It seems that repetition is something that bears some significance - Cooper/Cooper for instance. Margaret stated that There's Fire Where You Are Going, then repeated Hawk, There's Fire Where You Are Going. Then again, she asked twice whether Hawk could hear her so it may be nothing.
Any thoughts on the possibility that there may be 2 fires in play, and the possible meaning?
I reckon that the fire does not necessarily represent negative spirits, but any spirit in general. I think that the two fires might be ??????? and Señorita Dido. I theorise that the gang will be told about Coop's situation, and Hawk'll remember Albert and Gordon and contact them because he realises this isn't an ordinary case.
To my understanding, it is more of a duality. Fire, electricity are neutral in itself, but they can be used both for evil and for good. Same with Cooper - his abilities can be used to become top FBI agent, as well as kingpin of crime
To my understanding, it is more of a duality. Fire, electricity are neutral in itself, but they can be used both for evil and for good. Same with Cooper - his abilities can be used to become top FBI agent, as well as kingpin of crime
Agreed, OAC. I'd go a step further - Dougie-Coop seems to me to be Coop without Mr C aspects of self.
To my understanding, it is more of a duality. Fire, electricity are neutral in itself, but they can be used both for evil and for good. Same with Cooper - his abilities can be used to become top FBI agent, as well as kingpin of crime
I agree with this statement. Duality has always been a theme that pervades much of Twin Peaks. Wouldn't be unreasonable to presume this is another instance of it.
The repeating of lines makes me think of two tracks that are now parallel. Storylines merging.
To my understanding, it is more of a duality. Fire, electricity are neutral in itself, but they can be used both for evil and for good. Same with Cooper - his abilities can be used to become top FBI agent, as well as kingpin of crime
Agreed, OAC. I'd go a step further - Dougie-Coop seems to me to be Coop without Mr C aspects of self.
Hi pynch,
The id, the ego and the super-ego.
The it, the I (eye) and the super-I (eye).
Trinity.
😉
- /< /\ /> -
Hi pynch,
The id, the ego and the super-ego.
The it, the I (eye) and the super-I (eye).
Trinity.
😉
- /< /\ /> -
Right, RB. In terms of more current cognitive theory (awaiting deserved slap with "hey, no theory" or "hey, that's not theory" or "f.u., theory" or "that's not canonised"), a trinity of embodied cognition: emotionally "fired" intuitive and rational knowing/understanding. Alternatively, cognitively impenetrable but integrated and "conscious" action- and realty-testing-directed processes of perception, emotion and cognition. Or simply, as Jordan Peterson would have it: you can't be good if you don't know the evil in yourself very, very well.
The repeating of lines makes me think of two tracks that are now parallel. Storylines merging.
Lots and lots of parallels going on. Traffic jam making people late in Twin Peaks - Traffic jam in Candie's world making her late. Little person firing a gun but not hitting anyone - both in TP & in Dougie's world. TP has a Ghostwood nearby - Buckhorn has Deadwood nearby. TP has a character, Heidi, who giggles more than speaks, Vegas has a character, the giggling Fusco cop, who giggles more than speaks. The incessant hum of a fly in Candie's world - the incessant hum of ??? at the Great Northern. A pair of wealthy, ruthless but somewhat likeable brothers both in TP (the Hornes) and Vegas (the Mitchums). Duality everywhere.
I'm in agreement on the dualities.
The way Margaret says two identical lines (or almost identical?) directly after each other, made me think that the dualities are in sync now. Reminded of how she earlier said that the circle is almost full. Diverging paths are going to meet.
The repeating of lines makes me think of two tracks that are now parallel. Storylines merging.
Lots and lots of parallels going on. Traffic jam making people late in Twin Peaks - Traffic jam in Candie's world making her late. Little person firing a gun but not hitting anyone - both in TP & in Dougie's world. TP has a Ghostwood nearby - Buckhorn has Deadwood nearby. TP has a character, Heidi, who giggles more than speaks, Vegas has a character, the giggling Fusco cop, who giggles more than speaks. The incessant hum of a fly in Candie's world - the incessant hum of ??? at the Great Northern. A pair of wealthy, ruthless but somewhat likeable brothers both in TP (the Hornes) and Vegas (the Mitchums). Duality everywhere.
Also of note: The address in Buckhorn Hastings takes them to is named "Sycamore" something or other. Darn sycamores are everywhere.
This is somewhat off-topic, and one friend warns me that Lynch is not into social commentary, but here I go:
Hawk says that the "fire" on the map is like a new kind of electricity, and it can be good or bad, depending on its intentions. Well, seems to me that that's just like the American war machine since 1945, and we just saw nearly 30 minutes devoted to the atomic bomb. In the opening scene of FWWM, Gordon Cole has a wall-size poster of an atomic bomb blast behind his desk. Maybe it is a reminder to him of the awesome power of the American military and law enforcement departments--and how they can and have unleashed great pain and evil on a lot of people, while also saving a hell of a lot of people.
Well, the energy unleashed by a nuclear blast will set off a lot of fires; the forces involved in nuclear weapons are fundamental forces, like the electric force, but they were discovered/understood by humans much more recently. So, like Hawk says, it's [paraphrasing here] "like electricity, but newer"--and law enforcement and weapons can be used for good or bad depending on intentions and outcome.
The town of Twin Peaks is so much darker now than it was in the 90s--and so is a portion of America. The postwar era is over. I don't think it's just drugs that did this to Twin Peaks. I mean, Lynch/Frost make some overt social commentary in episode 5 when Carl and the other fellow are lamenting health care for veterans and the "damn war"--suggesting criticism of America being so militarily involved in the Middle East in the postwar era, culminating in the erred second invasion of Iraq--the "damn war." (Sorry if I'm stepping on people's toes here politically. If I'm breaking forum rules, let me know.)
I might be reading way too much into the story here. But then again, Lynch has described his work as a painting for everyone to read and interpret as they wish.
... in episode 5 when Carl and the other fellow are lamenting health care for veterans and the "damn war"--
Interesting observations, Jesse.
I do think we should believe that Lynch eschews direct social commentary - I can't imagine him wanting to be caught preaching. Carl and Mickey could be easily enough categorized as typical examples of the "disenfranchised" citizens of the U.S. Their brief conversation complaining about the state of things seems pretty much drawn from life, and appropriate for who they are. But I didn't find the dialogue inserted as a way for Lynch and Frost to work in some actual commentary. It seemed more of simply a depiction to me - here are two poor slobs talking about what is logical for them to talk about.
Dr. Jacoby's podcast rants are certainly recognizable as being like some loud, over-the-top American broadcasts we're all aware of, and which an amazing percentage of the population listen to. Rather than commentating, I think Lynch is just depicting something from our real life culture, and as usual, depicting it in a quirky, darkly humorous way.
... in episode 5 when Carl and the other fellow are lamenting health care for veterans and the "damn war"--
Interesting observations, Jesse.
I do think we should believe that Lynch eschews direct social commentary - I can't imagine him wanting to be caught preaching. Carl and Mickey could be easily enough categorized as typical examples of the "disenfranchised" citizens of the U.S. Their brief conversation complaining about the state of things seems pretty much drawn from life, and appropriate for who they are. But I didn't find the dialogue inserted as a way for Lynch and Frost to work in some actual commentary. It seemed more of simply a depiction to me - here are two poor slobs talking about what is logical for them to talk about.
Dr. Jacoby's podcast rants are certainly recognizable as being like some loud, over-the-top American broadcasts we're all aware of, and which an amazing percentage of the population listen to. Rather than commentating, I think Lynch is just depicting something from our real life culture, and as usual, depicting it in a quirky, darkly humorous way.
Yes. You're absolutely right. Carl and Mickey could be just like Janey-E's rant about the 99%, which was just depiction, not serious social commentary.
And yeah, Dr. Jacoby! A friend of mine suggested that everyone around town watching that is like everyone around town watching "Invitation to Love" in 1990. America watches as much cable news and Youtube rants as soap operas these days. Hmm, to me, "Invitation to Love" seemed to me to be Lynch giving us a meta message, letting us know that he knows we are viewers and we should be aware that we are watching a show. That's an aspect that helped me immensely appreciate the cheesy aspects: soap opera, B-movie elements (in this and other Lynch work*), bad acting, saccharine love scenes etc: It's tongue-in-cheek and Lynch lets us know it. (Of course, all the cheesy, B-movie stuff is balanced by A+++ quality film making in other scenes.) The young couple enraptured by the glass box and getting their brains blown ("mind blowing") also seems like a meta message. I have a tendency to read too much into everything though, so, there ya go.
At any rate, given all the attention we've seen given to the atom bomb, and given that Mark Frost is also in on the writing, I still can't shake the idea that the "new kind of electricity" on the map is in some distant way a reference to modern technology, discoveries, how it can be good and bad for us, etc. etc. If Lynch wants me to read his painting as I please, well, then that's how I'm reading it (until he changes my mind in the next episode, hehe).
*like my favorite Mulholland Drive scene, when we first meet the hitman and the dialogue is poorly acted and is scripted incredibly vaguely--before the ensuing rube-golberg machine of... well, I don't want to spoil it if you haven't seen it.
The repeating of lines makes me think of two tracks that are now parallel. Storylines merging.
The Log Lady intro to the last episode of Season 2 speaks to this as I recall. Must watch it...
Fire walk with