So we're familiar with the drugged out mother in the return. She says 119119119, what the hell is that?
Well after doing some lynch addition, it turns out there that every combination ends up in the number 6.
Lynch addition (is what I'm calling it for simplicity) is the process of taking a number and adding up its individual numbers, eventually getting a number between 0 and 10. In numerology, each of these numbers have a "story" so to speak. You can infer quite a lot from what they mean, or what David Lynch may have meant by their placement, but a couple of numbers are quite clearly tied up in the twin peaks mystery, purely through linking different parts of the story alone. If anyone is subscribed to David Lynch's youtube channel, he has a daily series where he takes a number out of a pot. It makes a lot more sense as to why when you realise that he is a big fan of numerology (and its link to eastern philosophy and so on).
https://www.youtube.com/watch?v=8M6mRIpEJSU Take a look at 53:30
David says that 7 is his favourite number, Madchen says that she loves seven and seventeen. Lynch replies that 17 is an 8.
So why is 6 important? Well, 6 is the number that is related to the black lodge - it's on the pole nearby ronnete pulaski's trailer where we hear the arm wooping, it's on another pole nearby where Richard Horne runs over a child, it's on a pole outside carrie pages home. https://twinpeaks.fandom.com/wiki/Utility_pole
It's also on the door in the Mansion Room that leads to evil cooper's car's cigarette lighter. The door says 15 when it leads to Evil Coop's car which in Lynch addition is 6 (1+5), but the "American Girl" (played by ronnete pulaski's actor) warns cooper not to travel through there. The door changes to a three once cooper flicks the switch on the roof, and Major Briggs' head floats past and says "BLUE ROSE".
Anywho, back to the addicted mother.
The only meaningful dialogue that she says is 119!
She says 119 6 times in total, 4 times in part 3, another 2 times in part 6. (I just noticed that would make it 4+3 | 2+6. Which is 7 | 8. Which adds to 15, which adds to 6).
Now if look at the total amounts of 119 as 2 groups of 119, we get:
119119119
What's very odd about this number is that no matter how you slice it, using the lynch numerology method we end up with 6.
Here are some examples:
1+1+9+1+1+9+1+1+9 = 33
3+3=6
1+1+9 | 1+1+9 | 1+1+9 = 11 | 11 | 11 1+1 | 1+1 | 1+1 = 2 | 2 | 2 2+2+2 = 6
Now you're familiar with the lynch addition let me do some quick examples to save me the effort of typing all those plusses.
1|19119119
1|32
1|5
6
11 | 9119119
2 | 31
2 | 4
6
119|119119
11|22
2|4
6
1191|19119
12|21
3|3
6
11911|9119
13|20
4|2
6
119119|119
22|11
4|2
6
1191191|19
23|10
5|1
6
11911911|9
24|9
6|9
15
6
1191|1|9119
12|1|20
3|1|2
6
Even odd slices like this.
11|91|19|11|9
2|10|10|2|9
2|1|1|2|9
15
6
Try it yourself!
Okay, that's odd you may be thinking.
Well fucko! It's about to get even weirder because 119119119 is also a very particular colour.
Turns out, 119119119 is one of the RGB numbers for middle grey. https://en.wikipedia.org/wiki/Middle_gray
What's middle grey? Middle grey is a colour that is described as the geometric mean intensity between black and white. It's something that is quite well known in the industry, espeically to artists, and especially to artists who work with black and white film - as the director would need to calibrate the light meter manually with reference to middle grey in order to get the correct exposure. It seems quite likely that David Lynch would know about middle grey. (Have a look at his short films, and other black and white work! https://www.youtube.com/watch?v=eV8CPB7u_rg&list=PLTPQcjlcvvXHSVp-ehnxbD9i4wQ9C_qMO&index=10)
Weird right? Well the hex number for the colour represented by 119119119 is #777777. Which in lynch addition is 42, which 4+2, which is 6 again.
The first time we hear the addicted mother say 119119119 is in episode 3 where dougie/coop is wins lots of one armed bandits at the casino ("Helloooooo!").
The second time is in episode 6 where dougie/coop uncovers insurance fraud with the insurance documents that he has scribbled all over earlier in the episode (with some assistance from MIKE, and the white lodge) at his job at lucky sevens insurance.
As a final cherry on top, middle grey is also described by ansel adams as residing in zone V, as a quick reference guide for photographers and filmakers to calibrate light source. Ansel Adams is known in film academia for his contribution for these zones. Zone 0 is pure black and Zone X is pure white. Again, middle grey resides in the 6th zone.
So, 6 is related to middle grey, which is the midway point between black and white. One could say if there was a gateway between black and white, it would be at 6. Not only does middle grey add up to 6 using the numerology method, but it is also inherently related to Lynch's favourite number 7, which is where Dougie receives lots of assistance from the white lodge!
For more reference Mark Frost also adds to this theory: according to Mark Frost, when questioned about the mother, he said "The people who have one foot in the other world have a pronounced tendency to speak backwards." https://www.salon.com/2017/11/07/the-last-word-on-twin-peaks-by-david-lynchs-co-creator-mark-frost/
So not only does the addicted mother possibly tie into the black lodge by speaking backwards (trying to say 911 as others have pointed out), she could be tied in numerologically speaking too.
So, can you think of any other addicted mothers in Twin Peaks who have one foot in the other world? Perhaps one Sarah Palmer springs to mind - both of the mothers drink whiskey and take prescription pills too. (https://www.youtube.com/watch?v=Bl-nLSw7gkQ take a look at 16:27, and 16:59)
Laura Palmer's House? It's number 708... 7+0+8=15. 1+5 = 6.
Who answers the palmer residence's door when cooper knocks on in episode 18? It's alice tremond (https://twinpeaks.fandom.com/wiki/Alice_Tremond). Remember how BOB entered Laura's room in Fire Walk With Me? It was through a painting. Who gave Laura the painting? It was Mrs Chalfront, the first Mrs Tremond, otherwise known as Alice's Mother. https://twinpeaks.fandom.com/wiki/Mrs._Tremond
Just to jog our memory, it's the Mrs Tremond that appears sitting in the convenience store when the Arm and Bob are discussing garmonbozia (which is a physical manifestation of pain and suffering) https://twinpeaks.fandom.com/wiki/Garmonbozia
So, when Carrie Page is returned to the leyland residence and we hear Sarah Palmer calling out for Laura before Carrie Screams, it seems quite likely that she is being taken back to somewhere deeply interlinked with the black lodge.
Let me know what you think!
Peace

[All] Anthony Sinclair

In P13, Dougie's colleague insurance agent Anthony Sinclair broke down and confessed everything to his boss Bushnell Mullins.

Sinclair: "And if it weren't for Dougie, I might have a murder on my hands."

Maybe he had a murder on his hands anyway. Earlier in P1, the bare bottom of Major Briggs's decapitated corpse was revealed in Ruth Davenport's bed. It had been covered under a large blue blanket. Why it had been covered was a little odd, but the blue blanket seemed to serve a specific absurd purpose connecting the Major and Detective Macklay.
There might also have been another purpose why the Major was covered. In P5, when Cooper showed up in Lucky 7 office for the morning meeting, Sinclair came to talk to him him. This was the first time he made an appearance.

Sinclair: "I covered for your ass, pal."

In the context of the scene, Sinclair referred to the three days that Dougie had been missing. But once again, it probably had another meaning as well.
Earlier, I have proposed that the Las Vegas storyline seems to have been edited together from multiple versions of similar but not the same events playing out, with at least two different characters in conveniently catatonic Cooper's likeness - also explaining why the story required him to be catatonic - stumbling from one hazardous situation to another, one being Cooper himself and the other Major Briggs. The reason for the Major going to Las Vegas as Cooper apparently was that in his alternate existence he was the real Dougie Jones, the body of whom was the headless corpse in Ruth's apartment, and he wanted to find a way to be back with his family, Janey-E and Sonny Jim.
Assuming then that this mindlessly stumbling Cooper was in fact Major Briggs, Sinclair telling he had covered for his ass makes it sound like a tip that Sinclair's character had been in Ruth's apartment, literally pulling that blanket over what was left of the naked Major, who was now standing in front of him in a different likeness, both of them in a different story.
Earlier, I also proposed that a contract killer Ike "the Spike" Stadtler was linked to what had been going on in Ruth's apartment. If both Sinclair and Ike were hinted to have been there, that might mean they were actually the same character, as two different incarnations in two different storylines.
For this to make sense, Ike and Sinclair should not exist in the same version of the story. Let's have a look if their paths ever crossed.
We first saw Ike in P6. He was playing dice in his motel room and appeared to be tasked with killing Cooper and some contract killer handler Lorraine when someone delivered him an envelope with Dougie's picture. Earlier in the episode, the same envelope was taken from a safe by Duncan Todd. In P7, Ike then tried killing Cooper but failed and ran away, losing his "whole palm" in the process. Before that, he had killed Lorraine for unclear reasons.
In P9, Detectives Fusco arrested Ike in a motel.
In P10, Brothers Mitchum were watching television about Ike being arrested. That was the last we saw or heard of him.
Looking at everything that was going on with Ike, there was not a single scene in which Sinclair crossed paths directly or even indirectly with him. Both Sinclair and Ike were linked to Duncan Todd that wanted them to kill Cooper but both were tasked to do so separately, without a hint that someone else had already got the same job before. Mitchum Brothers knew both Ike and Sinclair, but they never discussed them in the same scene. There was nothing about Sinclair in any scene that mentioned Ike's attack on Cooper.
So, it indeed seems that if we assumed Ike and Sinclair were ultimately the same character, there was nothing in the story that would be in unsurmountable conflict with it. It looks possible that in one version of the Las Vegas storyline, Ike was tasked with killing Cooper and in another that job went to Sinclair, both failing to get it done. Ultimately, though, it was the same character who tried to kill Cooper in both versions.
Sinclair's confession was his last scene. Lynch implied that we should get ready for some trouble from the corrupt policemen that he had been scheming with, but none of them ever showed up again either. However, we got a hint how this story would really continue.

Sinclair: "I vomited blood. I can't live like this. I only want to die or change."

As one the last things he said, Sinclair wished to change, and this probably meant that his character would turn out later again as someone else. With Ike heading to jail and Sinclair telling he was vomiting blood, we got a good tip where we could find him. But more of that later.
Who Ike and Sinclair then really were?
Earlier, I wondered if the original Arm actor Michael J Anderson's curious fallout with Lynch and the murky smear campaign that he initiated against the director had colored Lynch's handling of the character. While Lynch has seemingly remained silent about the whole thing, more of his private reaction might have been hidden in plain sight in Bushnell's words to Sinclair.

Bushnell: "Now that you're confessing, I have to admit that my anger, my contempt for you is subsiding. -- I trusted you, Anthony. I looked at you as my friend and my number-one sales agent."
Cooper: "Number-one sales agent."
Sinclair: "How can I make it up to you? I'm so ashamed of what I've done."

Overall, assuming this line of thought is as intended by Lynch and followed here with at least somewhat sufficient accuracy, the Arm appears to have been present in many different storylines as numerous different characters, all played by new actors. The same seems to have been the case with several other Twin Peaks alumni, such as Audrey Horne, Nadine Hurley, Pete Martell, Laura Palmer and Major Garland Briggs. Why this was happening is something interesting to think about.
When it comes to the Arm, Lynch appears to have been unable to resist hinting about this unusual storytelling device in his Rolling Stones interview in 2017 when they asked him what was going on with the Arm, also known as the Man From Another Place.

Rolling Stones: "OK, similarly, in that same final episode, the Man From Another Place – actor Michael J Anderson – says, 'When you see me again, it won’t be me.' What can you say about that?"
Lynch: "That it’s more true than you think (laughs)."

Season 3 is completely copied from a Bible story

[All] This is the chair

In P6, some Mickey wanted to hitch a ride on Carl's van to town from the trailer park.

Mickey: "Can I get a ride with you into town? I - I gotta pick up Linda's mail at the P.O."

Riding the van, the two had a small chat that we listened with heightened anticipation as the unseen Linda had been established as a major mystery in season's opening episode. As usual, Lynch delivered another seemingly disconnected character that resisted ordinary attempts to place her anywhere in the story.

Carl: "How's Linda?"
Mickey: "She's doing a lot better. Got the government agencies to finally get one of them electric wheelchairs."
Carl: "Fuckin' war. So the government's taking care of you, huh?"
Mickey: "Not hardly. Took us about six months to get this wheelchair for her."

That was it. We got a devastating glimpse to the quickly abandoned story of some unseen Linda who apparently was a disabled veteran of some of the many wars the US had been waging. Maybe she was paralyzed or had had her legs blown off, but now she had finally got an electric wheelchair. While Mickey lived in the trailer park, it didn't look like Linda stayed there as slipping a wheelchair unnoticed past Carl sounded unlikely.
After Mickey had given us what we needed to know about him and Linda, they both disappeared from the story.
Again, let's work with what we got, even if it probably wasn't what many people wish they should have got. That seems to be the constant throughout Return, with Lynch relying on all sort of experimental devices to deliver countless twists and turns in an already hugely complicated story, unbothered what anyone thinks about his unconventional approach.
So, it looks like we got three clues to work with to make sense of Linda. Each seemed to find a reference elsewhere in the story.
Clue number 1: a victim of war. In P8, Lynch probably burnt half of his CGI budget to recreate a spectacular nuclear experiment. Krzysztof Penderecki's Threnody for the Victims of Hiroshima was playing in the background. Whatever the nuclear explosion stood there for, it was followed by several Woodsmen appearing in the mysterious convenience store and the fittingly named Experiment vomiting a large mass, including BOB.
Clue number 2: waiting for a wheelchair. In the episode following the nuclear blast, P9, the deputies were visiting Bobby's mother, Betty Briggs. Unexpectedly, she was already prepared for Bobby and the deputies coming to ask about Agent Cooper.

Betty: "Come with me. This is the chair. I can't believe this day has come."

Her saying, "this is the chair" looked like a subtle throwback to Mulholland Drive that turned another seemingly mundane phrase, "this is the girl" into a key plot point. There had been nothing about any chair earlier, yet Betty underlined that this was the chair. And she had been waiting for this day. Her exact same words might just as well have been said between Mickey and Linda when the wheelchair arrived.
Clue number 3: waiting for six months. In P10 - again an episode forward - there was Janey-E having a monologue while Doctor Ben who was examining Cooper.

Janey-E: "Anyway, as I told you, Doctor Ben, it started last week when Dougie disappeared for three days. He missed Sonny Jim's birthday party, which we'd been planning for six months, and then he shows up straight from the casino. You know about his gambling problems and then the drinking, and the drinking feeds the gambling and vice versa, and the whole thing is just a downward spiral."

Linda had been waiting for her wheelchair for six months, and Janey-E had been planning Sonny Jim's birthday for another six months.
So, we got to three different ladies in three consecutive episodes - the Experiment, Betty and Janey-E. Each time, the context included their son - BOB, Bobby and Sonny Jim. Separately, their links to Linda looked enormously vague but together like a pattern.
Having done my homework earlier, I have already proposed that ultimately these three - the Experiment, Betty and Janey-E - were the same character, just in three different worlds. Furthermore, I have also proposed that their sons BOB, Bobby and Sonny Jim were the same character, each in his own alternate reality, respectively. And while BOB having a father is something to think about, I have also proposed that Sonny Jim's father Douglas Jones was another Garland Briggs who elsewhere was Betty's husband and Bobby's father.
This would then imply also Linda was the same character as the Experiment, Betty and Janey-E, just in yet another world, revealing a fundamental piece in this very unusual telling of her very unusual story. If so, then none of those other women existed in Linda's world as that place was already taken by her. And if there was no Betty, much of the story in that Twin Peaks must have gone differently.
Nothing in the scene between Mickey and Carl was in conflict with this possibility. Ramifications elsewhere would of course be significant. We'll have a look at those later.
While the Experiment existed at the top of otherworldliness, it seems that Linda was at the other end where Twin Peaks met the ground level. This fits Lynch's private belief of us being born again and again into different lives. As he himself put it in an interview:

"It’s not so much a circle as like a spiral that comes around, the next loop a little bit higher than the one that precedes it.”

And if you go to the opposite direction, then Janey-E told us just what it would be.

Janey-E: "-- and the whole thing is just a downward spiral."

We were also hinted about this approach to life in Eddie Vedder's song Out of Sand that Lynch had got him to perform for Return in P16:

"There's another us somewhere With much better lives"

With this said about Linda, from what we got to know about Mickey, we should be able to sort out his story accordingly.

[All] The other driver

Earlier, I wrote that it seems the hit and run accident in P6 was edited together from two versions of the same accident, one taking place in 2016 and another taking place in 1997. These two accidents were similar but not the same. They happened in two different worlds. Many of the same characters existed in both, but they may have looked different whereas familiar faces may have been some other characters.
While the driver in the earlier accident was left for us to figure out, the driver in the 2016 accident was Ben Horne's grandson Richard. In P12, Sheriff Truman was bringing Ben the bad news.

Ben: "And Richard is... Where is he? Is he in jail?"
Sheriff Truman: "He's on the run."

Richard was on the run. Did the other driver also go on the run?
Earlier, I proposed that while it was a Ford truck that hit the boy in the 2016 accident, the car in the 1997 version was a Dodge. Could this help us figure out who the other driver was?
In P16, when Cooper was in hospital, lying in a coma, Mitchum brothers volunteered to go stock their house. While that produced a few funny moments, it didn't seem to serve any immediately clear purpose in the plot. Indeed, the purpose seems to have been something completely unexpected and delivered in a blink of an eye.
Later in the episode, then, the brothers' stretched Lincoln Town Car arrived at Lancelot Court, accompanied by a 2003 Dodge Sprinter van. In P3, another Lincoln Town Car was under Mr C when he had his accident, and yet another under Cooper in P18 when he arrived at the Odessa house that had the telephone number 6 in front of it, the mark for the death of the little boy who died in the hit and run.
At the same time, Hutch and Chantal were staking out Jones's house. They seemed to be waiting for Dougie. As Mitchum brothers' cars drove to the house, Hutch had a look what was going on.

Hutch: "Is one of them guys Dougie?"

There was a cut to the house, with an anonymous Silver Mustang Casino employee, who had been driving the Dodge, just walking past the van to open its back. As he walked, Hutch said one word in the background.

Hutch: "Douglas?"

Elsewhere in P9, Bushnell was talking to Las Vegas detectives Fusco about Dougie.

Bushnell: "Dougie had a car accident, as I recall, not long before he came to work for me. Every once in a while, he shows some lingering effects."

Dougie had been in a car accident but the dialog tiptoed around not saying that it was Dougie who got hurt in that accident. But the effects of that accident certainly lingered.
As Bushnell left, Fuscos started realizing there was something wrong with Douglas Jones.

T Fusco: "So get this. There is nothing, and I mean nothing, on our Mr Douglas Jones prior to 1997."
D Fusco: "You're shitting me."
T Fusco: "No driver's license. No passport. No social. Class records. Tax records. No birth certificate."
D Fusco: "I'll be damned. Witness protection?"
T Fusco: "Maybe."

Or maybe it wasn't.
Earlier, I proposed that the Hit and Run Mom in the 1997 accident was the Laura Palmer of another reality who was married to the James Hurley of that world. Thus, the boy who died was their son. I also proposed that Lynch had - throughout the season - overloaded the pronoun "nothing" with the dual meaning of "Laura Palmer", just as he seems to have overloaded "nobody" with "Major Briggs" and "no one" with "the Experiment" so that whenever these pronouns were used in the dialog, there was an additional, fully meta context that was intended for us to sort things out.
And so, when T Fusco said, "There is nothing, and I mean nothing, on our Mr Douglas Jones prior to 1997", it apparently also meant that there was Laura Palmer on Douglas Jones. This can mean many things but together with 1997 it probably meant one certain thing.
Let's put this together. Dougie had no records before 1997 so it probably was a fake identity. That same year, there seems to have been one Laura Palmer losing her son in a hit and run. The car that hit the boy was probably a Dodge. The driver in the 2016 version of the accident went on the run. A man walked past a Dodge in front of Dougie's house when Hutch asked, "Douglas?". Dougie had been in a car accident. Laura Palmer was on Dougie.
Earlier, I proposed that the original Dougie Jones was none other than Garland Briggs of that world - and he also looked just like Garland Briggs. These two Garland Briggses were not of the same age in their respective realities. For one reason or another, this alternate Briggs seems to have had his head cut off in 2016, at about the same age as another Garland Briggs - the Major - was when he died in a fire in another world in 1989. How and why all this came to pass is something to think about.
And so, if Briggs was the same as Dougie, it looks like the driver who caused the accident nineteen years earlier was this same, later decapitated Garland Briggs, first living as a young man in Twin Peaks and then going on the run with his Dodge after killing the little boy in the crossroads. He settled down in Las Vegas under a false name Douglas Jones and later married Janey-E, the Betty Briggs of his reality and had a son, Sonny Jim, the Bobby of that world.
If this young Garland Briggs was from Twin Peaks - the Twin Peaks of that alternate world - who might he have been there? Since it seems that every Dodge in the story was linked to the hit and run, in one way or another, we still got two Dodges to go to help figure that out.

The Las Vegas Question

Watching for the first time: Thoughts on Season 3 - The Return (Parts 9-12)

[All] BOB

In P8, The Experiment vomited BOB in to the world, among other things. Let's consider this as BOB being born.
Earlier, I proposed that in another existence, the Experiment was the same as Janey-E who had a son, Sonny Jim, maybe some 10 years old or so.
Furthermore, I proposed that the Dougie Jones who was Sonny Jim's real father was Major Garland Briggs.
Then, back in Twin Peaks, Major Garland Briggs had a son, Bobby.
Now, all this seems to come around to realization that Bobby was the same as Sonny Jim who was the same as BOB. Thus, Bobby himself would have been BOB, too.
In Lynch's universe, people apparently existed in several parallel realities where they may or may not have looked the same. For the most part but not always, they seem to have remained unaware of their parallel or past lives in other worlds. But whichever life one lived, the same things seemed to be following him. When death occurred, it resonated through various versions of the same person across different realities and gave all sort of opportunities for those who knew how to use them.
Some individuals also existed in the supernatural. Pete Martell seems to have been the Fireman and Audrey Horne his companion, Senorita Dido. It seems that the supernatural versions had overall knowledge and even oversight of their more secular lives.
On the darker side, as it seems, Janey-E had her terrifying supernatural counterpart in the Experiment and her son Sonny Jim in BOB, who ultimately then seems to have been the same as Bobby.
BOB being Bobby would not have been a fresh twist but goes back to the very beginning of Twin Peaks. Originally, there was some idea to link Bobby and his friend Mike - the nasty small town bullies - to the even nastier spirit BOB and his former murderous partner MIKE. This idea wasn't developed further, and more mainstream, clearcut division between human characters and otherworldly entities prevailed as the series continued under ABC network's watchful eye.
At least until season 3. Having free hands after successfully fending off any attempt to rein him in, it looks like that the ever-stubborn Lynch went back to this idea and restored BOB as Bobby's evil existence in the supernatural, just as he initially had it imagined. So, when the Twin Peaks pilot got going, Bobby had been dating Laura, but his other existence as BOB - through possession of Laura's father - had been raping her, dreaming of possessing her and eventually killing her.
During the original run, Bobby's father Major Briggs had almost no contact with his son, and everything he tried to improve that seemed to be in vain. Then, as season 2 got started, the Major experienced a sudden vision that was a game changer for him. With his faith in the future restored, he recalled his vision to his son. I copy the long monologue here in full as it was in E8, directed by Lynch.

"A vision I had in my sleep last night - as distinguished from a dream which is mere sorting and cataloguing of the day's events by the subconscious. This was a vision, fresh and clear as a mountain stream - the mind revealing itself to itself. In my vision, I was on the veranda of a vast estate, a palazzo of some fantastic proportion. There seemed to emanate from it a light from within - this gleaming radiant marble. I had known this place. I had in fact been born and raised there. This was my first return, a reunion with the deepest wellsprings of my being. Wandering about, I was happy that the house had been immaculately maintained. There had been added a number of additional rooms, but in a way it blended so seamlessly with the original construction, one would never detect any difference. Returning to the house's grand foyer, there came a knock at the door. My son was standing there. He was happy and care-free, clearly living a life of deep harmony and joy. We embraced - a warm and loving embrace, nothing withheld. We were in this moment one. My vision ended. I awoke with a tremendous of optimism and confidence in you and your future. That was my vision; it was of you. I'm so glad to have had this opportunity to share it with you. I wish you nothing but the very best, always."

In hindsight, this vision seems to have been a mix of several scenes featuring the Major in season 3 - either as a supernatural head in the Fireman's tower or as having returned in Cooper's likeness to his Las Vegas family. He embraced his son Sonny Jim when he had woken from a coma in the hospital in P16. Later in the same episode, the family embraced again in the Silver Mustang Casino. Then there was the final reunion of the Joneses in P18 when it was Major Briggs - now permanently in Cooper's likeness - who was back for good at the Lancelot Court house and they all shared a group hug at the door.
But all this was with Sonny Jim, apparently the Bobby of the Las Vegas universe. Something else was going on in Twin Peaks with the other incarnation of Bobby, like Betty Briggs told him in P9:

Betty Briggs: "Somehow, he knew that it would all turn out well. He saw this life for you. Your father never lost faith in you."

Throughout season 3, the Bobby that we saw had very little in common with the Bobby of the earlier two seasons. This wasn't played as him having somehow redeemed himself. Not once was there a single throwback to any of the troubles he had caused before. Neither was there any mention of anything having initiated such a thorough change in him. He was just different, like something was missing, and it looked as if we needed to figure out what had happened.
Let's then figure it out, continuing what has been expressed above.
This new Bobby was first introduced in P4 but chronologically he probably entered the story in P17. During the fight that ended in BOB being smashed to pieces, he was nowhere to be seen and nobody even mentioned his name, but as soon as that was over, he walked casually in, looking slightly confused.

Bobby: "What's going on around here?"

To make sense of this new Bobby that had lost all his bad traits, it seems that the underlying evil BOB was already excised and gone in every scene that featured him. When BOB was destroyed, Bobby was free to become a better person and have the life that his father had seen for him. And so his story changed and the world changed to accommodate it. Bobby turned into a deputy, having now lived through an entirely different life than before.
Thus, if this new Bobby came about in P17, then the story apparently looped back to P4 and continued from there. With this new round, the story wasn't about BOB any more but about something else.
Earlier, I proposed that ultimately the Blue Rose was Major Briggs's attempt to salvage his son. We could assume that the Major had somehow figured out how all this worked and realized what the connection between his son and BOB was. With that, he probably came to the inevitable conclusion that there was nothing he could do unless he first destroyed BOB. But to make that happen, he also needed to find BOB's mother and get some help from the FBI.

[All] The new car was a two thousand

In P7, Janey-E kept nagging to Cooper as they walked out of Lucky 7's office building.

Janey-E: "Now, with this car business, yes, there's gonna be some insurance money. I don't know how much, but, Dougie, just think. If you hadn't blown that money gambling ... twenty-five thousand plus the insurance ... We could have gotten you a great new car. Now who knows what we'll get?"

Like she predicted, who knew what they'd get, as in P13 Silver Mustang Casino delivered them a brand new 2015 BMW M4 convertible, courtesy of Mitchum brothers.
A little thing to pay attention to took place when the man credited as Head Mover was waiting for Janey-E to come answer the door. He turned to look straight at the camera and shouted at the other movers who were unloading Sonny Jim's new gym set that was delivered together with the new car.

Head Mover: "Hold on just a minute!"

Let's hold on just a minute then. What was there to notice?
Back in P5, as Cooper was doing his "homework" - or rather, drawing "childish scribbles" on insurance papers that Bushnell somehow successfully made sense of in P6, the episode of the hit and run - he seemed to connect a set of letters into a request to "seek him". The person to be sought was probably shown in a blink of an eye as Bushnell later in P6 - the episode of the hit and run - browsed through the same documents: a picture of a silver-haired man who had a folder of papers in his hand, examining a new-looking sports car that had been in an accident.
Neither the man nor the car in the picture seem to have been anywhere in season 3. So, we probably were not meant to look for the exact same person or the exact same car, in line with Lynch being generally unwilling to provide any exact answers but leaving a disquieting fog over most conclusions.
Here then, at Jones's door, there was a silver-haired man, holding a folder of papers and bringing Dougie a new sports car. He wasn't the same man and it wasn't the same car - but it was a similar man, a similar car and the situation was similar, not forgetting how Dougie had earlier been in a car accident and how he now needed a new one since his old car had been in yet another accident.
One car was a new one, one car had been in an accident. In P11, Hawk advised the Sheriff (and us) how these things worked. They had been plotting their next move in the station's meeting room, and Hawk was explaining his map that was "always current".

Hawk: "If you put these two symbols together, you get this."

We would get back to this scene in a minute but before that, if we were meant to connect these two ideas, there would have been a new car that was in an accident. If this was meant to be a revelation, then that accident was likely the hit and run of 1997, the alternate version of the 2016 accident that was caused by Richard Horne.
Bushnell concluded, having realized (on our behalf) what to expect:

Bushnell: "This is disturbing."

That sounded like sorting this riddle out would lead to some upsetting twists in the story. For now, at least, let's try to get the first one straightened.
Earlier, I proposed that the driver of the 1997 accident was an alternate Garland Briggs, as a young man a resident in an alternate Twin Peaks, who then went on the run and settled down in Las Vegas under a false identity of Douglas Jones. The car that he killed the little boy with was probably a Dodge - apparently then a Dodge that he had just bought.
I also proposed that the name of this Garland Briggs was Jesse Holcomb who was a deputy in this alternate Twin Peaks in 1997. Thus, this Garland Briggs was Douglas Jones in Las Vegas but originally he had been Jesse in Twin Peaks.
And indeed, just like Dougie, also Jesse got a new car. Going back to the scene that had Hawk talking about putting two symbols together, there was Jesse knocking on the meeting room door. The Sheriff walked past his MacBook Air and opened the door.

Sheriff Truman: "What is it, Jesse?"
Jesse: "Sheriff Truman, are you interested in seeing my new car? It's a two-thousand --"
Sheriff Truman: "Jesse. I'm in a meeting. Can I look at your new car tomorrow?"
Jesse: "Okay. Thank you, Sh - Sheriff Truman."

That was it for Jesse's new car. That was it also for Jesse himself who was not seen again, apparently having now delivered what he got for the story.
The Sheriff's MacBook Air dated the scene to 2008 at the earliest. But watching carefully, the flow of the scene was discontinued by inconsistent acting and set, as seems usual throughout Return. After there had been a cut to Hawk rolling his eyes at this interruption, Jesse who had been leaning towards the Sheriff wasn't leaning any more, and his left hand was behind his back, and now it was the Sheriff who was leaning towards Jesse. Also a chair in the front had been moved to the right, just enough to make a difference.
Right then, Jesse continued, "two thousand --" before getting hushed away by the Sheriff.
It looks like there were two alternate storylines, similar but not the same, edited together as if there was just one storyline, part of both played one after the other. But if we were looking for a driver for the 1997 accident, neither storyline looked suitable. The first had the Sheriff's MacBook Air and the other some new car from 2000 at the earliest. Neither storyline could have been from 1997.
Here Janey-E comes to our rescue. When she was talking to Cooper about the new car they could have bought, she also mentioned how much money they could have had to spend on it: at least twenty-five thousand dollars. How much money would a young deputy spend on his new car that probably was second-hand?
And so, it seems that as Jesse said, "two thousand --" that was not about the year of the car but about its price, with the preceding dialog going differently than in the other storyline, yet being about his new car as well, like the Sheriff was kind to repeat for us. This other Jesse could have been saying, "It cost two thousand dollars", or perhaps he started exactly the same as the other Jesse: "It's a two-thousand dollar Dodge."
That way, the second storyline may have been from 1997, with a suitably old-school analog phone next to the Sheriff. If so, then in that Twin Peaks of 1997 the Sheriff seems to have been Frank Truman like it was in the other Twin Peaks of 2016. Also in that Twin Peaks there was a deputy Jesse Holcomb who probably was the young Garland Briggs of that world, apparently having just got himself a Dodge - in line with the riddle about a new car in an accident - that he soon hit and killed a little boy with, then fleeing Twin Peaks for Las Vegas.
It is also something not to miss how Richard's 2016 hit and run accident happened after his failed attempt to bond with Red who was his superior in drug distribution while other gang members watched on his humiliation. Here, Jesse failed to bond with the Sheriff who was his superior while Hawk watched on him getting embarrassed and hushed away.
But like Bushnell warned us, between the accident and Jesse exhausting his options, this story was likely to have become "disturbing" and probably what Sarah Palmer dubbed as "a goddamn bad story". Eventually, Lynch saw it best to have this man's head cut off for what he had done.
While it seems that Betty / Janey-E had the Experiment as her alternate self and Bobby / Sonny Jim was ultimately tied to BOB, the third monster in this multiverse family drama was probably very human, a mirror image of his other incarnation, Major Garland Briggs, who worked hard to get all the wrongs made right.

(All) Love Thy Neighbour (unless they are evil)

For me there is a great divide right down the middle of The Return, with Las Vegas on one side and the town of Twin Peaks on the other.
One of the clear 'social' messages of The Return is the importance of reaching out to others and helping them, using compassion to improve the world around you. Jaocby & Nadine, Ed & Norma, Shelly & Becky... so many character arcs are resolved when another character reaches out to make a difference in their lives.
Carl Rodd is doing this for other people constantly, perhaps most literally when he goes up to the woman whose son Richard has run over and looks her right in the eyes, while all the other extras shot (very clumsily) all 'look away' from the pain and suffering. This scene always stuck out to me as being extremely important, simply because extras don't do things without direction, and we get like three separate shots of people 'looking away'.
On "The Horse is the white of the eyes, and dark within", you could apply a 'biological' interpretation in combination with the above examples; the 'whites' of our eyes function so as to let someone else know what we are looking at (just think of all those crappy crime thrillers where one character silently points out an important item to someone by repeatedly looking towards it). Seen this way, 'the white of the eyes' can be read as a warning that the negativity of 'the horse' encourages people to look away from pain and suffering rather than trying to help.
On a side-note, there are also a couple of interesting instances when characters (arguably) refuse to help others, as if they are themselves being influenced by 'the horse'.

When Hawk goes to visit Sarah, clearly she has become unhinged, possibly due to lodge influences (which Hawk would be aware of). While I don't think it is the only way to interpret the scene, Grace Zabriskie herself has pointed out that Hawk really knew she was fucked up, but is happy to just walk away. Is he going to truly offer help to her, or doing the minimum possible amount of work that being a police officer requires?
When Steven gets rejected in a job interview by Mike (thanks to Josh Minton on the In Our House Now podcast because I never even thought of this interpretation), Mike essentially takes Steven's life apart, laying out in no uncertain terms what a lowlife he must be to put together such a shitty application. Is this tough love to inspire Steven to get his act together, which was my initial reading of the show, or was it the straw that pushed him down the road to suicide?

The sham known as Las Vegas
In a recent Twin Peaks Unwrapped podcast, Paul Bernardy also talks about the social message of Twin Peaks and the importance of 'reaching out', to offer help to others. We shovel ourselves out of the shit by shovelling each other out.
It was this episode which got me thinking Vegas, where we see a story which fits the 'help others' bill perfectly, but which perhaps really serves as a cautionary tale regarding who or what we choose to help.
In Vegas, whether he is self-aware or not, Cooper lives entirely by this 'help others' philosophy. He spreads love and happiness to all around him, from his home to his work to his friends the Mitchum brothers, even to random encounters such as the lady on the slot machines. He is the perfect example of the need for compassion towards others.
And yet, Vegas is kind of a big sham;

Janey-E falls in love with Dougie when he provides cash and a sexy new Cooper body. Moreover, the life they lead is based in an near-abandoned suburb in the desert -- is this truly the existence Cooper wants these people to learn to accept? To come to love? Isn't that... a little delusional? Is that what someone like Mark Frost wants to tell us?
The Mitchums are murdering gangsters, helping them have more money is not a good thing. We see them beat someone, almost shoot Dougie... these are killers. Yes they are seemingly nicer by the end on a personal level, but they are being nice to Dougie simply because he saved them some money. These guys run a casino (e.g a den of pain and suffering) called the Silver Mustang (white horse). These are not people Cooper should be helping, nor who the politically active Frost would endorse.
Even Cooper's job is clouded; he is working for an insurance agency, one of the more despised industries out there. All that good Coop does for his place of work is going towards an industry that, stereotypically, will walk away from a healthy % of people when they need help the most (e.g. denying claims wherever they can).
The lady who wins the jackpot? her story ends with her grandson hanging around her all of a sudden. To me this is more like gold-digging than love; he's back in her life simply because she has money, but Cooper has no concerns about this whatsoever. If anything, the grandson looks a little creepy too -- we could imagine some hard-boiled detective story ending with the grandson being the killer for the sake of inheritance money.

To sum this up, you have one half of the story taking place in a world where people can either reach out with love and push back the pain and suffering of the world (or not), and a world that is constantly being improved by Cooper's goodness... but which is & remains an evil, faded, failed imagining of the American dream.
The 'message' of the show then seems to be that we need to reach out with love and compassion, but also be aware not to be too naive and support a system that is fundamentally corrupt. Jacoby's rage might, at times, be far more appropriate than love and kindness.
To me this fits nicely both as a roadmap for how to build a better society, but also as a warning that it was faith in the American Dream that got places like Vegas into this mess to begin with. A message with Twin Peaks, so to speak...

Red v. Blue: Color Symbolism & Americana in Twin Peaks

Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me.
One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera Invitation to Love, allowing the show to reference its own stylized dramaturgy.

Jade & Emerald... Jade give two rides, hm?
Very specifically, I find the series loves to riddle blue and red, like one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel.
Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo.
The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma".
I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks.
The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie.
The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel.
You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out.
Ben and Jerry, at various times, switch between the two to complement each other much like the Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth.
Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being.
Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a Goethe color theory mindset, we can admit "Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks).
BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show.
Given the only color left to throw in is white (HMM,, White Lodge? Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's favorite country (we'll forget the agonizing French hookup leaving scene from The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie).
Great shot from Tim Hunter here.
Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor.
While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe?
Much like D.B. Cooper, Coop took a historic leap.
I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in The Return).
Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice.
Why Lincoln? I refer to it as The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in The Return - "There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test
Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern.
Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza. The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary.
Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good.
And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect. Blue Rose. Laura's cold lips in the Pilot. Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in Lost Highway.
Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free.
Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna.
Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three.
Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" - "Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?).
Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg.
Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past?
By the time of The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that The Return made extensive use of black & white footage. Eraserhead and The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor.
This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge.
The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision.
These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return.
There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!

A scene from The Return that touched me deeply...

[All] It looked like nobody's home

In P16, FBI agents Headley and Wilson had arrived to the Jones's quiet residence in a Las Vegas neighborhood.

Wilson: "Well, it looks like nobody's home."
Headley: "Oh? And how did you deduce that, Sherlock?"

This sounded like another one of Lynch's word games. Nobody's home. The home of a nobody, nobody is home. Who is this "nobody"?
Earlier, I have gone through several instances of Lynch apparently overloading words and phrases with secondary meanings that then work as guidance and exposition for the story. In line with that, the scene in P16 made it sound like the word "nobody" might also have been used as an abstraction for something or someone, not only in this but also in other scenes.
Carefully framed in the same shot with the FBI agents was the Jones's house number 25140. Should we finally put it to good use and deduce something from the numbers, as encouraged by Headley?
In the same episode, exactly at 25:14, Cooper opened his eyes in the hospital. This time, he was awake "one hundred percent". This looked like a moment when "nobody" was home.
Shortly before that, the curious boiler room ringing sound had filled the hospital, causing Bushnell to wander out of Cooper's room.
This compares with Beverly's remark in P7 as she was hunting the source for the same sound with Ben Horne in the Great Northern Hotel, in vain.

Ben: "When did you first start hearing this?"
Beverly: "Sometime last week. But I think it's louder now. Maybe that's 'cause nobody's here."

Quickly looking, this seems like "nobody" was used as an abstraction for Cooper who had finally woken up in the hospital. There was also an implication that at some point, in a concealed turn of the events, this "nobody" had come to Twin Peaks.
But this doesn't really ring quite right. Something feels all wrong in the whole thing. It wasn't Cooper's home, it was Dougie's home.
Further problems come up in other scenes. In P4, Twin Peaks deputies were hunting for something that was missing. Suddenly, Bobby recalled a memory decades ago.

Bobby: "A few days after my dad died, my mom told me that Cooper had come by the house and talked to my dad, and I guess Cooper left town pretty soon after that. I don't --"
Hawk: "Nobody's seen or heard of him since."
Bobby: "And my dad died in the fire at his station the next day."

If "nobody" stood for Cooper, Hawk's remark made no sense. Rather, if used as an abstraction for something, Major Garland Briggs would have been a much better fit in this context .
Some further guidance appears to come from P9 when Cole and Albert were thinking out loud in the Buckhorn morgue corridor.

Cole: "Well, consider this. Cooper knew Briggs. Cooper was around Briggs 25 years ago, and now, Cooper shows up in this neck of the woods."

Cooper knew Briggs. Cooper was around Briggs. Cooper shows up ... ?
Earlier, I went through all scenes that Cooper was in ever since he woke up up until he met the Mitchum brothers in the Silver Mustang Casino lobby. Each scene appeared to break down to two similar, but not the same storylines that had been scrambled together, the scenes flipping back and forth from one storyline to another.
In general, Cooper's days as Dougie seem to have been splintered to a large number of similar but not the same storylines, not only throwing one calamity after another at him but each calamity changing shape from a scene to another. But now, as Cooper woke up in the hospital, it appears as if the storylines were reduced to two and remained that way. In both, a Cooper woke up and headed to Twin Peaks. Two Coopers. But why two?
In P17, following the showdown with BOB, Naido dissolved and Diane emerged on the scene. She was very happy to see Cooper.

Diane: "Cooper ... the one and only."

So, even if it seems there were two storylines with two Coopers, paradoxically we were assured there was just one Cooper. Now how to square that circle?
A notable difference between the two storylines appears to have been Cooper's talk with Sonny Jim and Janey-E in P16 as he was leaving them behind in the Silver Mustang Casino lobby. One Cooper assured he was Sonny Jim's father, but the other didn't. The former also promised to be "home for good."
So, this seems to leave us with Cooper either being Sonny Jim's father or lying to the boy to keep him from crying. But both seem unlikely. What was going on?
Earlier, I proposed that in the concealed original storyline, the "real" Dougie Jones had been an identity adopted by Garland Briggs - for a reason or another - who had then been killed and decapitated by Bradley Mitchum - again, for a reason or another.
Following Garland Briggs's death in the underlying "real" world, Dougie had gone "missing" for those ominous three days in a dreamlike alternate reality that was some kind of a reimagining of what had come to pass originally. During those three days, Cooper's tulpa had been introduced to this world that then had adapted to it accordingly. Cooper's likeness became that of Dougie Jones. The likeness of Garland Briggs was written out of the story.
At the end, though, Garland Briggs was still Sonny Jim's father, and the house with a red door was still his home.
On the other hand, we had two Coopers. One of them said he was Sonny Jim's father. One of them was said to be the one and only Cooper.
Cooper knew Briggs. Cooper was around Briggs. Cooper shows up as Briggs.
It seems that the twist buried in the mix was that the other Cooper who woke up in the hospital was in fact Major Garland Briggs.
This is perhaps a good moment to quote the FBI director:

Cole: "How the hell did that happen?"

[ALL] Top 5 Favorite Scenes in Twin Peaks

I'm rewatching Twin Peaks for the 3rd time now, this time with my mom who experiences this for the first time, and we just finished S2, and she had so many questions but seemed very excited and really into it, which makes me very excited! And I thought about many scenes as I've now rewatched 2/3 seasons again, and wanted to make a Top 5 personal favorite scenes from the show. Would love to hear your lists too! Obvious spoilers ahead, for all 3 seasons as well as Fire Walk With Me. (Also, sorry for a long post, haha! I just have a lot I want to say about stuff)
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5. Major Briggs and Bobby at the RR diner.

I for real teared up the first time I saw this. Being in my early 20s and very unsure on myself and what will become of me, this scene touched me so much. Seing Bobby, a character who started out as a douche but also clearly problems of his own, slowly growing, and here, paying full attention to his father as he basically tells Bobby that "everything is going to work out for you", and Bobby tearing up because of his new confidence in himself and his future...Man, it hits hard. It's so beautiful.

4. Dougie-Coop and the Mitchum Brothers celebrating with pie.

This scene hit me. It's pure feel-good. In this show of so much dark, this scene made me smile from beginning to end. Seing that the Mitchum brothers are actually more goofy than we thought and truly have hearts of gold, Dougie enjoing everything he's served, everyone having the greatest time. And then...One of my favorite moments from the series. The jazzy, upbeat piano stops, and is replaced by this slow, beautiful piano piece in minor. Dougie looks up at the first few, solo tones, before looking over to the piano man. This touched something deep in me, and I have no idea what. It's like...The song is nostalgic, it reminds me of something far back in my memory, as well as for Cooper. Somewhere in there, deep within, our beloved Dale Cooper is still alive. It's like the sudden change to this sad, slow and dreamy piece is Cooper, and us, briefly remembering things that once were; the quiet town of Twin Peaks, Annie, Big Ed, Harry Truman, James, Audrey - everything. Something that is long gone...but still there, somewhere. I cannot describe it. Followed by the beautiful interaction with the casino lady. This scene stuck with me.

3. The Fireman creating Laura Palmer.

Part 8 of S3/The Return is something....yeah, something. It's a masterpiece of pure emotion everywhere, from chaos, to confusion, to terror, to beauty beyond words. The whole scene with the Fireman seing Bob being created, and thus (apparently?) creating Laura Palmer is a scene that makes my jaw drop every time I see it. I'm actually afraid of seing it since I'm afraid I'll watch it too much, and I don't want it to lose its effect, haha! The music sounds like something from another realm. It sounds heavenly. The visuals in this scene, the music, what's actually happening, the black and white and gold - everything is pure perfection in my eyes.

2. Philip Jefferies returns.

This is, imo, one of the most important scenes in all of Twin Peaks. Not just Fire Walk With Me, but the series as a whole. It introduces Judy, talks about living inside a dream, and introduces Philip himself. The whole scene is SO eerie, simply because something is very off. The music is a backwards track with scream-like samples inside, which clash so well with the lit up hallways. They don't match, which makes it so eerie. Dale walking from and to the monitor and the security camera is odd, and seing him standing there while Philip walks past him is super disturbing. Dale looks at Gordon in fear, as if he knew this would come, and that this isn't good news. The whole scene is so unnerving and off putting. The convenience store part in there is great, too.

1. The final scene.

Yeah, I know, maybe it's clichè. But I'm not joking when I tell you this: I have never, ever, in my entire life, gotten as many chills as I got in this scene. I cannot describe it. Not from any concert, any show, any theatre, any movie, anything. It was in my entire body, from a mix of pure terror, shock, confusion, realisation - all at once. It's an experience I will never have again, I'm sure. The show that started out as a seemingly normal murder mystery in a small town, that ends up revealing so much more hiding underneath. A show that slowly challenges us on how we view shows, how we take in scenes and a story. A show that has, especially in the 3rd season, given me this nightmare-ish feeling that no other movie or series has ever given me. And here we are, in the last episode, not entirely sure what's going on, but something feels very wrong. It's quiet. For so long. So very long. Sarah isn't there anymore...something's not right. They walk down. Slowly. Takes it time. Before Dale asks, in the silent night ambience: "What year is this?". Here, I got an unnerving feeling I cannot describe in words. We get more breathing room. We hear Sarah calling her daughter's name in the distance, and suddenly, the silence we've been in for the last 20 or so minutes is broken by the most bone chilling scream ever being put on TV. And it echoes far into the darkness that follows. It's like Laura realised something far beyond what I can begin to imagine. A feeling of pure terror, of a pure nightmare. It's impossible to explain. I sat there, with chills from my pinky toe all the way up to my head. I have never experiences anything like it.

[All] Understanding the place, part 2

I listed every occurrence of the "place" used during season 3 in an attempt to try to "understand" it, as urged by Mr C in P16.
In P9 and P11, a "place" was used for the site of the portal by Hasting and Tammy. This was also how Cooper used it in P18. Mr C was looking for "a place" that the coordinates pointed at, and later he was seen following some coordinates to the white portal.
The NYC building top that housed what looked like an artificial portal was also referred to as the "place". Mr C literally materialized next to Twin Peaks Sheriff's station that was also called as the "place". Later in the same episode, Cooper's overlaid head was saying in that same station, "We live inside a dream."
In a Twin Peaks grocery store, Sarah Palmer seemed to briefly fall asleep at the counter. Like she suspected, the room was indeed different when she woke up. Or did she wake up? She wanted to get out of that "place".
In P1, Hastings was accused of murdering Ruth because his fingerprints were in her apartment. But he assured he had been there "only in a dream". So, was he still in that dream? Apparently he had gone to the portal and then transported back to what looked like his home, called as the "place".
Similarly, tucked neatly under the blanket, Major Briggs's giant headless corpse could not possibly have ended up in Ruth Davenport's apartment without a portal taking part in the proceedings. Was it because Hastings's travel partner's head was suddenly back in her apartment - or, what looked like her apartment - and took the Major's body with her? Again, the house was called as the "place".
Carl Rodd called Steven's trailer a "nightmare", and next Steven called it a "place". Things were not right in that trailer, and that still needs a closer look in addition to Steven being "the wrong man".
Locations such as the Black Lodge, the motel above the Convenience Store and Jackrabbit's Palace - the "make-believe world" - were called as "places". When Cole was staring to the portal that opened in the Buckhorn backyard ("this is the place"), he saw the Woodsmen standing on the stairs that led to the motel above the Convenience Store. The otherworldly version of the Roadhouse where orchestra played backwards and the crowd made space for Audrey to dance her dance was referred to as a "place".
Janey-E told Cooper the jackpot money was in their "secret place". Later, she said It was like all their dreams were coming true. Had Dougie winning the jackpot been their secret dream?
All of a sudden, it looked like Shelley and Red were in the same dream as lovers. Red asked Shelly, "Same place?"
Sophie warned Megan - who hinted about using drugs in her room - not to go to that "nut place", and then Megan told her an apparent crazy dream she had had about Billy.
The originator of this riddle, Mr C, called both some farm and The Farm - these two seemingly each other's alternate storylines - as the place. The former was where he had woken up to in the middle of nowhere, all blooded and miraculously alive, whereas the latter looked like Richard's dream.
The South Dakota Buckhorn itself may have been a dreamlike reimagining of the real Buckhorn that was in Nevada, close to Las Vegas.
If the word "place" was used as an abstraction throughout the season - in the style of several other words and phrases used for overloaded purposes - it seems to stand for both an entrance to another reality and that reality itself. But in line with the season's tagline about dreamers who lived inside their dreams, that alternate reality didn't seem to be your average fantasy fiction one but rather a dream that had grown into a world, a twisted and distorted version of the underlying real world to meet the fears, desires and needs of the respective dreamer.
This implies that Lucky 7 - repeatedly called as a "place" - and its apparent counterpart Silver Mustang Casino that had two dice showing 5 and 2 in its logo were ultimately more of the same.
This brings us to the remaining two instances of the "place". There were two individuals who didn't have a "place" to go. Thus, in line with the previous - for a reason or another - there was no dream left for them to live in. In P10, Bradley Mustang was defending Candie.

Bradley: "We fire her, she's got no place to go."

In P17, there was a Fire Walk with Me flashback with Laura and James meeting up in the forest.

Laura: "There's no place left to go, is there, James?"

This was probably a reference to what the Arm told Cooper in the Fire Walk with Me: Missing pieces when Cooper wanted to leave the Waiting Room but he was apparently stuck in the same limbo as Candie and Laura.

The Arm: "You are here. Now there's no place to go but home!"

In P17, Cooper met with Laura in the forest and started leading her through the woods.

Laura: "Where are we going?"
Cooper: "We're going home."

It seems then that even if Laura had no place to go, she could still go home, and so Cooper tried to take her there. That didn't work out. Laura was suddenly taken away, screaming. In P18, Cooper tried the same, with a much older Laura.

Cooper: "I want to take you to your mother's home ... your home at one time. It's very important."

That didn't look like such a great success either. This is something interesting to think about as the implication probably was that Laura didn't have a home left any more, and so trying to take her to what had been her home was no use.
But in the meantime, someone else seems to have been luckier.
Earlier, I proposed that when we apparently saw two Coopers wake up in the hospital and head to Twin Peaks, while one of them was the real Dale Cooper, the other was Major Garland Briggs, having come back for another chance in Cooper's likeness. I also proposed that the real Douglas Jones had been Major Briggs himself.
In P18, it seems we were misdirected to think that when some Cooper returned to Jones's home that it was just his newly minted tulpa, shrewdly sent to keep Janey-E and Sonny Jim company when the real thing wasn't available any more. But a more careful watch reveals that the tulpa Gerard created disintegrated immediately.
Hastings said that Major Briggs "wanted to go to a different place". The Arm reminded Cooper that there was "no place to go but home". And when hugging Janey-E and Sonny Jim, this Cooper said just one thing, "Home!"
Maybe it was only in a dream that Major Briggs was back home, but sometimes one's choices are limited.

Weird premonitions of the Las Vegas shooting in Twin Peaks, The Return?

Twin Peaks, The Return aired in 2017. There are a bunch of weird coincidences in the show which eerily foreshadow the shooting in Las Vegas in the same year year.
Most obviously, there is the Las Vegas setting. There's also the statue discussed in this article: https://www.vulture.com/2017/10/dougies-twin-peaks-statue-the-meaning-behind-it.html
The character "Dougie Jones" seems mesmerised by the statue of the cowboy shooter. The intense focus on the statue has a spooky resonance given that it was a country music event that was shot up. Jason Aldean was playing on stage in a cowboy hat when the shooting started. In the photo you can see that Dougie has cocked his finger and pointed it like a gun at the statue, which both mirrors the cowboy's posture and takes aim at it. In the plaza where the statue stands, Dougie survives an attempted shooting by a hitman and disarms his attacker by causing his gun to become literally too hot to handle.
When Dougie goes into a coma and re-awakens in hospital as FBI Agent Dale Cooper, his first question is "what date is it?" The Las Vegas casino gangsters answer that it is October 1st, which of course was the date of the Las Vegas shooting. This is the start of Cooper's awakening and his path to the other dimension where he disarms 2 cowboys in a diner and puts their guns in a deep-fat fryer (another situation where guns become heated up, the first one I mentioned already being the assassination attempt on Dougie in the plaza). He warns those who remain in the diner that the guns might yet explode and go off. There is also a whole visual and narrative trope about horses related to this other dimension (it is another dimension but at the same time it is supposed to be located in Odessa, Texas). The horse theme has another coincidental linkage with the Vegas shooting, through the name of the shooter, Stephen Paddock.
Another weird synchronicity is that the country music event targetted by Paddock was called "Route 91 Harvest". The run of the first 2 seasons of Twin Peaks finished in 1991. It included a plotline about other-dimensional beings who harvest human pain and suffering which they call "garmonbozia" and which was represented in the human world as creamed corn.
Before it aired, The Return was teased to viewers using scenes from the original TV seasons where Laura Palmer says to Cooper "I'll see you in 25 years", suggesting that there was to be a completion or return, a date with destiny, or some kind of an accounting of things which would come due in 2016. However, due to delays in production, Season 3, the Return didn't eventually air until 2017. The season ends on an unanswered question: "what year is this?"
The Twin Peaks town bar, formerly known as The Roadhouse in Seasons 1 and 2, has been renamed as The Bang Bang Bar in Season 3. There are several weird scenes set in the Bang Bang Bar, but one of the strangest has to be the one at the end of Episode 15. A young woman is rudely removed from her seat by 2 bikers and set down on the floor, where she starts to crawl amongst the legs of the bar's dancers and revellers. She seems to have entered an entirely different reality, lost in the crowd, but separated from it, and she finishes the scene with a blood-curdling scream. Screams (especially Laura Palmer's) are a recurring motif throughout all 3 seasons, as are dissociated characters, multiple/split personas, doppelgangers, tulpas and the relationship between thought, dreams, and reality. The young woman in the floor-crawling scene seems terrified of something which the viewer can't yet see, and it's almost as if her screaming is a premonition of the scream that ends the season finale, as well as an echo of Laura's iconic screams in the earlier seasons. It is disturbing to juxtapose the Bang Bang Bar scene with video foootage of crowds of people trying to crawl to safety at the music event in Vegas when the shooting started.
There were various other things I noticed about the show in 2017 where there seemed to be strange synchronicities with events in the real world that year, although the ones that seemed most striking were coincidences related to the shooting. I can't remember all of the coincidences anymore, and perhaps the ones I've mentioned are just the result of pareidolia - the human psychological tendency to see patterns even where there aren't any. Lynch's work probably lends itself to pareidoliac interpretations, as it seems to operate on levels below the threshold of consciousness which the conscious mind then tries to make sense of.
I'm not saying, btw, that David Lynch had any kind of foreknowledge or insider information about the events of 1st October 2017 in Las Vegas. As I said, David Lynch's work seems to resonate on levels outside of the normal limits of conscious perception. It's possible that any coincidences and synchronicities in the show, such as they are, came about because Lynch has a gift for tapping into the undercurrents of some kind of Jungian universal stream of consciousness.
Anyway, just some thoughts. Could be nobody else sees the connections, or they seem like a bit of a stretch, but personally I found the scenes with Dougie in the plaza, the Vegas casino locations and the timing were strangely coincidental. Here's a clip which compiles some of the relevant scenes featuring insurance agent Dougie Jones at various stages of his journey to awakening as FBI Agent Dale Cooper: https://www.youtube.com/watch?v=SQZABaUk924&feature=youtu.be&t=108
But despite these coincidences, there's fairly strong evidence that Coop is actually supposed to wake up on 1st October 2016 after all (because of the reference to parallel events in another dimension which are suppposed to have occurred on Saturday 1st): https://twinpeaksgazette.com/2017/07/26/the-messy-timeline-of-the-return/
This would be in keeping with Laura's promise to see Dale in 25 years.

(All) The Present, The Future, The Past, The Dreamer & the Wizard of Oz: a theory in two parts

richard and linda

The Richard that we know the most of in S3 has nothing to do with a Linda that we only get a brief mention of in P6 as having mail at the PO. The only association between the two characters comes up in P18 when Cooper is left a letter addressing him as Richard, apparently left by Diane who calls herself Linda. All we really know is that the act of sex in the motel has something to do with the Richard and Linda mystery. Diane/Linda obviously did not enjoy the sex and apparently didn't recognize CoopeRichard anymore, as if he had suddenly changed.
In P8, the main Woodsman approached the car of an older couple who stopped for a moment but then sped off. In the next scene, the 1956 boy and 1956 girl are first shown walking at a distance and talking. The camera POV stays put for about a minute as the two approach and there's a tree between them and the camera as they get close. Then there's a sudden cut to a view of them walking right in front of the camera. From this new view, the young couple walking down the dirt road seem to parallel Cooper and Diane in the car together in P18 before they 'cross' (highly recommended sync: P8 starting 38:49 with P18 starting 6:20: this sudden cut corresponds to exactly when Cooper and Diane cross). Both couples stopped driving or walking and kissed. Cooper and Diane in the car also seem to parallel the couple that stopped briefly for the Woodsman. In both scenes there were the same electrical crackling noises at the spots.
So it seems that the couple that stopped and the two teenagers in P8 are linked to each other in some way and both couples are linked to Cooper and Diane in P18 and the cross, having to do with electricity.
Back to Richard and Linda. Richard is of course the aggressive and rapey son of Audrey Horne. Linda is never shown but there is another possible link to the name if we step outside of the show for a moment (similar to how Albert and Gordon stepped outside in P9 and mentioned Garland dying in a government facility outside of Twin Peaks). Linda Porter was the actress that played the elderly lady at the casino slots who Dougie helped to turn her life around. Also outside the show, Richard Beymer is the actor who plays Ben Horne. Ben was known to be a sexual addict and maybe a predator in his time. So we have a different 'Richard and Linda' to think about. Now, let's take somewhat of a (long) detour to help elaborate on where this is going.
Pennies
The 1956 girl picks up a penny. Coins seem to play an important role in the stories: The LL's clue made Hawk pay attention to a nickel that led him to the diary pages, Red flipped a dime and did a magic trick with it on Richard, and Cooper rubbed quarters and won jackpots. 30 jackpots were won.
In P6, the number 52 is given as Dougie's gambling debt in thousands ("It's up to 52"). Using at least 3 of the 4 coins in different combinations, there are exactly 30 ways to arrive at a sum of 52 cents ('3 out of 4' was used in a different context - 3 of the 4 diary pages were present at the station in P7, one was absent). In total, there is $15.60 (52 x 30): 11 quarters, 47 dimes, 91 nickels and 360 pennies. Let's say this is how much is in the piggy bank. Carrie's house is pink and the address is 1516 (44 cents short of 1560), so it could represent the bank.
There are 360 pennies in the bank and of course 360 degrees in a circle. A gold ring (360 degree circle) was found in Garland's stomach and Albert told Diane about it in P14. In S2, Albert made a joke: "I performed the autopsy on Jacques Renault. Stomach contents revealed-- Let's see. --Beer cans, a Maryland license plate, half a bicycle tire, a goat and a small wooden puppet, goes by the name of Pinocchio." In P7, Albert also said that it was "34 degrees and raining" when he went to fetch Diane. The scale P5 in the coroner's room reads 34 (ounces, probably) while Garland is cracked open. This may establish a system where the number of pennies = degrees = ounces. Maybe there's a storyline where 34 pennies were found in a stomach during an autopsy or there's a barter system of sorts where pennies correspond to different objects. In P12, Ben talked about a bike, there's a Sarah scene who we know likes to eat things, and there's that Kryscol fella in green plaid who might parallel this hypothetical Jacques who wears red plaid. (Did Kryscol eat a bike?)
Back to numbers. 16832 is the address shown of the Paige residence in P7. 5 digit addresses come up a few other times: the Rancho Rosa house is 37890 (and 37889 is across the street where the 119 lady dwells), the P11 house where the boys play catch is 43347, next door to the Jones house is 25146, and MrC's arrest document is 75425.
In P16, Diane checks her phone at the 32 min mark of P16 and the time is 16:32. Besides being a meta reference to the time stamp in the actual show there could also be a link to the Paige residence (16832) and also to P8 at 32 mins. In P8 at that time, the bell alarm had been going off and the Fireman goes to levitate and send the orb through the screen, which turns into a disc. In the 1956 world, the 1956 girl then finds a penny.
Diane's phone at 16:32 also showed 79% charged. 79% of the 5 digit address numbers gives near even numbers (the rounded numbers are between 79 and 80% of the total): 25146 * 0.79 to 20,000, 37890 * 0.79 to 30,000, 75425 * 0.79 to 60,000.
Also, 0.79 * 832 is close to 666. In P14, the Fireman flashed Andy three separate images of electrical poles with #6. 666.
666 goes into the other addresses (after multiplied by 0.79): 25146 (20,000): about 30 times, 37890: about 45 times, 75425 (60,000): about 90 times and 43347 (estimated to 34,632): 52 times. This adds up 217 (3 home addresses + MrC's prison document number). Since these are common degree numbers and there are 360 pennies in the piggy bank, let's add one more P11 house (52) and one more MrC arrest document number (90) to 217 to arrive at 359 degrees. One damn penny short of a 360 degree circle. Of course, the Fireman in P8 goes through a whole hell of a lot to send a penny to the 1956 girl. Does she put it into her bank to make a full circle which is important for some White Lodgian purpose? (Relating to the ring in Garland's stomach? The Giant was also all about the gold ring in S2) [music sync: play NIN - Piggy at 38:30 in P8]. JaneyE also mentioned a single penny in P7: "Just 'cause you have it now doesn't mean you can just run off and risk one more penny." This is just before Ike attacks Cooper. This could tie into the bell alarm sounding in P8 and the Fireman regenerating a penny as a result.
Back to the 34 ounces on Constance's scale. 34 ounces is 2.125 lbs. 212.5/360 = 59%. 284.5 out of 360 is 79% (how much Diane's phone is charged at 16:32) = 45.5 oz, 2.84 lbs. 100% would be 360 degrees (57.6 oz, 3.6 lbs). In P16, Cooper says that he's "100 percent" awake. 57:36 (57.6 minutes) into P5, all the songs of the part are shown in the credits at once on the screen - 10 of them fit exactly. The number of completion. Behind Gordon and also Albert and Tammy P17, 10 boxes appear on the screen when Gordon gets the call in which the number of completion is mentioned. The frozen time in P17 may correspond to that instant during the P5 credits when Cooper is at the statue. Also, if 57.6 is 100%, 10 songs, then each song has a value of 5.76.
"It's up to 52." 52 is 90.28% of 57.6. Does this 'up to 52' ticker max out at 57.6? Also rising in value is the money that Dougie Jones won at the casino which Rodney Mitchum mentions a few times ($425k in P5, $447k in P10, $475k in P11). Soon after he mentions 475 in P11, Jones meets with the brothers. In P6, a stop sign is shown shortly before the boy is run over. Each internal angle is 135 degrees in an octagon, adding up to 1080. When 1080 is taken from 1560 it leaves 480 (just before Richard runs over the boy he says "what the fuck" P6 32:36 just how Bradley says the same thing P10 42:00, so there's some link between the brothers and the hit and run). This could suggest that the rising money total of the Mitchums maxes out at 480 (while the other system maxes out at 57.6). 52 is 90.28% of 57.6, 90.28% of 480 is 433.34. At 425/480 (88.54%) the other ticker would be exactly 51 (51/57.6 = 425/480) and at 475 it would be exactly 57 (57/57.6 = 475/480). Not sure of the significance yet, but the 51 and 57 on the dot seem relevant.
Now let's talk about the weight of pennies: "All U.S. pennies (1-cent pieces) minted since 1982 weigh either 2.5 grams (0.088 ounces) or 3.11 grams (0.109). The 2.5 grams Lincoln Penny is composed of brass (95% copper, 5% zinc), while the 3.11 grams Union Shield is composed of copper-plated zinc (97.5% zinc, 2.5% copper)." 34 ounces is 963.88 grams. Therefore, adding up to a total of 360 pennies, there must be 255 Lincoln, 105 Union pennies to weigh 34 ounces (51/21 ratio).
Richard and Sheryl
What might this 51 to 21 ratio represent? How about age difference? In P16, MrC says to Richard "I'm 25 years your senior." In a more romantic context, Richard Beymer (Ben Horne) is 30 years older than Ashley Judd (Beverley Paige). Beymer's birthday is February 20, 1938. In 1989, at the time of Laura's murder, inside the Twin Peaks story, he would have just turned 51 years old and Sheryl Lee would have been 21 (born April 22, 1967).
Don and Linda
The character Richard Horne is implied to be 25 years old in the show. He sexually assaulted a girl named Charlotte, played by Grace Victoira Cox who was born in 1995 and thus was 21 years old at the time of the show in 2016. If she is put into a new role of 'Linda' (Porter), there might be another actocharacter that is closer to Linda's age who might represent an older Richard. Linda Porter was born in 1933. Don Murray who plays Bushnell Mullins was born in 1929 - the same 4 year age difference of Grace/Charlotte and Richard. If these two were linked up in a storyline that has a foot in and a foot outside of TP, their names could be Don and Linda.
So let's say Don and Linda were a couple driving (possibly in the year 1954 if their ages of 21 and 25 are consistent with the S3 ages) and Richard and Sheryl were walking together after a first date. Richard was sexually aggressive at best or a rapist at worst and Sheryl was going to get assaulted or raped. Don and Linda on the flip side stopped to pick up a hitchhiker on the side of the road that was going to murder them, like how the Woodsman killed the two at the radio station. Don is a nice guy (like Bushnell) and Richard is a bit of an asshole like P18 Cooper at the diner.
Like Cooper and Diane in P18, let's cross these two storylines so that after a jolt of WL electricity Richard is driving with Linda and Don is walking with Sheryl. So basically, Richard and Don swapped bodies/stories. Instead of Richard raping Sheryl, Don (in Richard) acts like a gentleman and goes on his way after their date. Instead of Don stopping to help the hitchhiker, Richard (in Don) tells him to fuck off and keeps going with Linda. Richard takes her to the motel and has sex with her. Linda knows that something is wrong (maybe he's cold or aggressive...she just knows it's not really him) and she leaves him the next morning. Not much harm done there, since Linda had already been with Don so she probably wasn't forced. Just uncomfortable sex in place of a potential double murder. On the filp side, instead of rape nothing happens to Sheryl. Maybe she was into bad guys and gets turned off by her partner's sudden nice guy attitude, but all for the better.
Without the cross (WL intervention) there would thus be a double murder of a couple during a sex act at the motel (Don and Linda), just what we saw in P1 with Sam and Tracey {Cooper in the dark motel room and the reflection off the lamp base resembles the Experimental Model in P1 holding a gold object just before she/it attacks, connecting those scenes}. There may also be a rape. Here Ben resembles Bill in the interrogation room. A storyline where Ben was arrested for the rape of Laura might kick off a different version of the old story. If they are moving in and out of the Twin Peaks world, what might have been a legal relationship between 21 and 51 may have became an illegal relationship between a 17 year old and the much older man.
Diane
Bringing this framework into the S3 surface story, Diane, if she channels the spirit of Linda, might have the task of 'sex verification' - she is called by Blue Rose agents to make sure men are who they used to be...If 'crossing' and body jumping/swapping is a common occurrence in a Blue Rose world. For example, let's say Ed or Andy is arrested and Blue Rose authority figures suspect something is amiss, they could recruit Nadine or Lucy to assume the role of this Diane/Linda sex checker, to confirm their identities. If Nadine or Lucy are on the 'outside,' it would imply that the FBI and Diane are the 'inside' pulling the strings of this investigation.
In P7, the FBI enter into Diane's apartment and from inside there's a cut to the flight to Yankton. The FBI took Diane to see Cooper and we didn't see what the FBI trio were up to that night. We know that a day passed between the FBI's story in P7 and P9 because the night of P7 MrC was released and Gordon was called the next day in P9. Where had they stayed?
In P16, Cooper says "I am the FBI," which may be more literal than it seems. If this was the 'outside' version of Cooper, he may have been released the night of P7 to Diane. Him leaving the red room in P18 would be like leaving a literal prison and Diane, more realistically than being at the portal site alone in the middle of the woods, would be outside waiting. Cooper's two days in P18 may be deceptively collapsed into one, and the lights out at the Palmer house may correspond to MrC waking up in P8, with the story commencing in P9 on the next day. Cooper's P18 journey (as well as MrC's fate after being released in P7) might also collectively build a story for the FBI on that missing night. Maybe they stayed in some dumpy motel and Gordon's room paralleled 'inner' Cooper's room in P18. Maybe there's a 'sub story' where Ray and MrC from P8 (and other parts) parallel Albert and Gordon and Tammy parallels Darya (P2 motel) and Chantal (next door) parallels Diane. In such a story, Tammy and Albert would be conspiring against Gordon.
Hawk went to the portal site in P2. If this Diane/Linda verification system exists on the 'inside' of the story, a different person would have met Cooper 'outside' from prison. The best candidate for that would be a certain Annie Blackburn. If Hawk is somehow involved in this, it may be a certain Diane Shapiro from his POV that met him, with Hawk in Cooper's spot. In P17, Cooper opened the door in the basement and met with Gerard and at this interface between worlds there was a flickering back and forth between them or blending. This may put Hawk in Cooper's spot and it might also build a female Native American version of Annie who was Cooper's love interest in the old story (who replaces Hawk).

The Ending and What it Could Mean (a consolidated thread dialogue)

Recently I had a dialogue with u/Armoogeddon that began in this post’s comments section wherein he was kind enough to ask my opinion about several aspects of Twin Peaks Season 3 and the overall story. I tend to focus less on the surface narrative of Frost and Lynch’s original script (whatever that actually looks like, I’m referring to how it is rendered onscreen) and concentrate more on the abstractions encoded in Lynch’s direction. When we reached the end u/Armoogeddon suggested I make a post of our conversation, and here it is. My thanks for the suggestion, and for asking me questions in the first place. It presented a good framework to turn my thoughts into words.
It’s a bit long, of course. But I hope you find it compelling.
Preface to say: everything below is just my opinion, not a “fact.”
I don’t think the idea of Twin Peaks is that Laura’s consciousness lived on after her death.
The ending of Fire Walk With Me posits Agent Cooper as her angel, the angel we see is not seen by her at all. The angel is seen in a white light, whereas Laura is bathed in a blue light that better matches the TV static from the beginning of the film. Laura was unable to face the truth of her situation, so in her subconscious she created Cooper to discover the truth, to solve the mystery.
But she has never been able to face that truth. The closest she got was the idea that Leland was possessed by an evil spirit. But he wasn’t, and even that was more than she could bear.
The Red Room isn’t heaven, it is her subconscious. She is hiding inside a delusion of Bob possessing Leland to explain and excuse what her parents have done, a lie to save her from facing her truth: her father molested her and her mother let it happen. In Season 3, it’s the role of the mother that is explored for the first time.
Agent Cooper has “returned” after 25 years because the psyche of the girl who was Laura Palmer feels again ready to face her buried truth.
First she/he must conclude the wicked dream that has seized her heart, the “Twin Peaks/TV-show/dream”. This requires the destruction of the Bob delusion and the removal of Bad Cooper. This is what takes place in the first 17 parts of season 3. The traumas of FWWM are revisited throughout The Return, abstracted and recontexturalized to allow her subconscious to face these things, to slowly remind her of her path to realization of the truth of the Bob lie.
Once that dream has been ended, the idea/memory of her death must be corrected. Her death was a spiritual one, and a psychological one. That was the death of her identity. Cooper rewrites this memory by leading her away in her memory from meeting Jacque, Leo and Ronette, a meeting that in reality might not have occurred at all, and the train car murder which definitely is a psychotic fantasy, not a reality.
Then, with part 18, Cooper enters the Laura-as-Carrie dream to take her home, where the trauma lives. But the Laura-as-Carrie is no more ready to face it than Laura herself was 25 years ago. Notice that Carrie has, despite her obvious maturity, the mentality of a child. She doesn’t know how far Washington state is from Texas and whether it’s cold there. She doesn’t even seem to know that you can buy food on the way. She’s like a little girl.
And I think that’s what Twin Peaks illustrates: Laura’s splitting of her personality/identity into the sheltered child and the adult woman. One of them “knows” the truth and actively avoids it and one of them has no understanding of what happeed and wants to know the truth. When the second gets what she wants and still cannot face it, the first takes over and returns to the subconscious of the Red Room.
I really like this theory, but tell me if i understood your interpretation of the Red Room or not. You say the Red Room is a creation of Laura from her subconscious to avoid the trauma? — u/zimion5389 (special guest question)
The scene in FWWM when Laura enters the painting given to her by Mrs. Chalfont. This is Laura’s “discovery” of the Red Room. Mrs. Chalfont (who is Laura’s hallucination) directs Laura through the door where her grandson stands. He raises his arm and snaps his fingers (“sometimes things can happen just like that”). The sound of Fire, and we fade to the Red Room.
We are Laura’s POV as we pass over the Ring. We watch Cooper enter the Red Room for the first time. Cooper is a creation of Laura’s subconscious.
The Little Man says he is the Arm and he sounds like this: “zzzzzzz” and he holds the ring. The Arm is asleep, so it’s numb.
Cooper looks at us/Laura and tells us not to take the ring. Then immediately outside of the Red Room we see Laura turn over in bed. She lifts her left arm with her right arm because it’s fallen asleep, it’s numb. And it holds the ring, just like the snoring Arm of the Red Room.
Annie appears bleeding from the nose and mouth, and disappears. She’s only here because of season two continuity.
But then Laura, freaked out, gets out of bed to look out her bedroom door. She hears what sounds like her mother calling her. Laura opens the door looking out on the dark, empty stairs. The door creaks loudly and we hear the Arm’s “zzzzz” sound again. Then Laura looks back, seeing herself look back within Mrs. Chalfont’s picture, echoing the first Laura’s pose.
Then we are with the Laura in the picture as she passively looks back out the door, the curtains of The Red Room behind her.
She is outside of herself, watching herself. She’s become two.
Well than what on earth was episode eight? — u/Armoogeddon
Well, the atomic bomb that released Bob and resulted in dirty bearded men going in and out of a convenience store to create pain and sorrow (garmonbozia) I would say was Leland raping Laura and her subsequent prostituting herself in that “world of truck drivers.”
The rape is the “explosion” that destroyed her. The mushroom cloud and The Experiment’s orgasmic spewing of eggs and Bob is extremely phallic and part of this as well. Leland literally put Bob inside her.
The Woodsman would be the truck drivers she had sex with for cocaine she used to numb herself with, and the convenience store itself is her body that they would come in and out of. And the “room above the convenience store” is her head, her mind.
The split is represented here by the gold blob found isolated in the center of the chaos/explosion. We see this play out in the theater scene with the Fireman and Dido.
This core of her identity (the golden blob) is placed into the gold orb, which is sent/hidden away in a fantasy represented by the images projected on the movie screen the orb is sent into. This movie is her delusion brought about by her inability to understand/process what was done to her at such a young age by Leland. She is the dreamer who dreams, and then lives inside the dream.
I believe that “dream” is season 1 and 2 of Twin Peaks.
The little girl who is ultimately entered by the frogmoth thing that hatches in the desert could be Laura’s psychotic excuse for Sarah’s failure to protect her. Much like Bob being the one causing Leland to abuse her, so does the frogmoth put Sarah to sleep, or cause her to turn away. The horse is the white of the eye, the part of the eye that does not see. This is Sarah’s part in Laura’s misery, a part that before season 3 was never addressed either by Laura or by the story itself.
Again, only my opinion.
Wait, so what’s your theory on the ending (“what year is this?”)? And on Audreys sequences? Is the stuff happening around town actually happening, or is that also part of her imagination?
I’m one of those people for whom The Return didn’t resonate as well, but you’re doing a good job making it click. — u/Armoogeddon
Ok, so if you’re going to read this, just keep an open mind and remember I’m not trying to convince anyone of anything. But since you asked the question I took some time to properly compose my thoughts. You may find that just thinking about it might give you some ideas about the construction of season 3.
tl;dr: Laura is the One, Twin Peaks is an elaborate delusion created to hide an unfaceable truth.
Hang on, this gets a bit complex...
The ending of Part 18 and Audrey’s story are each really hard to suss out. I don’t think there’s enough information to “prove” any theory about those parts. But there are some aspects to think about when considering them.
There are so many echoes of similar events, maybe that can help fill in the blanks.
Audrey’s story is that after exiting the Red Room, Bad Cooper (with Bob inside him) raped her comatose body which made her pregnant with Richard.
Diane’s story says that with “no knock, no doorbell,” Bad Cooper (with Bob inside him) appeared in her apartment, raped her and took her to “...a gas station” which would be the convenience store.
Laura’s story is that a creature named Bob (living inside her father) snuck into her room at night and raped her.
I think Diane and Audrey are cyphers of Laura, and they play out abstracted parts of Laura’s story within the main plot lines.
Let’s trace Diane a while first.
Like the Alice Duffy/Blue Rose story immediately preceding her shooting, Diane is shot, dies, then disappears.
Before being shot in Buckhorn, Diane said she was at a “sheriff’s station.” So there are two Diane’s here. Where they were once separate they now seem to be fusing back together into one consciousness, inside the “shell” of Naido in Twin Peaks.
We don’t know Naido’s origin, but I would say it was Diane being taken to the room above the convenience store by Bad Cooper that created her, analogous to Laura’s entry into the painting Mrs. Chalfont gave her in FWWM where she became two: a Laura inside the Red Room and a Laura outside the Red Room, an abstraction of Laura’s retreat into madness and her split because of her abuse.
Audrey, if you recall, has the first abstracted version of this scenario back in season 1 at One-Eyed Jacks.
Having infiltrated the bordello via working at her father’s perfume counter (ostensively investigating the murder of Laura Palmer), Audrey is trapped in a bedroom with her father Ben Horne (who also slept with Laura) she closes the red curtains surrounding all sides of the bed, creating a Red Room where she quickly hides behind a mask to escape being raped by him.
A retreat into the unconscious and psychosis creating the two worlds: the world inside and the world outside. This has happened to all three women. In each case, the split consciousness must become one again.
So let’s look closer at Audrey.
Audrey wants to leave, to find Billy. Charlie, her husband, is sleepy and wants to wait until later. In lieu of going to the Roadhouse to look for him, Charlie calls Tina who was the last person to see Billy before he disappeared.
Charlie learns from Tina what happened to Billy, but refuses to tell Audrey. The thing she wants to know is purposefully being hidden from her. And Charlie looks like he’s afraid of her knowing.
How is Audrey playing out Laura’s story? Billy in this narrative is like Judy in the main narrative, they are each abstract versions of the thing that Laura has suppressed but wants to discover.
Audrey feels like she’s not herself, that she is someone else. She wants to go and she wants to stay. To find Billy/the Truth she has to choose to be the Audrey that wants to go, and for the two to become one.
As with Diane, this final conversion is preceded by an explosion of aggression (Diane attempts to shoot the Blue Rose Task Force, Audrey viciously attacks Charlie).
The next time we see Audrey, she is entering The Roadhouse with Charlie. They toast. Charlie toasts to “us,” Audrey to “Billy.” Then, “Audrey’s Dance” is announced. Her search for Billy/the Truth has taken her back to her dance from the beginning (season 1, episode 3 to be exact), to the starting positions where it was all comfortable.
Then, from out of nowhere a violent, sexual jealousy explodes (“that’s my wife!”), shattering Audrey’s reverie. Despite wanting to find Billy/the Truth, she is unprepared to face all it contains. She pleads for Charlie to “get me out of here” and in a flash of electricity retreats into a wholly different place, with no idea what has happened.
Bye, Audrey. Now back to Diane.
After being shot and disappearing from Buckhorn, Diane is in the Red Room being decommissioned as a “Tulpa.” Unlike Dougie’s tulpa-trauma, Diane knows exactly what has happened and why. Fuck you.
The next time we see Diane, we are at the sheriff’s station. Bob has been vanquished and Bad Cooper has been returned to burn in the Red Room. Here now Diane is revealed to have been hidden inside of Naido at the sheriff’s station just as she had asserted in Buckhorn to the Blue Rose Task Force. Remember that Naido was blind, possibly deaf, and unable to communicate. Now as Diane she will be able to see and hear what was kept from her. But is she ready?
The dream fades and disappears and Diane is revealed in Naido’s place. Now Cooper, Diane, and Gordon stride purposefully toward the door in the basement of the Great Northern. They are all that remain of the Twin Peaks “dream” because they come from outside the dream. They are manifestations of aspects of the psychology of Laura: Diane is Laura herself, Cooper is the part of her that desires to reveal and know the truth she has suppressed, while Gordon is the part of Laura actively tries to obscure and confuse the truth, to protect Laura from the knowledge she cannot bear, like Charlie’s phone call to Tina, Gordon reveals very little and encodes what he does reveal.
We won’t see Gordon again, because after 25 years Cooper is going to fulfill his mission.
So there is now only Diane and Cooper. I’ve already posited Diane as a cypher for Laura, but let’s stop for a minute and consider Cooper. At this point he is Cooper, not Mr. C with Bob, not DougieCoop, he is Federal Bureau of Investigations Special Agent Dale B. Cooper, himself.
But if Diane is a representation of Laura, who does Cooper represent here? I would say Cooper represents Leland. And here at this motel Diane revisits her rape at the hands of Mr. C (itself a reimagining of Leland’s rape of Laura).
For Laura-as-Diane, she is treading closer to the suppressed thing that she wants to know, her own secrets, Judy, Billy, that symbol on the Ace of Spades.
Remember how Phillip Jeffries told Mr. C “you already met Judy”? Judy is the secret thing, for Laura the secret thing is her fathers abuse of her. And she already knows it. But she repressed it (we see this clearly in FWWM).
(As an aside, prior to entering the motel room with Cooper, Diane splits again. It is very possible that here is where the plan first comes apart: the unified Diane/Laura panics at the proposition of going through with the plan and splits into two again.
(Remember Diane, worried at the 430 location, saying “you don’t have to do this, Cooper”? Bob has been defeated, Mr. C is sent back, leaving the Good Cooper in his proper place, and the Twin Peaks dream ends. It seems Diane/Laura feels that’s good enough. No need to go any further, but Cooper presses on.
(We literally see the second Diane appear and disappear into the Red Room (compare the subtle light flash on her face to the light cast on Cooper’s face the second time Laura disappears in the woods that puts him back sitting in the Red Room with Philip Gerard)).
To be continued? If you are getting something out of this I can try to take it all the way to the end of Part 18. If it doesn’t grab you, no big deal. I enjoyed getting it out of my head and onto paper.
I feel like I’m watching it again-for-the-first-time reading this. What a trip!
Absolutely please keep going! I never did a rewatch of The Return but I might try it again with this as a “guide”.
But what was “the plan” you mentioned earlier again?
And what’s the meaning behind the Dream with Monica Belluci?? I know I’m all over the place - that’s because I haven’t seen any of this in a few years but remember it fairly well all things considered, with a few scenes really sticking out in my mind. — u/Armoogeddon
“The Plan” is Cooper’s Plan with Maj. Briggs that Gordon mentions: two birds with one stone (the same phrase the Fireman uses). It’s never clear exactly what that means.
I’ll take a swing at the Bellucci dream (later), I have a feeing about it, but I’ve never tried to analyze it directly.
Once you recognize these repeating motifs, you start to see the Laura story pushing into the Twin Peaks narrative, you can see the two worlds idea as they overlap. That’ll make for a rewarding rewatch.
Continuing from the 430 mile threshold:
Being the “real” Diane reunited with the “real” Cooper could have been Laura’s new Twin Peaks dream, but the part of Laura that fuels Cooper, the desire to know the repressed truth, pushes on despite her own protestations, and Diane agrees.
Like Audrey, she’d wanted to stay and she wanted to go. Like Audrey she wasn’t sure if she should go, but she went and soon, like Audrey, she won’t be able to face it. In the morning in the motel room this Diane, who was to replace “Linda,” will have disappeared.
We can go back to Cooper being told by the “American Girl” (Ronette Pulaski) “when you get there, you’ll already be there” to understand how this works. We saw this play out in the beginning of Season 3 when Cooper replaced Dougie. He arrived in the role of Dougie.
This time he will be “Richard” and Diane will be “Linda” driving in the car, then checking into the motel.
Here’s where the two Dianes happen. One inside the car and one outside the car.
There’s a subtle flash of light on Diane’s face in the car, similar to the one on Cooper’s face in the woods earlier in the episode when Laura disappeared and Cooper returned to the Red Room, and to Phillip Gerard asking “is it future or is it past?” and with that flash, the second Diane is gone.
But is it Diane, or is it Linda? Is it the part of Laura that wants to know, or the part that is actively suppressing the memory?
If we follow the idea of Twin Peaks re-experiencing Laura’s trauma abstractly, she is again getting close to the actual moment she realized Leland was Bob in FWWM. Bad Cooper’s rape of Diane was an abstraction of Leland’s rape of Laura.
In that scene in FWWM the actual Laura Palmer willed herself to see the truth, looking directly into the face of Bob until the truth was revealed to her. But this Diane is unsure, as Audrey was in her story arc. As their coupling proceeds she begins to forcefully cover his face and then turns her face up and away from him.
Looking away from the truth was what allowed Bob to remain in Laura’ consciousness.
Denying to himself the reality of what he was doing to his daughter allowed Leland to “be” Bob.
So who’s missing from the picture?
The Mother. Looking away.
The horse is the white of the eye. Sarah sees the horse after allowing herself to be drugged in FWWM and drugged as she lay crawling at the foot of the stairs as Leland kills Madeline in Season 2.
Remembering that her father was Bob and he was molesting her is Laura’s repressed memory. But what hides behind it is even worse, the fact she has never faced.
Sarah let it happen.
Here is where you’ll find Judy.
In the morning only Cooper remains, and it is Cooper. One way to read this is Diane did not “become” Linda, the Linda that WAS there is still there. So Linda doesn’t recognize Richard and leaves in the night. She “doesn’t recognize him anymore” because he IS Cooper, and so Cooper wakes up alone.
Between Cooper waking in the motel room, and his exiting of the more modern hotel facade, we have no way of knowing how much time has elapsed. The edit hides the passage of time. Has Cooper been searching for days, months, years? The extreme wear on his nearly bald tires indicates he’s be traveling a long time.
If you’re still with me, let me know and I’ll analyze the Odessa conclusion. With what I’ve written so far, you might already see where this is heading.
Hell yes let’s keep going! — u/Armoogeddon
I’m going to leave Laura/Diane/Audrey for a bit, jump over Judy’s Diner and Carrie’s House and take a look at Cooper’s arrival with Carrie at the Palmer house.
As with the multiple echoes of Laura’s rape (there’s a couple I didn’t mention) the scene with Cooper And Carrie at the Palmer house is foreshadowed numerous times throughout season 3 including:
• ⁠DougieCoop with Jade and her $5 bill in front of the Silver Mustang’s revolving doors
• ⁠DougieCoop with the limo driver and his “jackpots” in front of Dougie and Janie-e’s Red-doored home
• ⁠BadCoop and Richard with the coordinates in front of the “big rock”
In each of these scenes a version of Cooper is driven to a location by someone else, he approaches a doorway/threshold and experiences an unexpected reaction.
• ⁠DougieCoop gets hit by the revolving doors (twice) as he enters the casino
• ⁠DougieCoop gets a hard slap from Janie-e in front of their house
• ⁠Cooper’s “son” Richard is electrocuted into oblivion before his eyes
By loosening the parameters a bit more and and inverting the nature of the outcome, we can include:
• ⁠Dougie is driven to the desert (by that same limo driver) carrying a cherry pie in a box (instead of his jackpots) to a place where he was to be murdered, but instead he saves not only himself, he returns money rightfully belonging to the Mitchum brothers. “A wrong has been made right....”
This scene is indicative of the rather miraculous positive change that seems to follow DougieCoop. Despite negative occurrences and potentially disastrous outcomes DougieCoop has come out on top. Where Bad Cooper’s situation may not help him, but like with Dougie’s positive side-effects, it’s hard to see the destruction of Richard Horne as anything but good news for Twin Peaks.
Does Cooper remember these things now that he is the complete himself again, having driven Carrie from Odessa to Washington? Will they come back to him as from a dream triggered by the unfolding scenario, like the dream of the Mitchum brother?
Can we equate Alice Treymond’s unsatisfactory answers and door closed in his face to the doors hitting Dougie, Janie-e slapping Dougie, and the destruction via electricity of Richard Horne? Or is that flash and power cut the equivalent?
If we do equate the two, then what follows is possibly the true end of Twin Peaks. But is it a “good” end?
There are other “recurring” scenarios that weave through season 3.
One I haven’t addressed here are the scene from FWWM where Philip Gerard accosts Leland and Laura in their car from his truck. The death of the child at the hands of Richard Horne behind the wheel of a truck at that same intersection in Season 3, also evoked by the nighttime arrival of the Woodsman in the road in Part 8, again in the scene after the gunshot at the Double R.
If you do a rewatch, keep an eye out for these repetitions, from either within season 3, or the echoes from Fire Walk With Me. If I was to describe what was going on, I would say there are two stories, the story of Cooper and the story of Laura.
We start with and follow Agent Cooper’s story but throughout it’s Laura’s story constantly trying to assert itself within that tale. Usually when things start seeming inexplicable in the narrative, what we are witnessing are The Last Seven Days of Laura Palmer asserting themselves.
And not only between season 3 and FWWM. Even within FWWM alone, this structure is in effect. Compare the “wash your hands” dinner scene with the Missing Pieces “meeting above the convenience store.”
As Leland instructs Cooper in The Red Room, we should try to “find Laura.”
Anyway, as always it’s just my interpretation. If you find it compelling, awesome. If you don’t feel it, that’s cool too. There’s a lot in there to think about.
This is fascinating. With the parallel stories you’re suggesting with Cooper and Laura, it has me wondering if there was an intended meaning in the title “Twin Peaks”.
Regardless of whether your interpretation matches Lynch’s intention, it’s viability is enough to have a stronger appreciation for The Return. A literal translation certainly doesn’t work.
I still have so many questions. What’s with that floating face in the prison cell? Is Laura opening her face to reveal a bright light meant to imply life/after life/escape from psychosis? Is she in an asylum throughout all this? What’s with 1-1-9?
Huge thanks for the thought provoking analysis! — u/Armoogeddon
You’re welcome! I’ve enjoyed putting my thoughts into words.
I’m not sure about the white light, but there’s an interesting visual echo between that scene and Diane in the Red Room.
The head floating away in the jail cell, the golden light floating away from the boy run over by Richard Horne, the golden orb kissed by Dido that flies away through the screen, Naido thrown off the cube floating in infinity, even Ronette thrown from the train car in FWWM.
I think previously I had mentioned Diane, raped by Mr C then taken to a “gas station,” the Room Above the Convenience store, where I supposed that was where the “Tulpa” was created while the “real” Diane was hidden away in Naido. That follows the pattern.
Trauma, a split, one part is sent away while the other remains to face an ordeal.
I once described it like this here on the subreddit:
Imagine there was something you couldn’t face about yourself, so you buried the memory so deep you could not remember it.
You can remember that something is hidden from you though, so you try to find out what it is.
You consciously try to recover the memory, while your subconscious moves and encodes the hidden truth in dreams.
One day in a dream you get really close to it and for a second, you now know something that you can’t face about yourself, so you bury it so deep you could not remember it.
Time and time again.
You should combine these posts into a single thread and post on the sub. — u/Armoogeddon
Not a bad idea. I'll try to re-edit them into one piece this weekend, thanks!

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Twin Peaks itself is dreamy and isolated, a place seemingly untouched by time. Deer Meadow seemed like an alternate version of Twin Peaks in FWWM as well—a similar town, but with its own twist. This season has given us further glimpses into other cities and towns, each with their own strange motif. This interpretation also lends special status to the FBI. ("Don't you just love sometimes Dougie Casino Twin Peaks, roulette mindesteinsatz 10 cent, casino regina poker, animash poker face. Home > News > No Deposit Bonuses. This website uses cookies to ensure you get the best experience on our website. Learn more. Got it! 18+, T&C Apply,, New Customers Only. 100. Percentage. Visit casino Gamble Responsibly BeGambleAware.org. Almost there! 0-Prize pool: 100% up to £200 + 200 free We’re introduced to Dougie as he’s wrapping up with a sex worker in an empty home in a suburban home complex called Rancho Rosa (also the name of the “Twin Peaks” production company Twin Peaks Dougie Casino Deposit Bonus: 25 Bonus Spins upon Sign-up. Bonus Spins available on Inferno Star only. The 25 Bonus Spins will be available in the players’ account upon sign-up Twin Peaks Dougie Casino and log in. Bonus Spins will be active for seven (7) days from the day they are credited. Players must wager winnings 35x. Dougie Twin Peaks Slot Machine Vegas, casino themed party clothes, slot machine senza deposito, south florida casinos with blackjack Established in January 2011, Welcome to Twin Peaks is an independent Twin Peaks and David Lynch community aiming to keep the fandom fire burning one (b)log at a time. The website is not affiliated with Rancho Rosa Productions, CBS, Showtime, David Lynch, Mark Frost, Twin Peaks Productions, or the Black Lodge. Dougie-Coop isn’t a difficult character to understand, but his place in the world of Twin Peaks still remains unknown. Lynch clearly wants people to embrace that. Lynch clearly wants people to Dougie Twin Peaks Casino, casino de la armada de guayaquil, sli bridge slot spacing, roulette lave vaisselle beko. Read our full review. 5. Georgia 0-American Buffalo Slots. Over 800 Casino Games; Live Casino Games; Mobile Ready-April 6, 2019. All of the recommended casinos here are legitimate sites that keep players safe. They respect gambling rules and age Dougie Twin Peaks Casino For other uses, see Doug (disambiguation). Gordon Cole[src] Douglas "Dougie" Jones1 was a tulpa of FBI agent Dale Cooper, created by Cooper's doppelganger as a ploy to avoid returning to the Black Lodge. 1 Biography 1.1 Creation 1.2 Death 1.3 Return 2 Behind the scenes 3 Trivia 4 Appearances 5 References After escaping from the red room, Dale Cooper's doppelganger was destined to return there It was at this moment I knew I was in on Twin Peaks: The Return. Dougie’s incredibly good luck began in a Vegas casino, where his winning streak — triggered by the “Hellooo-o-o-o!” mating

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The musical mood of the Black Lodge in Twin Peaks: The Return, Part II. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features Press Copyright Contact us Creators ... Comparing scenes in Twin Peaks for futher study ... Silver Mustang Casino by Beyond ... by Beyond Reason. 4:39. Play next; Play now; Twin Peaks Listen to the Sounds 14: Dougie's Coffee by ... Twin Peaks season 3-episode 4Directed by David Lynch

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