... Now seems like a good time to restate the importance of mystery, the unknown, the uncertain, the ineffable, the "noumenon," and the "real" itself as ultimately or 'always already' unknowable... and, as such, as central to each (or, arguably, most) of David Lynch's films to date.
Call me a hipster... or anti-social... or a nihilist... or what have you...
... but I'm actually hoping against hope that few of the theories circulating about this forum re: Part 15 are resolved in the remaining episodes.
Recall, Lynch enthusiasts, how Lost Highway, Mulholland Drive, and Inland Empire each invited viewers to entertain the possibility of a mode of 'mainstream' film narrative in which protagonists were depicted by a constellation of associated characters, either played my multiple actors or otherwise embedded in multiple ripples or ribbons of narrative in the course of a single film.
This is Lynch's artistic/creative triumph, IMO.
I'd much prefer that Lynch finish The Return by leaving us to sort out what seemingly associated characters have to do with each other (in much the manner of one's subconscious mind in a dream state) than provide us an even remotely rational or discrete explanation thereof.
If you disagree vehemently or otherwise feel otherwise, please consider posting in the now dozens of other threads positing theories regarding networks of clues... in search of formal closure, narrative denoument, or the "tying of loose ends" by other means.
I'm keen for the wonderful, awful, ineffable mystery. Dig?
With three episodes to go...
1) I no longer expect to be presented with a clear explanation of who Philip Jeffries is. IMO, refusing a discrete explanation would be the only appropriate tribute/testament to David Bowie's extraordinary career and numerous personae. Let him remain a mystery. Or: He's a tea kettle! That's good enough enough for me.
2) I really hope that we don't get a miraculous return of Dale Cooper delivering "Dale Cooper circa 1991" lines with similarly ingenuous zeal, enthusiasm, etc. This, IMO, would cheapen each of the "Dales" Kyle has since played. I don't want the original Dale, nor do I need him now-- I need a compelling resolution (or, a mysterious lack of resolution) to Dougie's story.
3) I don't care to learn who Judy is. Let her be a monkey, as she has (maybe) been for the last 25 years. Or, let Philip Jeffries be the monkey.... Either way, may the document from Judy awaiting Jeffries in Buenos Aires go unread by other eyes...
4) God forbid we get an "it was a dream all along" or a "still in a coma" or a "she's playing a role in..." explanation for Audrey and Charlie. Truly, with all the anguish spilled on this forum re: Audrey... maybe now is the time to let go of "Audrey Horne" as such.... That said, a rape Mr. C didn't seem able to recall during Part 15 seems, IMO, rather callously heavy handed....
5) To those who have recognized The Roadhouse as a "not real" place, kudos! A review of the original series will corroborate this: it was always a place outside time and reason.... Witness the 1950s motorcycle gang (including Julie Cruise replete with 1950s motorcycle gear... ), the appearances by the giant and the milk man, etc.
6) IMO... Becky's fate is interesting... Steven's is ... somewhat interesting. Gersten's is ... similarly somewhat interesting. But I don't expect to learn, in any easy- to-articulate way, what "Sparkle" hallucinations and Jerry's weed(?)-induced visionquest(s) have to do with each other.... nor do I really need Balthazar Getty's character of "Red" to amount to more than a terrifyingly hilarious reprise of his terrifyingly earnest character in Lost Highway.
7) Margaret Lantemann deserves to remain a mystery. Demystify her and you will have erased both the character's and Catherine Coulson's legacy, IMO.
8) re: "Naido is Laura." Not sure this is fair to either character. See #7. I'm hopeful Naido remains herself... not the woman shrieking and crawling on the floor of The Roadhouse... so much as this woman might be a psychic expression of Naido's terror in "the material plane," or vice versa....
9) re: Sarah Palmer is The Jumping Man. This is incredibly compelling, IMO. Consider this.
10) re: "Laura is the one." I'm hoping against hope we'll see more of Sheryl Lee and Grace Zibriskie... And likewise hoping that their mythos will remain mystical, not de-mystified.
All this having been said, I really admire the creativity, ingenuity, and sheer determination some of the connections folks have made re: episode 15 and the rest of The Return have reflected so far...
For instance, there's little doubt in my mind we were to recognize echoes of Margaret Lantemann in the screaming woman crawling on the floor of The Roadhouse ... But, IMO, we don't need to assume, necessarily, that they are the same person, a reincarnation, etc.
What do you think?
And one more, for good measure:
11) All of the talk of coordinates should not lead us to assume that "the convenience store" exists in a particular place. Kudos to those who recognized the mystification at work in the absence, circa Part 8, of a second story to the convenience store, as well as the dissonance of (presumably) Douglas Fir trees (or sycamores? I'm no botanist....) behind the Part 15 "convenience store" given its putative provenance in the New Mexico desert...
We are like the dreamer who lives within the dream.
I am in absolute agreement that not only the appeal, but the lifeblood of Twin Peaks is the unsolved mystery. Not having clear answers to every question is what keeps the series alive. At this point I trust that some things will be brought to light, like how we had confirmation about Brigg's body or we finally learned about Blue Rose case #1. I'm thinking we need to get some "awake" Cooper, but I'm basing that on the first scene of the first episode.
I agree that tonights episode is all we're getting of Phillip Jeffries. I was hoping they would give him some kind of "evolution" and I was not disappointed.
I'm pretty sure Bob needs to come back into this somehow??
I still feel like we don't know what the end game is, if it's to simultaneously get Cooper back and put his doppleganger back into the lodge? Is it about the larger good vs evil picture? Is it about the blue rose task force?
So much going on. I am thrilled by the direction it's heading in and trying not to mourn it before it's over. I'm in a pre-mourning period though.
I think there was probably a lot of push and pull between Frost and Lynch with regard to explainations. Exhibit A (TSHTP) Exhibit B (The Final Dossier). So, I do think much of what we are seeing now will ultimately be left open to interpretation. Which is how I prefer art anyway. When people ask me what my own work means, I often reply, "What does it mean to you?" Rarely do I ever provide my own intention.
David Lynch has maintained that Laura Palmer's murder was never meant to be solved, it was supposed to serve as a mystery that spawned other mysteries. Life is a mystery is the point isn't it?
Re: 1.) Philip Jeffries - couldn't agree more. I don't think his character and his intentions will be fully explained. After seeing his evolution tonight, I definitely prefer the mystery. How did he end up above the convenience store? Why has he chosen to remain there? Was he ever human? I'd prefer not to have those questions answered. Oh, and what does he want with Bob?
Re: 2.) Coop - I've been leaning more and more towards Coop retaining the memories of what Mr C has done the past 25 years once he rediscovers his (I)dentity. I think it will add to the complexity of his character and in no way do I expect the return of the same old Dale at all. How could he be? Even if he has no memory of what Mr C has done, who the hell knows what he experienced in the Lodge for 25 years and how much it affected his sense of self. Also, He has been tasked with finding Laura, but he has to find himself before he can even begin that quest. He will not be a happy-go-lucky eccentric once he begins looking for her, IMO, not a chance.
Re: 3.) Judy - I agree with you that it should remain a mystery, but I do think that there will be some kind explaination of her. I doubt it will be straightforward so I'm holding out hope. Thinking about who she might be (or represent) and then reading all the theories of others is one of the things that I find so enjoyable about the Return. And, it can remain so long after that airing of part 18 if things like who or what Judy is isn't fully explained.
Re: 4.) Audrey - I'm hoping that she opens the door and is already in the Roadhouse once she walks through the doorway (wtf?). I do, however, find it entertaining that she was confirmed to be Richard's mother in part 15 long after this had already been concluded (assumed) by most viewers. But, what if it'd never been confirmed? It might've driven some mad. I don't think Richard's father will be confirmed though.
Re: 5.) Roadhouse - the band that played tonight is my favorite thus far. Also, I'm actually kind of let down that some of the seemingly random conversations are manifesting as actualities. However, getting a tiny bit of confirmation that they are actual doesn't detract from their mystery. I still hold to my thought that many of those conversations are allusions to soap opera threads, like those from seasons one and two, that are still occuring in Twin Peaks, but they just aren't as important as investigating the mythology is.
Re: 6.) - I don't expect to see much more of the characters that you've listed. I'm fine with that.
Re: 7.), 9.) & 10.) Couldn't agree more.
Re: 9.) Agree
Personally, I'm loving how when light is shed on one mystery, several more mysteries are spawned.
And one more, for good measure:
11) All of the talk of coordinates should not lead us to assume that "the convenience store" exists in a particular place. Kudos to those who recognized the mystification at work in the absence, circa Part 8, of a second story to the convenience store, as well as the dissonance of (presumably) Douglas Fir trees (or sycamores? I'm no botanist....) behind the Part 15 "convenience store" given its putative provenance in the New Mexico desert...
We are like the dreamer who lives within the dream.
Yep. I remember pointing out that there needn't be an actual literal second story atop the convenience store (because dimensions).
Regarding Coopers return, remember that Eddie Vedder was anounced to appear and presumably perform 'Out of Sand'.
Chorus:
"Now it's gone, and I am who I am. Who I was I will never be again. Running out of sand."
Although that could also apply to many other characters, or even the show in total.
We could summarize this as saying: "I"m hoping most things remain a mystery".
Bad,
Enjoy your thoughts. I have no illusions that Twin Peaks will reveal all or most of its secrets. In fact, I would be disappointed if they do. But here are my comments:
1. I feel Bowie is covered. He is a spirit of the dimensional realm. Not fully evil or good, but self serving.
2. I feel we will get a form of Old Dale. One that has changed as men of experience change. I am neither as ignorant of the world or as chipper as I once was. I talk less and listen more. These are traits I would expect in New-Old Dale. I would expect 25 years in the other dimension to alter the way he interacts thus continuing to make him weird.
3-4. Much like Judy, I think your showing some Twin Peaks fatigue. But if it's any comfort, I never loved Audrey either. I was glad when Cooper refused a high schooler's affection. I always felt she was overly dramatic and good at getting herself into trouble. She also fit the spoiled rich girl role well.
... Now seems like a good time to restate the importance of mystery, the unknown, the uncertain, the ineffable, the "noumenon," and the "real" itself as ultimately or 'always already' unknowable... and, as such, as central to each (or, arguably, most) of David Lynch's films to date.
Call me a hipster... or anti-social... or a nihilist... or what have you...
... but I'm actually hoping against hope that few of the theories circulating about this forum re: Part 15 are resolved in the remaining episodes.
Recall, Lynch enthusiasts, how Lost Highway, Mulholland Drive, and Inland Empire each invited viewers to entertain the possibility of a mode of 'mainstream' film narrative in which protagonists were depicted by a constellation of associated characters, either played my multiple actors or otherwise embedded in multiple ripples or ribbons of narrative in the course of a single film.
This is Lynch's artistic/creative triumph, IMO.
I'd much prefer that Lynch finish The Return by leaving us to sort out what seemingly associated characters have to do with each other (in much the manner of one's subconscious mind in a dream state) than provide us an even remotely rational or discrete explanation thereof.
If you disagree vehemently or otherwise feel otherwise, please consider posting in the now dozens of other threads positing theories regarding networks of clues... in search of formal closure, narrative denoument, or the "tying of loose ends" by other means.
I'm keen for the wonderful, awful, ineffable mystery. Dig?
With three episodes to go...
1) I no longer expect to be presented with a clear explanation of who Philip Jeffries is. IMO, refusing a discrete explanation would be the only appropriate tribute/testament to David Bowie's extraordinary career and numerous personae. Let him remain a mystery. Or: He's a tea kettle! That's good enough enough for me.
2) I really hope that we don't get a miraculous return of Dale Cooper delivering "Dale Cooper circa 1991" lines with similarly ingenuous zeal, enthusiasm, etc. This, IMO, would cheapen each of the "Dales" Kyle has since played. I don't want the original Dale, nor do I need him now-- I need a compelling resolution (or, a mysterious lack of resolution) to Dougie's story.
3) I don't care to learn who Judy is. Let her be a monkey, as she has (maybe) been for the last 25 years. Or, let Philip Jeffries be the monkey.... Either way, may the document from Judy awaiting Jeffries in Buenos Aires go unread by other eyes...
4) God forbid we get an "it was a dream all along" or a "still in a coma" or a "she's playing a role in..." explanation for Audrey and Charlie. Truly, with all the anguish spilled on this forum re: Audrey... maybe now is the time to let go of "Audrey Horne" as such.... That said, a rape Mr. C didn't seem able to recall during Part 15 seems, IMO, rather callously heavy handed....
5) To those who have recognized The Roadhouse as a "not real" place, kudos! A review of the original series will corroborate this: it was always a place outside time and reason.... Witness the 1950s motorcycle gang (including Julie Cruise replete with 1950s motorcycle gear... ), the appearances by the giant and the milk man, etc.
6) IMO... Becky's fate is interesting... Steven's is ... somewhat interesting. Gersten's is ... similarly somewhat interesting. But I don't expect to learn, in any easy- to-articulate way, what "Sparkle" hallucinations and Jerry's weed(?)-induced visionquest(s) have to do with each other.... nor do I really need Balthazar Getty's character of "Red" to amount to more than a terrifyingly hilarious reprise of his terrifyingly earnest character in Lost Highway.
7) Margaret Lantemann deserves to remain a mystery. Demystify her and you will have erased both the character's and Catherine Coulson's legacy, IMO.
8) re: "Naido is Laura." Not sure this is fair to either character. See #7. I'm hopeful Naido remains herself... not the woman shrieking and crawling on the floor of The Roadhouse... so much as this woman might be a psychic expression of Naido's terror in "the material plane," or vice versa....
9) re: Sarah Palmer is The Jumping Man. This is incredibly compelling, IMO. Consider this.
10) re: "Laura is the one." I'm hoping against hope we'll see more of Sheryl Lee and Grace Zibriskie... And likewise hoping that their mythos will remain mystical, not de-mystified.
All this having been said, I really admire the creativity, ingenuity, and sheer determination some of the connections folks have made re: episode 15 and the rest of The Return have reflected so far...
For instance, there's little doubt in my mind we were to recognize echoes of Margaret Lantemann in the screaming woman crawling on the floor of The Roadhouse ... But, IMO, we don't need to assume, necessarily, that they are the same person, a reincarnation, etc.
What do you think?
I am very much in agreement about not wanting all my questions, certainly the specific ones, answered, and have no fear that things are going to be tied up in any kind of neat package.
I DO think we will see Dale again, but certainly not a parody of the wide-eyed, youthful Dale of 1990. Dale Cooper has been through too much.
A connection between the screeaming roadhouse girl and Margaret never occured to me, not sure why it would...
And absolutely, the ambiguity and lack of clear answers is what has fueled the depth and creativity of all of these conversations. There are no answers that could be as satisfying as our continuing speculations! May they continue!
I'm hoping we get some answers. I don't want a "Wrap it all up neat and tidy so the characters can laugh and joke around the table/at the bar", nor do I want "Oh, it was all a dream" or "By the way, you're all dead, anyhow".
Cooper, I believe, won't be the same guy who got left behind all those years ago. 25 years on this world will change anyone, so 25 years where he was should have some sort of effect.
Anyhow, the story is about Cooper's return, so I'll be happy to see that, in whatever form it takes. Not so bothered if some of the other stuff is left unanswered, even if I am the kind who likes answers. Some answers would be nice, though.
... Now seems like a good time to restate the importance of mystery, the unknown, the uncertain, the ineffable, the "noumenon," and the "real" itself as ultimately or 'always already' unknowable... and, as such, as central to each (or, arguably, most) of David Lynch's films to date.
Call me a hipster... or anti-social... or a nihilist... or what have you...
... but I'm actually hoping against hope that few of the theories circulating about this forum re: Part 15 are resolved in the remaining episodes.
Recall, Lynch enthusiasts, how Lost Highway, Mulholland Drive, and Inland Empire each invited viewers to entertain the possibility of a mode of 'mainstream' film narrative in which protagonists were depicted by a constellation of associated characters, either played my multiple actors or otherwise embedded in multiple ripples or ribbons of narrative in the course of a single film.
This is Lynch's artistic/creative triumph, IMO.
I'd much prefer that Lynch finish The Return by leaving us to sort out what seemingly associated characters have to do with each other (in much the manner of one's subconscious mind in a dream state) than provide us an even remotely rational or discrete explanation thereof.
If you disagree vehemently or otherwise feel otherwise, please consider posting in the now dozens of other threads positing theories regarding networks of clues... in search of formal closure, narrative denoument, or the "tying of loose ends" by other means.
I'm keen for the wonderful, awful, ineffable mystery. Dig?
With three episodes to go...
1) I no longer expect to be presented with a clear explanation of who Philip Jeffries is. IMO, refusing a discrete explanation would be the only appropriate tribute/testament to David Bowie's extraordinary career and numerous personae. Let him remain a mystery. Or: He's a tea kettle! That's good enough enough for me.
2) I really hope that we don't get a miraculous return of Dale Cooper delivering "Dale Cooper circa 1991" lines with similarly ingenuous zeal, enthusiasm, etc. This, IMO, would cheapen each of the "Dales" Kyle has since played. I don't want the original Dale, nor do I need him now-- I need a compelling resolution (or, a mysterious lack of resolution) to Dougie's story.
3) I don't care to learn who Judy is. Let her be a monkey, as she has (maybe) been for the last 25 years. Or, let Philip Jeffries be the monkey.... Either way, may the document from Judy awaiting Jeffries in Buenos Aires go unread by other eyes...
4) God forbid we get an "it was a dream all along" or a "still in a coma" or a "she's playing a role in..." explanation for Audrey and Charlie. Truly, with all the anguish spilled on this forum re: Audrey... maybe now is the time to let go of "Audrey Horne" as such.... That said, a rape Mr. C didn't seem able to recall during Part 15 seems, IMO, rather callously heavy handed....
5) To those who have recognized The Roadhouse as a "not real" place, kudos! A review of the original series will corroborate this: it was always a place outside time and reason.... Witness the 1950s motorcycle gang (including Julie Cruise replete with 1950s motorcycle gear... ), the appearances by the giant and the milk man, etc.
6) IMO... Becky's fate is interesting... Steven's is ... somewhat interesting. Gersten's is ... similarly somewhat interesting. But I don't expect to learn, in any easy- to-articulate way, what "Sparkle" hallucinations and Jerry's weed(?)-induced visionquest(s) have to do with each other.... nor do I really need Balthazar Getty's character of "Red" to amount to more than a terrifyingly hilarious reprise of his terrifyingly earnest character in Lost Highway.
7) Margaret Lantemann deserves to remain a mystery. Demystify her and you will have erased both the character's and Catherine Coulson's legacy, IMO.
8) re: "Naido is Laura." Not sure this is fair to either character. See #7. I'm hopeful Naido remains herself... not the woman shrieking and crawling on the floor of The Roadhouse... so much as this woman might be a psychic expression of Naido's terror in "the material plane," or vice versa....
9) re: Sarah Palmer is The Jumping Man. This is incredibly compelling, IMO. Consider this.
10) re: "Laura is the one." I'm hoping against hope we'll see more of Sheryl Lee and Grace Zibriskie... And likewise hoping that their mythos will remain mystical, not de-mystified.
All this having been said, I really admire the creativity, ingenuity, and sheer determination some of the connections folks have made re: episode 15 and the rest of The Return have reflected so far...
For instance, there's little doubt in my mind we were to recognize echoes of Margaret Lantemann in the screaming woman crawling on the floor of The Roadhouse ... But, IMO, we don't need to assume, necessarily, that they are the same person, a reincarnation, etc.
What do you think?
You have postulated some great thoughts. Hear is my take on them...
1. Agreed.
2. Again, I agree. When we have the first (new) scene of The Return, with Dale Cooper and the Fireman, Cooper is already different than he was in the original show. Aside from looking older, he is quieter, more reserved. If that's what we get with the "real Cooper," then I'll be satisfied.
3. I will admit to being curious about who Judy is, however, we've gone 25 years without knowing, so we can probably go even longer still not knowing.
4. Amen.
5. This is intriguing. I've heard people bandy this theory about, and, while some Roadhouse scenes certainly feel dreamlike and unreal, others don't. Case-in-point: James and Freddie's scene there in Part 15. That had a definite feel of reality to it, and then what happened in that scene landed them in the Twin Peaks jail, so there is some definite realness there.
6. We do need to see Red again, I think. As for Becky, Steven, Gersten.... they're all some insufferable young people (IMO), and I'd be find if we never heard from them again.
7. Not quite sure what you're getting at with this. Can you please elaborate? Were you not happy with how they handled the Log Lady's exit?
8. I'm going to be honest and say how I'm rather uncomfortable with how, more than once, there's been some connection made between Naido and Charlyne Yi's character at the Roadhouse. It smacks of, 'Well, there's two Asian women, so they gotta be connected, right?' In fact, somewhere else on this forum, someone posited that they were the same actress, until he did some research and corrected himself. I mean, I don't remember anyone pondering if Becky and Gersten were the same person. So... if anyone can explain why there's to be some connection made between Naido and Ruby, other than they're both Asian women, then I'd love to hear.
9. I really couldn't care less about this, for whatever reason.
10. Given the Ed/Norma scene in Part 15, it looks like Twin Peaks is up for giving characters happy endings, so I'd really like to have one for Sarah Palmer and, if at all possible, Laura Palmer. Those two characters really, really deserve it.
... Now seems like a good time to restate the importance of mystery, the unknown, the uncertain, the ineffable, the "noumenon," and the "real" itself as ultimately or 'always already' unknowable... and, as such, as central to each (or, arguably, most) of David Lynch's films to date.
Call me a hipster... or anti-social... or a nihilist... or what have you...
... but I'm actually hoping against hope that few of the theories circulating about this forum re: Part 15 are resolved in the remaining episodes.
Recall, Lynch enthusiasts, how Lost Highway, Mulholland Drive, and Inland Empire each invited viewers to entertain the possibility of a mode of 'mainstream' film narrative in which protagonists were depicted by a constellation of associated characters, either played my multiple actors or otherwise embedded in multiple ripples or ribbons of narrative in the course of a single film.
This is Lynch's artistic/creative triumph, IMO.
I'd much prefer that Lynch finish The Return by leaving us to sort out what seemingly associated characters have to do with each other (in much the manner of one's subconscious mind in a dream state) than provide us an even remotely rational or discrete explanation thereof.
If you disagree vehemently or otherwise feel otherwise, please consider posting in the now dozens of other threads positing theories regarding networks of clues... in search of formal closure, narrative denoument, or the "tying of loose ends" by other means.
I'm keen for the wonderful, awful, ineffable mystery. Dig?
With three episodes to go...
1) I no longer expect to be presented with a clear explanation of who Philip Jeffries is. IMO, refusing a discrete explanation would be the only appropriate tribute/testament to David Bowie's extraordinary career and numerous personae. Let him remain a mystery. Or: He's a tea kettle! That's good enough enough for me.
2) I really hope that we don't get a miraculous return of Dale Cooper delivering "Dale Cooper circa 1991" lines with similarly ingenuous zeal, enthusiasm, etc. This, IMO, would cheapen each of the "Dales" Kyle has since played. I don't want the original Dale, nor do I need him now-- I need a compelling resolution (or, a mysterious lack of resolution) to Dougie's story.
3) I don't care to learn who Judy is. Let her be a monkey, as she has (maybe) been for the last 25 years. Or, let Philip Jeffries be the monkey.... Either way, may the document from Judy awaiting Jeffries in Buenos Aires go unread by other eyes...
4) God forbid we get an "it was a dream all along" or a "still in a coma" or a "she's playing a role in..." explanation for Audrey and Charlie. Truly, with all the anguish spilled on this forum re: Audrey... maybe now is the time to let go of "Audrey Horne" as such.... That said, a rape Mr. C didn't seem able to recall during Part 15 seems, IMO, rather callously heavy handed....
5) To those who have recognized The Roadhouse as a "not real" place, kudos! A review of the original series will corroborate this: it was always a place outside time and reason.... Witness the 1950s motorcycle gang (including Julie Cruise replete with 1950s motorcycle gear... ), the appearances by the giant and the milk man, etc.
6) IMO... Becky's fate is interesting... Steven's is ... somewhat interesting. Gersten's is ... similarly somewhat interesting. But I don't expect to learn, in any easy- to-articulate way, what "Sparkle" hallucinations and Jerry's weed(?)-induced visionquest(s) have to do with each other.... nor do I really need Balthazar Getty's character of "Red" to amount to more than a terrifyingly hilarious reprise of his terrifyingly earnest character in Lost Highway.
7) Margaret Lantemann deserves to remain a mystery. Demystify her and you will have erased both the character's and Catherine Coulson's legacy, IMO.
8) re: "Naido is Laura." Not sure this is fair to either character. See #7. I'm hopeful Naido remains herself... not the woman shrieking and crawling on the floor of The Roadhouse... so much as this woman might be a psychic expression of Naido's terror in "the material plane," or vice versa....
9) re: Sarah Palmer is The Jumping Man. This is incredibly compelling, IMO. Consider this.
10) re: "Laura is the one." I'm hoping against hope we'll see more of Sheryl Lee and Grace Zibriskie... And likewise hoping that their mythos will remain mystical, not de-mystified.
All this having been said, I really admire the creativity, ingenuity, and sheer determination some of the connections folks have made re: episode 15 and the rest of The Return have reflected so far...
For instance, there's little doubt in my mind we were to recognize echoes of Margaret Lantemann in the screaming woman crawling on the floor of The Roadhouse ... But, IMO, we don't need to assume, necessarily, that they are the same person, a reincarnation, etc.
What do you think?
You have postulated some great thoughts. Hear is my take on them...
1. Agreed.
2. Again, I agree. When we have the first (new) scene of The Return, with Dale Cooper and the Fireman, Cooper is already different than he was in the original show. Aside from looking older, he is quieter, more reserved. If that's what we get with the "real Cooper," then I'll be satisfied.
3. I will admit to being curious about who Judy is, however, we've gone 25 years without knowing, so we can probably go even longer still not knowing.
4. Amen.
5. This is intriguing. I've heard people bandy this theory about, and, while some Roadhouse scenes certainly feel dreamlike and unreal, others don't. Case-in-point: James and Freddie's scene there in Part 15. That had a definite feel of reality to it, and then what happened in that scene landed them in the Twin Peaks jail, so there is some definite realness there.
6. We do need to see Red again, I think. As for Becky, Steven, Gersten.... they're all some insufferable young people (IMO), and I'd be find if we never heard from them again.
7. Not quite sure what you're getting at with this. Can you please elaborate? Were you not happy with how they handled the Log Lady's exit?
8. I'm going to be honest and say how I'm rather uncomfortable with how, more than once, there's been some connection made between Naido and Charlyne Yi's character at the Roadhouse. It smacks of, 'Well, there's two Asian women, so they gotta be connected, right?' In fact, somewhere else on this forum, someone posited that they were the same actress, until he did some research and corrected himself. I mean, I don't remember anyone pondering if Becky and Gersten were the same person. So... if anyone can explain why there's to be some connection made between Naido and Ruby, other than they're both Asian women, then I'd love to hear.
9. I really couldn't care less about this, for whatever reason.
10. Given the Ed/Norma scene in Part 15, it looks like Twin Peaks is up for giving characters happy endings, so I'd really like to have one for Sarah Palmer and, if at all possible, Laura Palmer. Those two characters really, really deserve it.
Totally agree with you re: #8 (there was much speculation earlier on that Naido must be Josie). And similarly re: discussions of "ethnic casting" of Sonny Jim and frogmoth girl.
As for #10, I would like to think that there is a happy ending for Big Ed and Norma, and with 3 hours left, I hope a lot of time is not taken on that plot line. But their relationship has been defined by its star-crossed nature. Could there be one more twist there?
Bad,
Enjoy your thoughts. I have no illusions that Twin Peaks will reveal all or most of its secrets. In fact, I would be disappointed if they do. But here are my comments:
1. I feel Bowie is covered. He is a spirit of the dimensional realm. Not fully evil or good, but self serving.
2. I feel we will get a form of Old Dale. One that has changed as men of experience change. I am neither as ignorant of the world or as chipper as I once was. I talk less and listen more. These are traits I would expect in New-Old Dale. I would expect 25 years in the other dimension to alter the way he interacts thus continuing to make him weird.
3-4. Much like Judy, I think your showing some Twin Peaks fatigue. But if it's any comfort, I never loved Audrey either. I was glad when Cooper refused a high schooler's affection. I always felt she was overly dramatic and good at getting herself into trouble. She also fit the spoiled rich girl role well.
Personally I like drawing connections between things more than offering a litany of clues to "solve" the mysteries. Sometimes the connections throw a solution in your face, but very seldom. At a certain point, it seems like people can stop seeing and listening in their exertion to offer the best solution that will make all tidy. That's when you can be certain of one thing: Lynch will mess it up for them!
Just a note on the out of time nature of the roadhouse. A big part of the 90s underground music scene was borrowing from all the previous music scenes and so that out of time feeling existed. The roadhouse looked like many of the clubs I went to at the time and sounded similar.
I don't think the stories could all be neatly wrapped up... There's such a range of viewers' perception about individual clips, that by the time you add up all the differences, it'll be hard to believe we all watched the same programme!
Even when things seem to be explained, once you think about it, more questions just appear. Maybe they'll actually manage an 'ending' where the folks who want things wrapped up & characters 'back' are happy - and those of us who don't want things settled in stone know that there's still a whole load of explanations for what has happened.
Fire walk with