Flann O' Brien's "At Swim-Two-Birds" touches on this idea. Incredible book, worth checking out. Once this loveliness all over of course.
I don't want it to end...
Hear me out. Standard disclaimer, I don't make any claims to be right about the idea and I'm not sure I even like it, but if I am on the money, I'll crow about it for the rest of me life.You won't like it but at least consider this:
We don't know what Charlie does for a living, nor do we really know where Audrey is.
Charlie's desk is strewn with stuff, there are books around the place, he's tired and complains of deadlines. What kind of person would fit into that broad description? A writer.
Audrey is one of the characters who has gotten out of hand and taken on a life outside the story. Iain M Banks once told me he thought it was a pretentious thing for writers to say until it happened to him. How he dealt with it was to put the characters (two of 'em in this case) into increasingly difficult situations until they were killed off.
It's worth remembering that in Twin Peaks - this series, at least - there is no such thing as a throwaway line. "Do I have to end your story?" A dead giveaway but either dismissed or interpreted in some obscure fashion.
The fight scene at the Roadhouse, echoing the one previously. Writer's retcon?
Where does it all fit into the show as a whole?
Either a St Elsewhere ending, with Charlie being a meta version of Frost and Lynch. Oh please no.
Or...
Charlie is the next stage of being, above the Fireman. He's the real mover and shaker, the one who creates everything and by and large, leaves them to it. Took a dislike to Audrey once she went off script and became someone with a social conscience, so decided to teach her a lesson. Plays around with all the people she knows, the people she loves and even provides the ultimate horrible twist of having an evil duplicate of the man she loved rape her.
So, don't say you weren't warned. 😉
I like this theory.
My only doubt about it is whether the writers (Frost/Lynch) would introduce such a new, overarching key player that somehow overwrites everything else. For me, if not carried out carefully, I feel like it might somehow disrespect everything that has gone in prior in the show.
I guess it depends how it's all handled.
Initially, I immediately took to the mental hospital theory - and saw Charlie as Audrey's manifestation of her care-keeper where her treatments were her "story." Audrey sees Charlie as someone incapable of understanding her goals... And Charlie sees Audrey as a nuisance who won't follow simple directions to achieve them. Akin to someone fighting a dose of medicine.
It does appear now that the "creators" of the inter-dimensional awareness/convergence is a much more important theme... So, I certainly buy your take as it goes along with other such theories , like Lynch=Cole, "the dreamer," and the whole Candie-naidO-Linda-dianE thing spelling Cole.
I just wanted to add that there's more to Charlie's view of Audrey than her being a nuisance. In the bar, he seems to view her with real admiration and affection, even concern, and he tries to toast their relationship--which she mocks I believe, can't remember what she said exactly but it rejected his overture. Whatever he is to her, I don't think it's malevolent.
I tend to agree with Dave's take. I think that, in The Return, Charlie, Audrey, and Billy (as we've seen them) all represent aspects of Audrey's mind. She herself is the emotional aspect; Charlie is the logical aspect; Billy is perhaps confidence, boldness, adventure. I've felt this way since she and Charlie were arguing on the threshold and she went off on the spiel about "truly seeing him for the first time." I don't know why she is trapped in her mind, but the backward music after her "white room" scene implies there are lodge shenanigans afoot.
Charlie does talk about his jacket frequently.
Gawd I hope you're wrong.
It's a great theory, but just the possible thought of it makes me queasy.
If you are correct, every member on this forum owes you a pint.
That's 2,170 pints... and rising. 😉
I'm another who suddenly twigged that Charlie could be a projection of Audrey herself. And previously I had concluded that Charlie and Billy might be one and the same.
I'm wondering how this can be reconciled with the writer/dreamer perspective, with which I also agree.
Initially, I immediately took to the mental hospital theory - and saw Charlie as Audrey's manifestation of her care-keeper where her treatments were her "story." Audrey sees Charlie as someone incapable of understanding her goals... And Charlie sees Audrey as a nuisance who won't follow simple directions to achieve them. Akin to someone fighting a dose of medicine.
It does appear now that the "creators" of the inter-dimensional awareness/convergence is a much more important theme... So, I certainly buy your take as it goes along with other such theories , like Lynch=Cole, "the dreamer," and the whole Candie-naidO-Linda-dianE thing spelling Cole.
I just wanted to add that there's more to Charlie's view of Audrey than her being a nuisance. In the bar, he seems to view her with real admiration and affection, even concern, and he tries to toast their relationship--which she mocks I believe, can't remember what she said exactly but it rejected his overture. Whatever he is to her, I don't think it's malevolent.
He says "here's to us" and she says "here's to Billy."
This would mean that Charlie is writing everyone's story? Wow! I have to think about this...
I like this theory. It kind of aligns with my theory that the Black Lodge and its entities are created by our collective unconscious; the notion that every thought we conceive in our mind is birthed into existence in some other dimension/reality. Your theory also aligns with the idea behind a Tulpa. Tulpas are supposedly created with one's power of the mind.
Theosophy also has a lot to say about it. They're a fun bunch, too.
Well, a bit too anthropomorphic and westernized for my taste but they have some nice pictures.
😉
I tend to agree with Dave's take. I think that, in The Return, Charlie, Audrey, and Billy (as we've seen them) all represent aspects of Audrey's mind. She herself is the emotional aspect; Charlie is the logical aspect; Billy is perhaps confidence, boldness, adventure. I've felt this way since she and Charlie were arguing on the threshold and she went off on the spiel about "truly seeing him for the first time." I don't know why she is trapped in her mind, but the backward music after her "white room" scene implies there are lodge shenanigans afoot.
This.
Plus her tattoo with hindi version of triskelion.
Fire walk with