Here's a link that says the CREATOR EXPLAINS the ENDING:

https://screenrant.com/twin-peaks-return-ending-explained/

Twin Peaks Creator Explains The Return's Ending

Cooper feels some sense of duty to undertake this last quest for Laura. He's driven by it, and goes to great lengths to pursue it. And he encounters truly mortal danger, not just physically, but perhaps metaphysically. There are echoes of classic mythological themes. It's Orpheus descending into the Underworld. You are playing with deep, profound, mysterious forces that will have unintended consequences. In the old mythology, as a mortal, to cross into the realm of what was thought of as the gods', meant you risked everything. That's what we're seeing happen here."

And here's a link that explains what happens to ORPHEUS when he descends into the UNDERWORLD:

https://en.wikipedia.org/wiki/Orpheus

The most famous story in which Orpheus figures is that of his wife Eurydice (sometimes referred to as Euridice and also known as Argiope). While walking among her people, the Cicones, in tall grass at her wedding, Eurydice was set upon by a satyr. In her efforts to escape the satyr, Eurydice fell into a nest of vipers and suffered a fatal bite on her heel. Her body was discovered by Orpheus who, overcome with grief, played such sad and mournful songs that all the nymphs and gods wept. On their advice, Orpheus travelled to the underworld. His music softened the hearts of Hades and Persephone, who agreed to allow Eurydice to return with him to earth on one condition: he should walk in front of her and not look back until they both had reached the upper world. He set off with Eurydice following, and, in his anxiety, as soon as he reached the upper world, he turned to look at her, forgetting that both needed to be in the upper world, and she vanished for the second time, but now forever.

The story in this form belongs to the time of Virgil, who first introduces the name of Aristaeus (by the time of Virgil's Georgics, the myth has Aristaeus chasing Eurydice when she was bitten by a serpent) and the tragic outcome.[44] Other ancient writers, however, speak of Orpheus' visit to the underworld in a more negative light; according to Phaedrus in Plato's Symposium,[45] the infernal gods only "presented an apparition" of Eurydice to him. In fact, Plato's representation of Orpheus is that of a coward, as instead of choosing to die in order to be with the one he loved, he instead mocked the gods by trying to go to Hades to bring her back alive. Since his love was not "true"—he did not want to die for love—he was actually punished by the gods, first by giving him only the apparition of his former wife in the underworld, and then by being killed by women.

So is the CARRIE/ LAURA that he brings back to TP only an APPARITION???

What happens to us once we descend into the UNDERWORLD???

Do we forget about what happened to us here in the WORLD ABOVE once we descend into the UNDER WORLD???

Does she SCREAM because the MEMORY of what happened to her in TP comes back to her again???

If so, then WHY does COOP still remember WHO he is and WHO LAURA was when he descends into this OTHER WORLD where DIANE FORGETS who she was and thinks she's LINDA???

And finally, how does the MYTH of ORPHEUS DESCENDING tie in with the rest of what you posted in the message located up ABOVE this one???

Here's what another link says:

more telling was what happened when Cooper/Richard and Laura/Carrie finally made it back to Twin Peaks and knocked on the door of what should’ve been Laura’s home. Sarah Palmer didn’t answer but Alice Tremond did, and she told the pair that she bought the house from a Mrs. Chalfont. These last names should sound familiar, as they trace back to Black Lodge entities (Ms. Chalfont was at the trailer park where Theresa Banks died, and she later appeared to Laura as Ms. Tremond and gave her a painting that acted as a portal from her bedroom to the lodge).

These easter eggs all suggest one thing: The timeline may be different, but the age old battle between good and evil for Laura Palmer’s soul continues. Wherever Judy brought Laura, it was still a place where the Black Lodge influence could be felt and it was still a place where Cooper arrived on orders of the Fireman to save her. It’s a different timeline that’s somehow, at its core, exactly the same.

Before Phillip Jeffries allowed Cooper to enter the past in Part 17, his smoke took the shape of an infinity sign. By the end of Part 18, it’s clear Jeffries was warning Cooper that to enter the past would be to enter a never-ending loop in which good battles evil across timelines and planes of reality. Evil triumphs good in the past when Judy eliminates Laura from the timeline. Evil triumphs good in the alternate dimension when Carrie Page reawakens as a horrified Laura Palmer. But good will keep trying nonetheless; that’s the optimism of David Lynch.

Part 8 turned the scope of “Twin Peaks” into a grand fight between evil (Judy appears to be the monster figure that gave birth to BOB) and good (the Fireman gives birth to Laura Palmer, the only being that can defeat the evil created by the atomic bomb). Part 18 ended the series by saying that fight never ends. It’s destined to keep repeating itself; but as long as we have Dale Cooper’s in the world, good will always have a shot. Lynch’s finale ultimately makes this grand statement understandable and unavoidable; it’s what “Twin Peaks” is all about. Here’s hoping we get to see Cooper have another shot at evil in the future.

Was the PAINTING on Laura's bedroom wall a PORTAL???

What one recalls is how when she opens her bedroom door and looks back at the painting what she sees is a MIRROR IMAGE where another copy of herself is seen opening her bedroom door in the painting that hangs on the wall.

IMAGE of the PAINTING where she sees herself open the door can be seen here:

https://welcometotwinpeaks.com/wp-content/uploads/doorway-fire-walk-with-me.jpg

Doesn't that also seem to indicate that her bedroom door is the PORTAL???

Here's still another interesting link that discusses the matter, and includes lots of pictures of the painting, the stairway, the hallway, the ceiling fan, etc, that's inside of the PALMER House :

https://25yearslatersite.com/2017/08/24/what-is-going-on-in-this-house-the-palmer-residence-as-a-lodge-adjacent-liminal-space/

It also has a photo of the OUTSIDE of the house as well.

Still another thing to consider is IF the LODGE has the ability to create COPIES of others like COOPER and Diane, then is it possible it can also CREATE COPIES of other places as well (such as Laura's Bedroom which also seems to appear inside of the weird place that's located above the Store and the Gas Station where we see the WOODSMEN walking around in the scene which looks like it has the STROBE light effect).

If you PAUSE this link at the 2:28 TIME MARK you can also see a STILL CLIP of the WOODSMEN at the GAS STATION and STORE:

https://www.youtube.com/watch?v=zfMcvJFQYu0

In other words, maybe the EVIL entities or whatever they are can also create a copy of an entire city as well as create another person???

EDITED to say:

A QUOTE from the you tube video (in the link that's provided in the OP by DROOCH) also seems to confirm this could be the case:

https://www.youtube.com/watch?v=FPTfaQu5Ju8

At the TIME MARK 2:53

Mr. C has built other realities that were almost identical to other dimensions that carried those storylines.

So in addition to CREATING COPIES other BEINGS, apparently EVIL BOB is also CREATING OTHER PLACES to dwell in as well.

I think Just Some Guy’s theory gets the broad strokes correct and chimes with what we know about Lynch and Frost’s concerns as artists. I’m still curious and have by no means locked down on an interpretation yet, and might never, but it feels accurate to me at this point.

I think it echoes the aspects of the Orpheus myth that Frost stressed without mapping onto it exactly. Cooper is a mortal meddling with the Gods and traversing realms beyond his capacity to understand, and finds himself out of his depth.

Carrie seems to be another tulpa based on the ‘Laura-orb’ and I think she is made aware of her origins at the very end, causing yet another tulpa scream. Characters are aware of these things on a subconscious level, just as Cooper had access to hidden truths in his dreams. By Season 3 , Cooper is part God - he’s spent so long in the spirtual realm that he is able to hold onto information gleaned from the Giant and his mission, even though his mortal brain as Richard tries to suppress it.

The mysteries seem to birth more mysteries, answers seem to throw up deeper questions. I think this is very deliberate by Lynch as he was never happy about revealing Laura’s killer and wanted to bring back the mystery at the heart of Twin Peaks, and most of his artistic work.

@Drooch

mysteries seem to birth more mysteries, answers seem to throw up deeper questions. I think this is very deliberate by Lynch as he was never happy about revealing Laura’s killer and wanted to bring back the mystery

https://medium.com/@onantiad/episodes-17-18-of-twin-peaks-the-return-are-meant-to-be-watched-in-sync-81352ce38e8

the way the events are depicted works like a puzzle with its pieces all out of place. Using a little bit of that intuition Agent Cooper so often employs allows the viewer to lock the pieces in place. A rearranging of the events of final two episodes gives the viewer a more satisfyingly optimistic conclusion

@Drooch

he is able to hold onto information gleaned from the Giant

https://www.player.one/twin-peaks-return-2017-dale-cooper-arm-numbers-numerology-118934

After reminding us of Laura Palmer’s promise to Dale Cooper — “I’ll see you again in 25 years” — and after our first reprise of Angelo Badalamenti’s timeless score, Twin Peaks: The Return opens in black and white, with The Giant (now credited as ???????), a being of mysterious power and foreknowledge. “Agent Cooper, listen to the sounds,” he says and the two look over at a scratchy gramophone. “It all cannot be said aloud now. Remember 430. Richard and Linda. Two birds with one stone.”

@Drooch

Carrie seems to be another tulpa based on the ‘Laura-orb’ and I think she is made aware of her origins at the very end, causing yet another tulpa scream.

I don't think so.

Remember how BOB REWINDS TIME again to keep COOP from getting killed???

BOB is shown to rewind time to prevent Earle from stabbing Cooper, the reason being that Earle was overstepping his own rights in the lodge.

He LITERALLY REWRITES the story of COOP when he did that ... the same way as LAURA's story is also REWRITTEN ... by ERASING the story of her DEATH and making her a MISSING PERSON instead.

In other words, CARRIE is probably also the MISSING LAURA (and is not a TUPLA).

When the show ENDS:

https://www.vulture.com/2017/10/twin-peaks-the-return-finale-ending-explained-by-mark-frost.html

Agent Dale Cooper (or is it Richard?) retrieves a woman physically resembling Laura Palmer but referred to as “Carrie Page” from Odessa, Texas, and drives her to Twin Peaks to reunite with her mother after 25 years. However, in true Lynchian form, all hell breaks loose when they arrive. Mrs. Palmer doesn’t live in the house. In fact, she never did. Cooper, dumbfounded by what is transpiring, tries to make sense of everything by asking, “What year is this?” Meanwhile, Carrie, hearing the voice of her mother in the air whispering “Lauraaaaaa,” has a sudden realization and lets out one of the most terrifying screams in television history. The house’s lights turn off. Fade to black.

So what happened? The most common theory about this unsettling conclusion — and there are a lot of theories — is that Cooper and his secretary Diane Evans crossed into an alternative dimension in their car in the hopes that Cooper could save Laura from her original, grisly fate. Unfortunately, Judy, the all-powerful entity who thrives on electricity, saw through his plan, and stuck the duo in alternative dimensions for the rest of their lives with no chance of returning to the “real” Twin Peaks ever again.

With flashbacks earlier in the finale, it was also implied that when Cooper traveled back in time to rescue Laura in the woods before she arrived at the train car for her certain death, his interference actually prevented her from dying. Co-creator Mark Frost’s new book, Twin Peaks: The Finale Dossier, confirms that is indeed true.

In other words, what we're watching is ANOTHER COMPLETELY different story where LAURA DISAPPEARS but doesn't DIE (which is also why she ends up there in ODESSA). And that's also confirmed by the character called AGENT TAMMY PRESTON:

The novel, which is a part of the show’s canon, is told in the form of classified FBI files, and the last chapter picks up immediately after the events of the finale. Agent Tammy Preston stayed in town for a few days to cover the aftermath for the FBI and perused old editions of the Twin Peaks Post to aid her research. What she discovered while reading articles confirms that history was rewritten for Laura Palmer’s story.

“Agent Cooper had come to town for a few months earlier, to aid in the investigation into the disappearance, still unsolved, of local teenage beauty queen, Laura Palmer.”

Let me repeat that phrase for you: “still unsolved.” No mention of “murder,” “wrapped in plastic,” or “father arrested for shocking crime eventually dies in police custody of self-inflicted wounds.”

It’s right there on the front page: Laura Palmer did not die.

I go back and check the corresponding police records. They tell me this: Laura Palmer disappeared from Twin Peaks without a trace — on the very same night when, in the world we thought we knew, it used to be said she died —

And with that, Carrie Page’s life in Odessa began.

In other words, the HISTORY of LAURA's DEATH has also been REWRITTEN to where she doesn't DIE but DISAPPEARS .

And the COOP part of the story begins this way:

Cooper left the Purple Room through outlet #3 on Saturday, October 1st at 2:53PM He arrived back on Earth, assuming the life of Dougie Jones ...

And here's a link that describes the LODGES and how COOP got into it:

http://twinpeaks.wikia.com/wiki/Black_and_White_Lodges

The Black Lodge and White Lodge are extra-dimensional, connected places, the Black Lodge being a place of darkness and evil, while the White Lodge is a place of goodness. The lodges seem to be connected through the "Red Room" as seen by Agent Cooper in a dream, where he sees himself 25 years older sitting in a chair. The Native American policeman Deputy Hawk says that the Lodges are from the mythology of his people.

When Jupiter and Saturn meet, one entrance to the Lodges is located at Glastonbury Grove, near Pearl Lakes, in the Ghostwood National Forest surrounding the town of Twin Peaks. its location is indicated by the petroglyph in the Owl Cave. It is a pool of a substance that smells like scorched engine oil, it is surrounded by a ring of twelve seemingly young sycamore trees.

@Drooch

I think Just Some Guy’s theory gets the broad strokes correct and chimes with what we know

On the contrary, imo, this "TUPLA THEORY" doesn't seem to CHIME in very well at all with the rest of what we see going on.

Perhaps it might also help if you try to SUMMARIZE the MAIN POINTS of whatever the person is trying to say???

Because whatever they're saying also isn't getting across very well.

And that's also understandable, because trying to PIN DOWN or SUM UP a story like this one by LYNCH with the use of BROAD STROKES is also nearly impossible to do.

One understands and gets the first part of what they say when they say this:

A recurring theme of TP is the duality and balance of nature and existence: Light and Darkness, Ying and Yang, White and Black, Lodge. On Earth, this balance was disrupted when the A-bomb went off in the Nevada desert in '45 thus causing an inter-dimensional rift to open and release the ethereal demons of Judy, Bob, Mike and the woodsmen who look like Abe Lincoln, among others, into our realm. As a response to this, the Fireman, sent a good, ethereal spirit to counterbalance the evil forces

But was LAURA really that ONE DIMENSIONAL???

Try to remember how she was the admired and respected HOME COMING PRINCESS who delivers MEALS on WHEELS during the DAY TIME, but then she was also the COKE SNIFFING WHORE at night.

In other words, she also had a DUAL PERSONALITY, and was anything but what one would call A BALANCED PERSONALITY.

As for this part:

In effect, Laura, Maddy and Carrie Page were tulpas of the Laura entity. As explained in the series, tulpa's are thoughtform creations, created by two or more entities.

Where exactly in the series was this explained to us???

And Who created DIANE's sister JANEY E???

Prior to sometime in the 90's she and her son didn't even exist. So which 2 or more entities created her and her son and WHY were they created???

This would also jive with what happened to Audrey

Bad Coop and some other demons most likely made the tulpa to replace Audrey. I think the main victim, Laura was probably a tulpa too given the fact that she tells James in FWWM that she is not herself and that real Laura was gone long ago.

Did BAD COOP also make JANEY E and her son??? If so, WHY??? For what purpose???

And if LAURA is also one as well then WHERE is the REAL LAURA???

And wouldn't the MURDER of a COPY instead of the REAL LAURA also take away from the MAIN POINT of the story (due to the way all the SUFFERING that she went through and that the others went through after her death would also have never have really happened to her or to them)???

Time is non-linear and doesn't exist in such a fashion in the Lodges-

What about the way TIME doesn't work well for DOUGIE either once he enters this PLACE through the other PORTAL area or through the ELECTRIC WALL SOCKET???

He's obviously no longer inside of the LODGE area anymore, but he also still has TIME ISSUES.

In the FWWM version, Laura screams and is frightened by what she doesn't understand -- namely, the FBI agent from her dreams and the person whom Annie referred to,

And What about the other SCENE where the BLOODY ANNIE APPEARS in bed beside Laura inside of her BEDROOM???

Laura's also not IN the LODGE at that time, which takes us back to what the OTHER LINK says about her BEDROOM or the PAINTING on the WALL being some kind of a PORTAL.

fear causes her to react by withdrawing to the company of Leo, Jacques, and Ronette for sex, drugs and alcohol

Isn't it her ADDICTION to COCAINE that causes her to agree to spend time with those who either supply her with it or else pay her for having sex with her so that she can afford to buy it???

So it's also her ADDITION to DRUGS that's the reason why she's in the woods with LEO and Jacques.

Cooper did save Laura but Coop saving her, also had the inapposite result of ripping her from their reality. But, Coop, did also create an alternate timeline by going to the past and perhaps a retroactive alternate timeline. So, without any knowledge or access to the Laura entity in the alternate timeline, and since Laura Palmer never went to the BL in the alternate timeline in the first place,

How exactly did COOP create an ALTERNATIVE TIMELINE by going to the past?

The place in ODESSA was already there, because the 430 MILE MARKER info (where he and DIANE enter into the other PLACE), was also given to us by the GIANT BEFORE COOP ever enters the TIME LINE where LAURA'S BODY isn't found wrapped in plastic by the river.

https://www.forums.stevehoffman.tv/threads/twin-peaks-the-return-2017-contains-spoilers.385197/page-111

In the timeline where Laura is saved by Coop ... he still ends up in the Black Lodge, but there is no Arm Doppleganger to expel him. He exits after an indeterminate amount of time (was it the same 25 years as in the other timeline?) and immediately meets Diane/Linda, who helps propel him towards the 430-mile point, Odessa, and eventually Twin Peaks.

@Drooch

And although Leland and Sarah did have a daughter in the alternate timeline- in the alternate world, they put her up for adoption as a baby and that she wound up in Odessa, TX with the Page family and was given the name of Carrie Page.

And where is the PROOF of this theory??? Can't recall anyone saying anything at all about this ever happening or seeing any indication that SARAH and LEELAND were a CHILDLESS COUPLE.

And Sarah's drinking and attacking Laura's picture also MAKES NO SENSE if she gave her up for adoption as a baby.

Finally, Coop gained an awareness that his actions created the alternate universe

Again, the AU was already created BEFORE COOP goes back in time to the time of LAURA's MURDER. Because we were also told about the 430 MILE MARKER BEFORE he goes back to that time.

I think that Cooper himself did not know that even Carrie Page is a copy and that the only real Laura is the Laura entity itself or herself.

And WHERE EXACTLY is this so called REAL LAURA located??? As you may recall, apparently some kind of a HUGE thing with WINGS also GRABS her while she's there speaking to COOP inside of the LODGE and carries her away. So she's probably also NOT located there inside of the LODGE anymore either.

Cooper's actions again were doomed to failure because by making Carrie aware of who she was in the other world, Carrie would also come to the sudden realization that she too was a tulpa

Since we never spend enough TIME with Carrie (like we did with DIANE), there's no way to know if this is the case or not. And even though we'd never met DIANE before, we also knew something wasn't quite right about her when we did meet her. But WHAT do we learn about CARRIE in the short time we spend with her to give us that kind of impression about her???

as some hidden piece of information lay dormant within her--- which was triggered by her visit to her original house in TP.

Wasn't it hearing the VOICE of SARAH calling out the name LAURA that leads to the SCREAM???

Therefore, the reference to Richard and Linda was thus a warning- Cooper was not meant to go after and save alternate universe Laura (Carrie Page) as Richard and Linda were not meant to be together as so stated in that letter.

So then WHY did he IGNORE the WARNING and go after her???

Hope this helps.

UNFORTUNATELY, the answer is NO it doesn't really HELP to better understand things very much at all.

Because as you can see from the QUESTIONS put forth, it also doesn't really MAKE VERY MUCH SENSE.

Since the area where COOP enters the LODGE was also a place that only appears at a certain time (like when SATURN and JUPITER align or something), what MAKES MORE SENSE is the 430 MILE MARKER is also a PORTAL or a place where one can ACCESS the OTHER PLACE where COOP finds CARRIE.

And just like the case was when he ENTERS the LODGE at a CERTAIN TIME, one also needs to ENTER the other PORTAL or PLACE that takes him to ODESSA at a certain TIME.

As you may recall, the BAD COOP also had the WRECK in the car at a CERTAIN TIME, or at the SAME TIME as DOUGIE or COOP exits from the LODGE and enters the VEGAS area through the OTHER PORTAL (the ELECTRIC WALL SOCKET).

Remember how the GREEN COAT COOP who has sex with the PROSTITUTE also ends up INSIDE of LODGE where he gets turned into the GOLDEN BALL???

And how we saw the DARK SUIT COOP laying there on the floor in his place???

And then after he's taken home to the place with the RED FRONT DOOR, he becomes the COOP who wears the GOLDEN colored suit.

Or was it the other way around and the COOP who wears the YELLOW COLORED SUIT JACKET got turned into the LITTLE GOLD BALL???

Whatever the case may be, all of that also takes place AT A CERTAIN TIME, and at a CERTAIN PLACE, which is also the reason why LAURA told COOP she'd see him AGAIN in 25 YEARS.

Because apparently she also KNEW it would take 25 YEARS before the PLANETS ALIGNED again (which would also enable the PORTAL AREA to OPEN BACK UP again).

As you may recall, The PORTAL AREA where COOP enters the LODGE was also surrounded by those TREES.

Cooper left the Purple Room through outlet #3 on Saturday, October 1st at 2:53PM He arrived back on Earth, assuming the life of Dougie Jones ...

Perhaps it would also help if you and/or the person who wrote the "TUPLA Theory" that you posted WATCHED the first EPISODES of THE RETURN again … especially the part of it where we see COOP inside of the LAVENDER or the PURPLE COLORED AREA ... where he encounters the BLIND GIRL ... who climbs up to the ROOF TOP ... and then flies away to get away from her MOTHER who is knocking on the door ??

Because we also see the IMPORTANT CLOCK/SOCKET DEVICE that's located there inside of that place before the girl climbs up to the ROOF TOP area.

A recurring theme of TP is the duality and balance of nature and existence: Light and Darkness, Ying and Yang, White and Black, Lodge.

And as for the WHITE LODGE being a GOOD PLACE, we also have this other DESCRIPTION of it that sounds like it's anything but a GOOD PLACE to be:

Windom Earle relates a past-tense story about the White Lodge which is replete with Edenic imagery, suggesting that the White Lodge belonged to a time now lost or forgotten.

"Once upon a time, there was a place of great goodness, called the White Lodge. Gentle fawns gamboled there amidst happy, laughing spirits. The sounds of innocence and joy filled the air. And when it rained, it rained sweet nectar that infused one's heart with a desire to live life in truth and beauty. Generally speaking, a ghastly place, reeking of virtue's sour smell. Engorged with the whispered prayers of kneeling mothers, mewling newborns, and fools, young and old, compelled to do good without reason ... But, I am happy to point out that our story does not end in this wretched place of saccharine excess. For there's another place, its opposite:"

The Lodge's dynamics are difficult to describe. Time seems to have no meaning in this dimension and space is fractured between similar rooms linked by similar narrow corridors of red drapes. BOB is shown to rewind time to prevent Earle from stabbing Cooper, the reason being that Earle was overstepping his own rights in the lodge.

As you can see, even the "DUALITY THEME" itself that was put forth is also a problematic one (due to the way BRIGGS finds the WHITE LODGE to be so REPLUSIVE). Meaning this EDEN- like- place that would be PARADISE for some people who inhabit it would also be a LIVING HELL for others like Briggs who want nothing to do with it.

The expression "One man's TRASH is another's TREASURE" also comes to mind in regards to the WHITE LODGE being a GOOD PLACE to inhabit.

Just like being a HOMECOMING QUEEN might also seem like a desired outcome for some people …

whereas we also know from looking beneath the SURFACE …

at what goes on UNDER the APPEARANCE in that PHOTO where we see her wearing that CROWN …

that LAURA was also a Sexually abused COKE WHORE as well.

Meaning one would also not like to BE HER or LIVE there inside of the place she inhabits anymore than one would wish to live inside of the WHITE LODGE that BRIGGS describes for us.

So a QUESTION also arises as to WHY COOP would want to take her back to a place that he also knew she had been sexually abused in.

And since we also know COOP didn't forget about who he was like Diane does when they enter the 430 MILE marker, that also means he should still remember the kind of ABUSE that LAURA endured inside of that house.

So WTF was he doing when he brings her back there to TP???

Perhaps the problem is how he can't SAVE her when it's SOCIETY ITSELF that's the problem???

And that's also made EVIDENT to us by the FIGHT that he gets into with the 3 REDNECKS at the DINER in ODESSA who were tormenting the waitress (which was also the place where Carrie/Laura worked as a waitress).

And since we also saw the DEAD BODY of the other REDNECK sitting there in the house where she lived, doesn't that also seem to indicate ODESSA was just as bad a place to live in as TP (due to the way both places were also INFECTED with waayyyy too much POISONOUS MASCULINITY) ???

The same kind of a theme was also explored in the last film that LYNCH made which is called INLAND EMPIRE.

https://www.spin.com/2017/09/twin-peaks-the-return-finale-recap/

From the very beginning of The Return, the viewer was clobbered over the head with the idea that they should free themselves from being expressly concerned with the particular mysteries of Twin Peaks. The first episode of the show, in particular, was enough to make one feel like they were watching a sequel to Inland Empire rather than Peaks. We were stuck watching mostly-silent images of a warehouse in Manhattan, waiting for an unknown malevolent spirit to materialize out of a plastic box and maul a couple of brand-new, largely non-descript characters as they hooked up. Then, we were shunted off to South Dakota to parse a murder scene …

before we saw the scope of the numbered portals: the sockets and telephone-pole conduits from the real world to various new Lodge-like spaces recalling different eras, ranging from an island in a purple, tumultuous sea to an abandoned old theater

In other words, there turned out to be a lot of other ways to flit between dimensions that don’t require hiking to that pool of oil in the woods outside of Twin Peaks.

in the end, it was clear that no one–no member of the FBI taskforce, no version of Dale Cooper, maybe not even MIKE as protector of the dark realm–fully understood the limitations and rules of the entropic correspondence between the dimensions.

Anyhow, if you've seen BLUE VELVET, then think of the way that we follow the camera as it ENTERS into the CUT OFF EAR, which also appears to be still another PORTAL that takes us into the UNDER WORLD area of the town where that story takes place.

And then we also EXIT from the EAR at the end of that story, whereas in this RETURN story COOP seems to be STUCK and TRAPPED inside of the PORTAL area that the 430 MILE marker takes him into (when he enters it with DIANE who turns into LINDA).

Cooper and his secretary Diane Evans crossed into an alternative dimension in their car in the hopes that Cooper could save Laura from her original, grisly fate. Unfortunately, Judy, the all-powerful entity who thrives on electricity, saw through his plan, and stuck the duo in alternative dimensions for the rest of their lives with no chance of returning to the “real” Twin Peaks ever again.

And doesn't that GIANT SEE THROUGH BOX (that looks like a GIANT BIRD HOUSE) also appear to be still another PORTAL of some kind that she also TRAPS COOP inside of???

it is Lynch himself, as Gordon Cole, who gives us perhaps the most edifying info-dump

Major Briggs, Cooper, and I put together a plan that could lead us to Judy. And then **something happened to Major Briggs. And something happened **to Cooper. Phillip Jeffries, who doesn’t really exist anymore—at least not in a normal sense—told me a long time ago he was on to this entity. And he disappeared…And now this thing of two Coopers.”

does Gordon Cole really know how and why MIKE and the Pig-Pen-like woodsmen are able to open up portals where and when they need to, to offer to make another Cooper clone or scrounge around in someone’s guts? Of course not.

And neither do we.

The bottom line is this:

The Return more-than-set up the notion that Judy’s reverberations work beyond anyone’s penchant for reasoned deduction

there’s always only so much that can be reasoned away, and presumably only so many explanatory gestures that Lynch would allow for

A man who was basically forced to betray his central desire for the original series–that the audience would never know who killed Laura Palmer–would certainly not let any of his choicest enigmas be compromised here

freedom even allowed him to, in a couple of shots toward the end of the season, erase that bungled murder plot entirely.

In other words, LAURA never died and the STORY was REWRITTEN to one where she's GONE MISSING (and became the CARRIE character that lived in ODESSA).

So, imo, the PORTALS (not the TUPLA's) would also be a much better way of understanding what happens in THE RETURN.

THE STRUCTURE of the SHOW:

https://medium.com/@onantiad/episodes-17-18-of-twin-peaks-the-return-are-meant-to-be-watched-in-sync-81352ce38e8

Cooper tries to go out of electrical socket 3 in part 3, but instead has to leave through socket 15, & eventually returns to himself in part 15, a strange acknowledgement by the show of the structure of the show in OUR world, rather than the world of the show) to this two-birds-with-one-stone comment made by Lynch-playing-Cole, it makes sense that we may then read this as meaning the two parts are meant to be seen as a pair—two birds, one stone. Two parts, one finale. “Kill” them both by watching them both at the same time.

And finally, Here's parts of what I see as being an even MORE IMPRESSIVE theory or EXPLANATION than the Tupla theory … one that not only describes the use of the PORTAL areas ... but one that also claims JUDY was defeated by TRAPPING her inside of an ETERNALLY REPEATING LOOP:

The true final moment then, according to yrevglad, is the moment in the Sheriff’s office after BOB has been defeated & Mr. C’s body returned to the Black Lodge. It comes as Cooper’s omniscient, timeless self overlays the frame at the moment in which he connects with Naido who is replaced by the true form of Diane. His corporeal form says his goodbyes to the people & town of Twin Peaks. He knows the timeline is about to reset: he’s going to go back in time to stop BOB from killing Laura… but once he does that, the timeline will change entirely & Cooper will never have a reason to come to Twin Peaks in the first place.

This means that the timelines of the two episodes are overlapping—though I would refer to the Richard/Linda ‘zone’ as an overlapping dimension rather than timeline. I believe it to be a ‘pocket dimension’ or parallel dimension as described on Bill Hastings’ The Search For The Zone website. In fact, the R/L zone is OUR OWN dimension that is overlapping with the show.

In the beginning of part 18, when Cooper leaves the Black Lodge into Glastonbury Grove after re-enacting the same series of events we saw him go through in the part 1. In retrospect, MIKE’s repeated line “Is it future, or is it past?” takes on a whole new meaning here, as the viewer is directly confronted with the question of whether what we are now seeing follows the scene inside the Sheriff station, as it’s presented, or if it actually precedes it in time. In any case, an interesting juxtaposition appears when viewed in sync with part 17. Cooper leaves through the red drapes & finds Diane waiting for him.

Later, as Mr. C approaches the portal to the White Lodge in the woods outside Twin Peaks, Cooper and Diane approach the portal to the ‘other side.’ “Think about it, Cooper,” says Diane in 18, as Mr. C contemplates the journey he himself is about to take in 17.

Mr. C is taken into the White Lodge & then transported to the parking lot of the Sheriff’s station. As he is being electrically transported out of one dimension, Diane & Cooper are electrically transported into another dimension.

Parsons performed a magickal ritual in the desert which may or may not have opened a portal allowing the entry of BOB/Judy into our realm.

Cooper/Richard has left the hotel room to find he’s in a different hotel, and gets in his car, which he finds to also be different.

What do we take from this? That, perhaps, with the Richard/Linda universe we are seeing a different dimension altogether, one that BOB does not inhabit, only Judy? One that is more influenced by the White Lodge than the Black?

Cooper enters Judy’s (THE DINER in ODESSA) not at all like himself. He doesn’t smile or flirt, nor does he relish the taste of the coffee. The only vestige of the Cooper we know emerges when he tells the cowboys to stop harassing the waitress. Once they threaten him, he dispatches them with the implacable force of Mr. C.

He’s neither the 100% pure boy-scout Special Agent Dale Cooper, nor is he the 100% evil psychopath that is Mr. C. He’s both. This is another clue that the world of Richard & Linda is in fact our world. The real world.

(The same way as LAURA is both a HOMECOMING QUEEN and a COKE ADDICTED Prostitute who works at ONE EYED JACKS).

events in part 18 is mirrored by important plot developments in part 17.

2:53PM. In part 18 at this exact same moment is just after Carrie Paige has opened the door to Cooper. “Did you find him?” she says. No, but HE has found HER. The moment Cooper finds Laura in Judy’s world (our world), is the moment he prevails.

Cooper questions Mrs. Tremond to learn that they purchased the house from a Mrs. Chalfont. Both of these names are and have been recognized as the names used by the Old Woman and her son (who looks like a mini-David Lynch) who gives Laura the picture that serves as a gateway from the Convenience Store into Laura’s bedroom.

This climactic walk in part 18 up the steps to the site of Laura’s abuse and torment, and then back down again

is only the simple confrontation and subsequent integration of her trauma.

This final scene of the Judy-possessed Sarah Palmer is taking place in the Richard & Linda dimension. As soon as Mrs. Tremond closes the door in part 18, we cut to inside the house whose door was just closed to us, in part 17. Mrs. Tremond, and the whole world she inhabits, which is, in fact, OUR WORLD, is a false projection

the only thing it (JUDY) can do is to frantically, uselessly attack an effigy of Laura in as violent a manner as it attacked the young couple in the beginning

This is the True End of Twin Peaks: The Return. It’s simply that it’s an ending that also serves as a beginning, the beginning of an eternal loop in which the combined forces of White Lodge Agents Cooper, Laura Palmer, Major Briggs, and the Fireman, have trapped the negative entity Judy into an eternal recurrence of total annihilation.

In other words, it also suggest that one needs 2 screens to watch EP 17 and Ep 18 AT THE SAME TIME in order to fully comprehend the reason why we see the SUPERIMPOSED IMAGE of COOP in Ep 18.

And unlike the other conclusion that COOP is DEFEATED and had been TRAPPED by JUDY, Apparently JUDY is the DEFEATED one, and like the case is with SISYPHUS, she is forever DOOMED to keep STABBING at the PHOTO of LAURA (where LAURA wears the CROWN on top of her head that represents her as being the Town's HOMECOMING QUEEN).

So which VIEW do you prefer DROOCH???

The HAPPY one where COOP WINS (like at the end of BLUE VELVET where they watch the ROBIN eat the BUG), or the other one where COOP is the one TRAPPED inside of the 430 MILE AREA???

Also NOTE the way COOP's BLUE VELVET character (and DIANE's) were both almost KILLED by FRANK at the END of BLUE VELVET.

And it was only because FRANK shot the other DOUBLE CROSSING detective (who wore the YELLOW COLORED COAT) that COOP'S BLUE VELVET character was able to survive.

So his BLUE VELVET character also almost LOST the BATTLE in that other tale where he PRETENDS to be the BUG MAN (when he goes to SPY on FRANK'S girlfriend DORTHY who was also the REAL LIFE girlfriend of LYNCH at that time inside of that other time line where we ENTERED and EXITED from the UNDERWORLD by going through the SURREALISTIC CUT OFF EAR PORTAL).

Also NOTE the way THE RETURN is both an attempt by COOP and by LYNCH himself to CORRECT and UNDO what he sees as the damage that was done to LAURA's story 25 years ago.

But HOW does one UNDO the DAMAGE done by the NUKE being set off which apparently also appears to have OPENED UP the PORTALS that enabled JUDY and BOB to enter into them??? Doesn't that also imply that other different EVIL ENTITIES could also use them (who may also go after someone like Shelly and Bobby's drug addicted daughter in PART 4)???

What did you think of Twin Perfect’s epic explanation?

https://youtu.be/7AYnF5hOhuM

Since one doesn't have the TIME to watch a VIDEO that's almost 5 HOURS in length ... perhaps you could SUMMARIZE whatever the MAIN POINTS are of what's been said about TP: THE RETURN???

This is also the FIRST TIME that one has ever seen a VIDEO that lasts for that LONG!!!

FOUND THIS in a comment:

Mayor Tacoghost
Mayor Tacoghost
8 months ago
20:23 CATCHING THE BIG FISH
40:51 THE KEY THAT OPENS THE BOX
1:10:31: FIRE IS COMING
1:31:57 GOTTA LIGHT?
1:55:36 THE ONE ARMED MAN
1:58:57 A CIRCLE OF PAIN
2:12:59 GARMONBOZIA
2:21:36 THE MAGICIAN LONGS TO SEE
2:29:46 THE MIND IS A DETECTIVE
2:41:31 PLOT DEVICES
2:51:34 YOU CAN’T GO HOME AGAIN
2:54:12 FEELING THE AIR
3:05:49 THE WHITE HORSE
3:13:49 IDENTITY CRISIS
3:19:03 COINCIDENCE AND FATE
3:25:01 THE ROADHOUSE
3:30:28 RUNNING OUT OF SAND (audrey horne!)
3:41:44 IT IS IN OUR HOUSE NOW
3:49:12 THIS THING OF TWO COOPERS
3:51:01 WHO IS JUDY?
4:16:24 “DIANE…?”
4:25:06 WHAT YEAR IS THIS?

Perhaps you could also PICK A TIME from it and then we could discuss what that part of it has to say???

Also found another COMMENT where someone suggest LYNCH was just TROLLING US ???

brav0wing 2 months ago (edited)

So, basically, the 4h and 35mins of explanation is reduced to this: Lynch was trolling the Television world with Twin Peaks.

29

Do you think that's a FAIR ASSESSMENT of the CONCLUSION of this VIDEO???

I know it’s crazy long but it’s broadly considered to be the definite explanation of Twin Peaks and major Lynch discussion podcasts and publications reckon he’s cracked it. It’s also very entertaining and addictive to watch (apart from his occasional Lynch impression) so I strongly recommend checking it out, esp given your level of interest and insight into Lynch’s work.

In very brief, TP has always been a commentary on TV and how it psychologically warps people and culture, especially the casual treatment of violence, which is why the town by contrast completely melts down in response to Laura’s death. Once the network forced the reveal of Laura’s killer, Lynch starts launching an attack on the desire to kill mystery in the pursuit of closure, first in the ending of S2, then the added Log-lady intros, then FWWM, then with The Return - which draws out Cooper’s return for almost the entire series then almost immediately confounds the audience with a new set of mysteries.

I can’t do it justice, I recommend listening for 10 minutes and if you’re not interested turn it off, but if you’re hooked, get ready for an impressive deep dive.

Thanks for the link. Reading the COMMENTS has been interesting because nearly everyone seems to give praise to the guy who's done the video (expect for the occasional wise crack comment).

The problem is the way that it's going to take FOREVER to get through a VIDEO that's this long in length (which is also why one wishes he'd typed it up and put it into WORD form instead of putting his ideas into a VIDEO) !!!

READING something is so much EASIER than WATCHING it, because you can also RE-READ something again, whereas with a VIDEO you need to rewind it again (which can also be a MAJOR PAIN in the butt sometimes).

Which IDEAS were the MOST IMPRESSIVE ones to you???

By Using that handy LIST (highlighted in green) with the TIME MARKS on it, surely you can also recommend a certain part of the VIDEO that was more impressive to you than some other part of it???

Here's some NOTES that were taken while checking out the MIND is a DETECTIVE part of it:

2:29:46 THE MIND IS A DETECTIVE

Coop represents the detective part of our minds

Cooper is a literal manifestation of the audience's intuition

The  Fireman says listen to the sounds, (which are repeated when he goes BACK in TIME
 and is with LAURA in the WOODS) 

The FIREMAN also says to remember 430, Richard & Linda, and 2 birds with one STONE. 

 430 miles is the distance traveled before Coop & Diane cross over into some NEW REALITY
 and have NEW IDENTITIES (as Richard & Linda).

The COOP who says he understands what the FIREMAN says is from sometime in the FUTURE ... 
 who has seen these things ... who is a representative of the audience ...
 who has watched the whole season and is re-watching it from the beginning.

The FIREMAN tells us this FUTURE COOP is FAR AWAY (because he's in the FUTURE TIME). 

When AUDIENCE GETS IMPATIENT and DEMANDS to know WHO KILLED LAURA
 that means they got POSSSESSED by BOB (the same way as COOP does at the end of S2).

So LYNCH is represented by AGENT COLE, and AGENT COOP represents us the AUDIENCE, 
and MAJOR BRIGGS represents Frost. 

When I find some more TIME I'll try to post some NOTES from another SECTION of it.

Someone else in the COMMENT SECTION also says that they went back and watched the show again with these IDEAS in mind and that they didn't SEE a CONNECTION between them and what they saw going on.

TheMangoDeluxe 1 month ago

I was really convinced this theory when I watched a week ago - so much so that I went back and watched season 1. I have to say I’ve now gone completely the other way. There is very little in season 1 to suggest that everything was planned out as a meta commentary on the state of television - at least ahead of time. As an aside it is a lot less surreal than i remembered it being and other than the red room dream and Sarah palmers vision there aren’t any overt supernatural moments at all. In one of the commentaries Harley Payton, a series writer hits the nail on the head - mark frost was much more concerned with the big picture stuff and David was much more spur of the moment inspiration (a trait stemming from his film experience). Things like electricity, fire on top of wood, radio waves, all that stuff isn’t really at play in series 1 at all. That’s not to say this theory doesn’t hold for series 3 of course - I just felt that when I was testing out the ideas in series 1 it felt forced.

One cool thing I did notice was that lelands tweed jacket when he meets maddie has the zig zag pattern in the same episode that we see the red room for the first time. Also Leo johnsons jumper has the same pattern at one point :)***

Do you get HBO??? There's also another really good NEW DETECTIVE SHOW on now called PERRY MASON (which is also NOTHING like the OLD TV SHOWS). It's also a WONDERFUL MURDER MYSTERY which involves the death of a KIDNAPPED INFANT (which is also suppose to be RESURRECTED again on EASTER).

https://www.themoviedb.org/tv/85853-perry-mason/discuss/category/5047951f760ee3318900009a

So if you like TP, you might also like this other STORY as well (which also has 8 PARTS or EPISODES to it). And HBO has also RENEWED it again for another season because the RATINGS for it have been so good. I think they're also going to show PART 6 of it tomorrow night. And then parts 7 & 8 will be aired the following 2 weeks. But if there's going to be an S2 does that mean we'll know who the KILLER is by the end of S1??? Or will S2 be a situation where the search for the KILLER of the INFANT continues???

3:05:49 THE WHITE HORSE

I really like this part of it ... because it also feels like he's NAILED IT or has TAPPED into something that also EXPANDS beyond TP and reaches into INLAND EMPIRE ... where we also have DERN's character ... who NO ONE CARES ABOUT ... anymore than he says anyone CARED about LAURA PALMER.

And that's also illustrated for us in DERN's DEATH SCENE on the WALK of FAME in HOLLYWOOD ... where she DIEDS right in front of 3 other people ... who ignore her while they discuss the BUS SCHEDULE ... while she PUKES UP BLOOD on one of the STARS of the MOVIE STAR ... and then dies in front of them without any of them picking up the pay phone to dial 911 for help.

So when he says the WHITE of the EYES is LOOKING the other way instead of confronting the situation and doing something about it, that equally applies to both the ABUSE of LAURA PALMER in TP and to the way that the other 3 people also do nothing to help DERN's character in IE.

And right before DERN's is stabbed with the SCREW DRIVER we also hear Mr. K (the guy she's talking to) tell someone else on the phone that the HORSE has been taken to the WELL.

So if the WHITE of the EYES represents LOOKING the other way (which results in the DARKNESS WITHIN taking over the way he says it takes over SARAH PALMER), then the expression of taking the HORSE to the WELL in IE must also mean the guy on the phone knows that he's talking to a DARK HORSE, or to someone who's just as DARK on the inside as SARAH PALMER had become???

The problem with this theory though is how we also see that BUG crawling into her BODY in THE RETURN back when she was still just a YOUNG GIRL.

So how do we explain that happening with the other theory of her SOUL becoming BLACK because of the way that she LOOKS the OTHER WAY instead of doing something to STOP the ABUSE of her daughter???

Doesn't the BUG also seem to represent the FACT that something EVIL happened to her even BEFORE she got married and had LAURA???

3:47 TIME MARK

At this section he declares that TV ROTS YOUR BRAIN is suppose to be the MORAL of the story.

And he also shows clips of SARAH PALMER as a young girl at the time when the BUG crawls into her mouth.

But he also says the RADIO STATION is a TV STATION:

FEAR enters the TV STATION and destroys the minds of the people working there

and he completely MISSES the POINT of how the WOODSMAN is SPEAKING to the others like SARAH PALMER over the RADIO (not the TV ... which also wouldn't have even existed yet for the public at the time when the FIRST NUKE went off**).

So there's a HUGE PROBLEM here at this point, and it also tends to INVALIDATE everything else that's been said prior to this (due to the way that he also makes the claim that EVERYTHING else he's said before this point was leading up to this point).

Still haven't seen all of the VIDEO yet, but the impression that one gets (from what one has seen) is that what the other poster said about how the IDEAS put forth feel like they've been FORCED is right.

And IF you use the CLOSED CAPTION OPTION you can also see this for yourself at this TIME MARK:

4:26:56

Where you'll also find 2 CONTRADICTORY sentences on the screen at the SAME TIME:

ONE of them says this:

Once we're back on the air

vs

The other one saying this:

Once we cross it could all be different

Since the 2nd sentence that's put forth by the (CC) is the real DIALOGUE that also indicates the other DIALOGUE would be FAKE DIALOGUE???

Simply something someone has FORCED onto the SCENE as a way to try and make what's being said FIT INTO this THEORY???

Because being BACK on the AIR isn't what COOP is saying.

And CROSSING is also MUCH DIFFERENT than being BACK on the AIR.

Plus he's also claiming that the SEE THROUGH BOX that COOP FLYS into (the one that looks like a BIRD HOUSE) is also suppose to be a TV SET.

But TV SETS also don't make the kind of REPEATED IMAGE that we see happening when we see 10 REPEATED IMAGES of COOP.

That's a CAMERA TRICK created by pointing a CAMERA at another CAMERA.

But in this case it also appears to be TRAPPING COOP in TIME (hence the CLICKING SOUND which one also doesn't hear happening on a TV SET).

And later JUDY also enters the BOX and proceeds to make a MEAL out of the couple sitting inside of the ROOM which is also something that doesn't happen. Because characters inside your TV SET also don't STEP OUTSIDE of it and then EAT YOU or PECK you to DEATH the way JUDY does this other COUPLE.

So instead of trying to FORCE his GOOFY TV IDEAS onto the SHOW, my suggestion is he do the same kind of a thing that this other person did who wrote the COMMENT, and go back and WATCH the show again. But this time he should also try to do so without his PRECONCEIVED IDEAS in mind, which also appear to be making him BLIND to what he might otherwise see if he DUMPS them.

Because his calling the RADIO STATION a TV STATION also REVEALS how little he's PAID ATTENTION to the show. And his suggesting that Sarah was watching a TV (when she's OBVIOUSLY listening to what the WOODSMAN at the RADIO STATION is saying on the RADIO in her BEDROOM) also reveals that he's TRIED way too hard to FORCE his TV IDEAS of the show into places where they DO NOT FIT.

Because Anyone who makes a BOO BOO as big as that one definitely needs to go back to SQUARE ONE and begin again.

At least that's the way I see it.

Sounds like you’re gradually getting through it, be interested to hear your full review. He’s on Discord so perhaps you could quiz him on areas of disagreement.

While most people found it mostly convincing, there were some common criticisms which he addressed in this follow-up video: https://youtu.be/5FK1drvrmGg

Thanks for the links. I'll try to check this one out if I can find the time.

The MAIN PROBLEM with this guy is probably his AGE, because he's probably also TOO YOUNG to realize the difference between a RADIO STATION and a TV STATION, or be able to comprehend how there were NO TV STATIONS back when SARAH PALMER was growing up and the FIRST NUKE went off.

But even if one is willing to OVER LOOK his youth and his IGNORANCE in this regard, there's still the other BLATENT ISSUE of how the WOODSMAN saying what he says about the WHITE of the EYES etc. OVER the RADIO (instead of on TV) also still DISPROVES his THEORY that TV is the problem because it ROTS the BRAIN.

Because OBVIOUSLY people were also already having their BRAINS ROTTED before TV watching began.

PLUS the other guy who use to be LAURA's SHRINK (who wears the 3D glasses with one lens blue and the other one RED), is also SPEWING FORTH other STUFF OVER the RADIO and NOT on TV.

Remember how he sells the GOLD PAINTED SHOVELS to SHOVEL the $HIT???

So once again the BREEZE that we see blowing through the TREES isn't RELATED to what's happening ON TV in that case either.

But I do also LOVE his ANALYSIS of that section of the VIDEO, and completely agree with what he has to say about what the SHRINK is doing.

Also thought you might find this ANALYSIS of IE interesting DROOCH, because it's BASICALLY saying the SAME KIND of a thing as what this other guy is saying with his TV THEORY* where he also claims LYNCH, FROST, and COOP are there to represent COLE, BRIGGS, and WE the AUDIENCE:

https://www.themoviedb.org/movie/1730-inland-empire/discuss/595a9d8ac3a3680d59012df0

3 MAIN REVELATIONS in IE:

1 DERN'S

2 OUR'S

3 LOST GIRL'S

REVELATIONS which also DEPEND upon our having a FIRM GRASP and UNDERSTANDING of the way in which the MOVIE PROPS or the FAKE TWIN COPIES of the OLD HOTEL ROOM, SMITHY'S HOUSE, the SNOWY STREET in POLAND, and the WALK of FAME on HOLLYWOOD BLVD. have been USED in the AXXON N TALE.

1. DERN'S REVELATION:

is she's been having SEX with the SAME GUY as all of the rest of the girls have been screwing. Because Why else do they all know about that little thing that he does?

2 OUR REVELATION:

comes after DERN'S DEATH SCENE ... where we discover WE'VE also been LOST like LOST GIRL ... by thinking we were really located on the Walk of FAME ... when we were REALLY INSIDE of THE FAKE TWIN COPY of the WOF ... (the MOVIE PROP which is located inside of STAGE 4).

3.KAROLINA or the Lost Girl's REVELATION

is the same as DERN'S and OUR'S:

She realizes she's also been having SEX with the same BIG BAD WOLF as DERN (and all of the rest of the other girls that he's SEDUCED) ...

and that he's also taken her to the FAKE TWIN COPY of the HOTEL ROOM ...

THE FAKE COPY that's also a MOVIE PROP which is located inside of the MOVIE LOT...

because THE WOLF (or the LEADING MAN) also knows that if he took the LOST GIRL to a REAL HOTEL ROOM ...

then the SPIES of MARILYN (THE CELEBRITY SHOW HOST) would also CATCH him at his PREDATORY behavior ...

and then REPORT it to the rest of the WORLD ...

which would also PREVENT the BIG BAD WOLF in this AXXON N TALE from being able to SEDUCE other PREY ...

because then they'd also be able to see how he's a PREDATORY BIG BAD WOLF who only WEARS the CLOTHING of a GENTLE SHEEP on the OUTSIDE of the FAKE PERSONNA that he PROJECTS to his PREY so that he can SEDUCE THEM.

In other words, the WOMAN'S IN TROUBLE because she's fallen for the LIES of the LEADING MAN.

And what we have is a PORTRAIT of the behavior of a TYPICAL LEADING MAN who goes out to PLAY his ROLE, and the CONSEQUENCES of his ACTIONS which follow from his having PLAYED AROUND.

And THE BRILLIANCE of DERN'S DEATH SCENE also comes from the way that LYNCH also MAKES US feel what it FEELS like to be an ACTOR who is still STUCK in CHARACTER.

And that's what's happened to NIKKI/SUE after the DEATH SCENE.

She's still STUNNED and is having trouble coming back out of the ROLE again.

And we the AUDIENCE also know how she feels ... from the way that the CAMERA PULLS BACK ... to reveal how we're still INSIDE of STAGE 4 ... and aren't REALLY located there ON THE REAL WALK of FAME the way that we'd assumed we were.

At least that's the way I see it.

It's the GENIUS of the way he's showing us what it feels like to be an actor.

So whereas this other guy is saying that COOP is there to REPRESENT US the AUDIENCE in THE RETURN ...

what I'm saying is LYNCH also ACTUALLY made US the AUDIENCE CHARACTERS in *INLAND EMPIRE* ...

after DERN'S DEATH SCENE when he PULLS BACK the CAMERA ...

and then MAKES US FEEL PRECISELY what it feels like to be an ACTOR who's still STUCK in the ROLE or in the CHARACTER that they PORTRAY.

@Drooch said:

Sounds like you’re gradually getting through it, be interested to hear your full review. He’s on Discord so perhaps you could quiz him on areas of disagreement.

While most people found it mostly convincing, there were some common criticisms which he addressed in this follow-up video: https://youtu.be/5FK1drvrmGg

FINALLY finished watching BOTH VIDEOS ... and here's the CONCLUSION of the 2ND VIDEO ... which is suppose to address criticisms of what he said in the first video ... where one also sees still another problem with what he's saying ... (but one also sees NOTHING in the 2nd video that addresses how it's the RADIO that's the ISSUE rather than the TV ... due to the way BOTH the WOODSMAN and the SHRINK use the RADIO as a way to spread their MESSAGE):

18:50 TIME MARK:

The NARRATOR of the video says this:

A story about Lynch's artistic search for balance in the pursuit of finding beauty in the macabre and therefore the mundane, lamenting the lack of depth in modern media, and attempting to highlight and correct the way the average person consumes it, all in order to promote love and happiness in our everyday lives. The seemingly "small" concept of Twin Peaks being a self-aware TV show is LYNCH's mechanism for delivering this larger, more complicated message, and this includes the show's very serious exploration of very serious topics, because he sees TV as a major culprit in the cheapening of visual storytelling and the spreading of chaos and fear into the ZEITGEIST.

At the 19: 22 TIME MARK:

On the screen we see the QUOTE from LYNCH saying ART HOUSES are dying and being replaced by mall cinemas showing 12 pictures ... and that TV has lowered the level and made certain things popular ... moves fast, doesn't have a lot of substance, has a laugh track and that's all (which also describes his scene with the RABBITS in INLAND EMPIRE).

19:45 He says he has a FLAWLESS COUNTER ARGUMENT:

DIANE represents TWIN PEAKS

COPPER represents the AUDIENCE

EVIL COOP forcing himself onto her represents the AUDIENCE FORCING the MYSTERY of LAURA'S MURDERER to be revealed.

20:28 TIME MARK

Chris Rodley states:

Lynch suggested a question/answer format because the questions would be more interesting than the answers ... which was encoded with the FEAR and TREPIDATION he had always associated with having to talk about his work.

20:57

calling to say he was checking himself into a RAPE??? CRISIS CENTER???

Frost talking about ODYSSEUS, ORPHEUS, and it being about the JOURNEY HOME ... something ripped a hole in the SPACE-TIME continuum and it unleashed some -- opened PANDORA's BOX -- Greek MYTHology -- and things unanticipated and strange came out of the box just like in the myth

26:22

LYNCH: Yeah, that sounds really good! It actually fits really well with my whole thing about MODERN FEAR in the AIR working its way into BROADCAST TV! And the SPLITTING ATOMS

26: 30 TIME MARK

can be like a WINDOW into the UNITED FIELD! Not that I'd tell you any of that, but great stuff Mark!

26:35 TIME MARK:

Lynch's TV commentary Meta (Frost is on board)???

27:06 TIME MARK

Frost interviewer saying the book is a SCRAP BOOK or an archive And he says it's a VERY VISUAL BOOK ... an EPISTOLARY NOVEL in that it's comprised largely of DOCUMENTS -- found documents.

And the concept here, this is literally a box of these materials that was found that relates to the case we're all familiar with from the TV show

27:19 TIME MARK

A MYSTERY about WHO exactly put this all together. "WHO is the ARCHIVIST??

iT'S A MYSTERY in and of itself.

The DIRECTOR appears in the show as a DIRECTOR that presents METAFICTIVE CLUES about his self -aware TV SHOWS that's built out of other TV SHOWS to an FBI AGENT

27:41 TIME MARK

CLUES about his SELF -AWARE TV SHOW that's built out of other TV SHOWS to an FBI AGENT that represents the AUDIENCE.

TIME OUT here:

FOR MY COMMENT:

And here's what appears to be still ANOTHER BIG BOO BOO:

NOTE the way COOPER keeps DRINKING LOTS of COFFEE ...

Which is what LYNCH HIMSELF would do when he was BUSY WRITING his SCRIPTS

Which would indicate that COOP represents LYNCH (not those of us in the AUDIENCE who don't DRINK COFFEE).

So, imo, what we seem to have is COOP as representing a YOUNGER VERSION of LYNCH, and LYNCH himself as AGENT GORDON COLE who is representing an OLDER VERSION of COOP.

Older AGENT/ YOUNGER AGENT

Instead of COOP representing US, he probably represents a YOUNGER version of GORDON COLE (hence another younger version of LYNCH).

27:52 TIME MARK:

Narrator again:

You might want to consider that MARK FROST, the author of two TWIN PEAK books, is appearing in the books as an author that presents METAFICTIVE CLUES about his SELF-AWARE books that are built out of other books to an FBI AGENT that represents the reader. The books follow the same META as the SHOW.

So this is his DEFENSE???

That because the BOOKS FROST WRITES are full of META FICTIVE CLUES, that also PROVES what he's said about the SHOW also being META is TRUE???

MY CONCLUSION:

My OPINON that he's TRYING too hard to FORCE his VIEWS onto the SHOW still remain the same.

He also points out how it's a RADIO STATION earlier in the FIRST part of the FIRST VIDEO, but later on in the 2nd part of it (after the MIND of DETECTIVE PART of it starts), he also REFERS to the RADIO STATION as being a TV STATION when it IS NOT.

Therefore making the CLAIM that TV is the problem have NO MERIT when it's the RADIO STATION that's the SOURCE of the problem.

But he does have some GOOD IDEAS (such as pointing out how NO ONE CARES about LAURA PALMER herself and they only care about CLOSURE or about knowing WHO KILLED HER so that they can FORGET ABOUT HER and then move on to the next VICTIM of VIOLENCE).

But the TV is also NOT where the MESSAGE the WOODSMAN is sending out comes from. It's coming from the RADIO. And the other messages where the SHRINK sells the GOLDEN SHOVELS is also coming from the RADIO as well. And that's also how the couple who have waited for 25 years for the wife to set him free are finally able to be together. It's due to his wife who refused to let go of him falling for the SHRINK who was doing the RADIO SHOW. Which also means the RADIO has done something good.

And we also have the TV "TRAPPING JUDY in the LOOP" where she stabs at LAURA's photo (due to Sara Palmer who keeps watching the TV doing LOOPS of other VIOLENT SCENES).

So in that case the TV has also been a SOURCE of doing something GOOD.

And this guy also seems to have forgotten his own message of how one needs a BALANCE.

A story about Lynch's artistic search for balance

Because he's also LABLED the TV as being a BAD thing, without ever once addressing the way that it also does some GOOD THINGS as well.

At least that's the way I see it.

So NO.

The BOTTOM LINE is this:

THIS so called TWIN PERFECT VIDEO has many problems and is FAR from being PERFECT.

And since I'm also not registered at youtube, one also has no way to address this guy directly. So if you'd like to have him COME HERE to address me (instead of my going to him), then it's also up to you to show HIM the way HERE.

@Drooch said:

Sounds like you’re gradually getting through it, be interested to hear your full review. He’s on Discord so perhaps you could quiz him on areas of disagreement.

While most people found it mostly convincing, there were some common criticisms which he addressed in this follow-up video: https://youtu.be/5FK1drvrmGg

FINALLY finished watching BOTH VIDEOS and here's the CONCLUSION of the 2ND VIDEO which is suppose to address criticisms of what he said where one also sees still another problem with what he's saying (but also sees NOTHING in it that addresses how it's the RADIO that's the ISSUE rather than the TV due to the way BOTH the WOODSMAN and the SHRINK use the RADIO as a way to spread their MESSAGE):

18:50 TIME MARK:

The NARRATOR of the video says this:

A story about Lynch's artistic search for balance in the pursuit of finding beauty in the macabre and therefore the mundane, lamenting the lack of depth in modern media, and attempting to highlight and correct the way the average person consumes it, all in order to promote love and happiness in our everyday lives. The seemingly "small" concept of Twin Peaks being a self-aware TV show is LYNCH's mechanism for delivering this larger, more complicated message, and this includes the show's very serious exploration of very serious topics, because he sees TV as a major culprit in the cheapening of visual storytelling and the spreading of chaos and fear into the ZEITGEIST.

At the 19: 22 TIME MARK:

On the screen we see the QUOTE from LYNCH saying ART HOUSES are dying and being replaced by mall cinemas showing 12 pictures ... and that TV has lowered the levil and made certain things popular ... moves fast, doesn't have a lot of substance, has a laugh track and that's all (which also describes his scene with the RABBITS in INLAND EMPIRE).

19:45 He says he has a FLAWLESS COUNTER ARGUMENT:

DIANE represents TWIN PEAKS COPPER represents the AUDIENCE EVIL COOP forcing himself onto her represents the AUDIENCE FORCING the MYSTERY of LAURA'S MURDERER to be revealed.

20:28 TIME MARK

Chris Rodley states:

Lynch suggested a question/answer format because the questions would be more interesting than the answers ... which was encoded with the FEAR and TREPIDATION he had always associated with having to talk about his work.

20:57

calling to say he was checking himself into a RAPE??? CRISIS CENTER???

Frost talking about ODYSSEUS, ORPHEUS, and it being about the JOURNEY HOME ... something ripped a hole in the SPACE-TIME continuum and it unleashed some -- opened PANDORA's BOX -- Greek MYTHology -- and things unanticipated and strange came out of the box just like in the myth

26:22

LYNCH: Yeah, that sounds really good! It actually fits really well with my whole thing about MODERN FEAR in the AIR working its way into BROADCAST TV! And the SPLITTING ATOMS

26: 30 TIME MARK

can be like a WINDOW into the UNITED FIELD! Not that I'd tell you any of that, but great stuff Mark!

26:35 TIME MARK:

Lynch's TV commentary Meta (Frost is on board)???

27:06 TIME MARK

Frost interviewer saying the book is a SCRAP BOOK or an archive And he says it's a VERY VISUAL BOOK ... an EPISTOLARY NOVEL in that it's comprised largely of DOCUMENTS -- found documents.

And the concept here, this is literally a box of these materials that was found that relates to the case we're all familiar with from the TV show

27:19 TIME MARK

A MYSTERY about WHO exactly put this all together. "WHO is the ARCHIVIST??

iT'S A MYSTERY in and of itself.

The DIRECTOR appears in the show as a DIRECTOR that presents METAFICTIVE CLUES about his self -aware TV SHOWS that's built out of other TV SHOWS to an FBI AGENT

27:41 TIME MARK

CLUES about his SELF -AWARE TV SHOW that's built out of other TV SHOWS to an FBI AGENT that represents the AUDIENCE.

TIME OUT here:

FOR MY COMMENT:

And here's what appears to be still ANOTHER BIG BOO BOO:

NOTE the way COOPER keeps DRINKING LOTS of COFFEE ...

Which is what LYNCH HIMSELF would do when he was BUSY WRITING his SCRIPTS

Which would indicate that COOP represents LYNCH (not those of us in the AUDIENCE who don't DRINK COFFEE).

So, imo, what we seem to have is COOP as representing a YOUNGER VERSION of LYNCH, and LYNCH himself as AGENT GORDON COLE who is representing an OLDER VERSION of COOP.

Older AGENT/ YOUNGER AGENT

Instead of COOP representing US, he probably represents a YOUNGER version of GORDON COLE (hence another younger version of LYNCH).

27:52 TIME MARK:

Narrator again:

You might want to consider that MARK FROST, the author of two TWIN PEAK books, is appearing in the books as an author that presents METAFICTIVE CLUES about his SELF-AWARE books that are built out of other books to an FBI AGENT that represents the reader. The books follow the same META as the SHOW.

So this is his DEFENSE???

That because the BOOKS FROST WRITES are full of META FICTIVE CLUES, that also PROVES what he's said about the SHOW also being META is TRUE???

MY CONCLUSION:

My OPINON that he's TRYING too hard to FORCE his VIEWS onto the SHOW still remain the same.

He also points out how it's a RADIO STATION earlier in the FIRST part of the FIRST VIDEO, but later on in the 2nd part of it (after the MIND of DETECTIVE PART of it starts), he also REFERS to the RADIO STATION as being a TV STATION when it IS NOT.

Therefore making the CLAIM that TV is the problem have NO MERIT when it's the RADIO STATION that's the SOURCE of the problem.

And we're also still left with THIS QUESTION UNANSWERED:

The problem with this theory though is how we also see that BUG crawling into her BODY in THE RETURN back when she was still just a YOUNG GIRL.

So how do we explain that happening with the other theory of her SOUL becoming BLACK because of the way that she LOOKS the OTHER WAY instead of doing something to STOP the ABUSE of her daughter???

Doesn't the BUG also seem to represent the FACT that something EVIL happened to her even BEFORE she got married and had LAURA???

🕷

Nice, thanks for sharing your thoughts.

Rosseter is the name of the guy who made the video, if you want him to address your queries about his theory you can find him here: https://discord.gg/ru9S5dS