must be the "missing Paige", right? Get it?
04:32:39Chalfont and Tremond!"
04:32:40Chalfont. A Mrs. Chalfont.
04:32:43Alice. Alice Tremond.
04:32:45"I remember those names from watching the show!"
04:32:48But Twin Peaks memes do not Twin Peaks make. The context isn't there for any of this. We
04:32:55both cannot see and outright refuse to accept that Twin Peaks is gone. We brought it back
04:33:01to the house and tried to force it to be what it once was just so we could beat the closure
04:33:06out of the dead horse, and it killed the show all over again.
04:33:14What year is this?
04:33:15"What year is this?" Is it 1990 again when the Twin Peaks mystery was still alive? "Is
04:33:19it future or is it past?" It's neither. Twin Peaks died in the past, and this isn't Twin
04:33:25Peaks' future. Laura Palmer is Twin Peaks, but this isn't Twin Peaks and that isn't Laura
04:33:31Palmer... except we're still watching TV, it is Twin Peaks, and that is Laura Palmer...
04:33:37or at least what's left of either of them in our memories. When she screams, what we're
04:33:42seeing is an echo of what happened in the premiere: not just the character, the very
04:33:47concept and memory of Laura Palmer screams in agony, forcefully removed from television
04:33:53even as we look the other way trying to prolong the mystery. And then, the show dies. White
04:34:06of the eyes, darkness within our TV sets. The power is cut off. We end on the image
04:34:13of us continuing to refuse that the show is gone because of what we did to it twenty five
04:34:18years ago. This time, the Lynch/Frost bumper is silent. No electricity flows anymore.
04:34:26We killed two birds with one season, and now there's nothing left to explain because there's
04:34:31nothing left to explain.
04:34:34Shadow, take me down with you for the last time.
04:34:44There is a depression after an answer is given. It was almost fun not knowing. But there is
04:34:51still the question, "Why?" And this question will go on and on until the final answer comes.
04:34:58Then the knowing is so full there is no room for questions.
04:35:10For more Twin Perfect, press the Subscribe button. To support us, use the Patreon link.
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FAQs about This YouTube Video

1. What are the key themes explored in the TV show Twin Peaks?

The TV show Twin Peaks explores themes of darkness, mystery, and the importance of attention from the audience to fuel the show's power. It delves into the hidden meanings behind the story and symbolism of objects like engine oil, black coffee, and creamed corn.

2. How many seasons does the TV show Twin Peaks cover?

The TV show Twin Peaks covers all seasons in detail, providing a comprehensive explanation of the storyline, characters, and symbolism throughout the series.

3. What motivated the revival of the TV show Twin Peaks?

The revival of the TV show Twin Peaks was motivated by the fans' desire for closure and explanation. The show was revived due to the overwhelming support and anticipation from the dedicated fanbase.

4. What is the significance of engine oil, black coffee, and creamed corn in Twin Peaks?

The TV show Twin Peaks delves into the symbolism of objects like engine oil, black coffee, and creamed corn, exploring their deeper meanings and connections to the storyline and characters.

5. How does Twin Peaks embody the concept of mystery and darkness?

Twin Peaks embodies the concept of mystery and darkness through its intricate storytelling, enigmatic characters, and the exploration of hidden meanings that captivate the audience's attention and fuel the show's power.

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The video discusses how narcissists may eventually realize the value of the person they lost and the qualities they possessed, but emphasizes that the individual who was victimized by the narcissist should focus on their own growth, healing, and using their newfound knowledge to protect themselves and help others.

NASA has raised an alarm that North America is about to witness its worst disaster in 300 years, which will be caused by the weakening of the Earth's magnetic field and the San Andreas Fault. The disaster is expected to be a massive earthquake of magnitude 7.5 or more, leading to severe ripple effects and potential tsunamis, wildfires, and thousands of casualties.

Narcissistic parents do not truly love their children; their affection is primarily aimed at garnering admiration and approval from others. They use their children as objects and possessions, rather than seeing them as separate individuals with their own rights and needs. They manipulate and control their children, fostering a toxic and conditional relationship.

The video discusses six effective ways to re-attract an ex, emphasizing the importance of increasing their interest level, using the law of attraction, letting the fading effect bias work, implementing the no contact rule, strategically using jealousy, and addressing the reason for the breakup.

Andrew Tate shares his mindset for success, emphasizing the importance of self-belief and accountability in achieving one's goals, as well as the value of surrounding oneself with high-quality individuals. He discusses the significance of leveraging time and information to generate wealth, and highlights the benefits of maintaining a fast-paced, forward-looking lifestyle for personal fulfillment.

This video demonstrates how to transfer money from your PayPal account to your Binance account using the AirTM platform, as other methods shown in YouTube videos are not effective. The process involves creating an AirTM account, depositing money from PayPal to AirTM, and then transferring the funds from AirTM to Binance through a peer-to-peer trade. While this method may be slightly expensive, it is a reliable way to transfer money between the two platforms.