Part 18 - What is your name? (SPOILERS)

[claaa7]

I'm totally confused by the timeline after Cooper left the Sheriff station. Was everything at the end of Part 17 and 18 linear from Cooper's POV or were we seeing everything out of order? I honestly don't understand Part 18 at all.

it seems to be implied that everything that happens from the scene in the sheriff's station to the last shot is taking place within Cooper's mind, as the static shot of Cooper's face superimposed over the action seems to imply to be the start of a dream (especially as the superimposed shot has him saying something like "Who is the dreamer?")

the entirety of episode 18 was written and performed within narrative dream logic conventions imo

[QuantumMechanic]

Coop's body language in the very last scene reminded me of Dougie's. The slight leaning forward, fiddling with something in the air that only he could see, it looked like. I think we saw the same gesturing from him earlier in the episode.

Yes. At one point when he was walking around in the Black Lodge before exiting in Glastonbury Grove he had a bit of a Dougie-style walk and stuck his arm and hand out and was twiddling his hand back and forth.

[Cipher]

I do have to say that ultimately Twin Peaks lived up to its chosen genre -- a genuine mystery to the very end, even more so than other Lynch works or the original two seasons.

[ThumbsUp]

I can't understand how Sherilyn was so happy with her part. I can see how James plot was is (indirectly) pivotal to the storyline. No resolution for so many characters it makes me wonder what half the scenes were about and if necessary now. Where was Red? I was sure we would see more of him. For those that followed the spoiler thread, wasn't there a Red scene that didn't make the cut of The Return?

And Audrey ... Audrey's a dreamer too, right? What Twin Peaks does she imagine herself in, and which does she awake in? My initial thought was that her role was still an unanswered mystery by the end, but I think ... maybe at the expense of her character (not sure on that) ... she figures well enough into the ending to offer a signpost in reading the real story -- Laura's and Cooper's, as it's always been. There's something to be made of the fact that The Arm shares her line at the end, though I haven't parsed this yet (and this seems like a rare, very genuine instance of Lynch inviting the viewers to breadcrumb for clues).

I thought Audrey's ("unresolved") arc was really important. To me, it seemed the closest case study within the show that mimics all the events of part 18 (a dream/parallel universe) and gives us food for thought as to what's going on.

She doesn't know who she is or where she is or when it is, things keep happening over and over, she references a coat and phone (both found in Carrie's house), she mentions a the story on the girl on the lane (also mentioned by the Arm, and Charlie and Sarah mention "stories"), we hear electricity as she experiences confusion and existential angst, etc.

Was it my imagination or was there a scene that looked like a factory filled with Phillip Jeffries Teapot Pods?

See above... perhaps it plays further into the established concept of doppelgangers, tulpas, reincarnations, versions of yourself in a different universe, etc.

[Jasper]

One question. Shouldn't the fact that the Double R has no To Go sign and that Tremond is young indicate that they are in the past?

I don't think so. There are other Tremonds/Chalfonts in the series and FWWM. I don't think you should read the blonde woman as being a younger "Mrs. Tremond". I think the scenario simply suggests that the weirdness we know as the Tremonds/Chalfonts is somehow present in the alternative reality we see at the end of part 18.

[claaa7]

The "curtain call" line was intriguing. When that line was first stated, I expected we'd see a literal curtain call (ala the closing credits of "Inland Empire") with all the cast appearing and bowing, perhaps in front of red curtains. Now I wonder if that's a hint for a bonus episode, Missing Pieces of some sort, or maybe even Season 4. (Part 18 was so disappointing I hope there's a bit more story - somewhere.)

Episode 16 made me think of the red room curtains as red theatre curtains, and when he said "curtain call" I interpreted it as end to that particular story - the one about Laura Palmer. The arm also asks him "is it the story . . ." Which story is he in? Is the red room just a labyrinth of stories and characters expelled upon the world?

thanks for reminding me - the Arm said something like "Is it the story about the little girl down the lane"? i can't remember the exact quote but didn't we discuss the story about the little girl down the lane in relation to one of Charlie's conversations with Audrey.. didn't they talk about that story?!

[claaa7]

The "curtain call" line was intriguing. When that line was first stated, I expected we'd see a literal curtain call (ala the closing credits of "Inland Empire") with all the cast appearing and bowing, perhaps in front of red curtains. Now I wonder if that's a hint for a bonus episode, Missing Pieces of some sort, or maybe even Season 4. (Part 18 was so disappointing I hope there's a bit more story - somewhere.)

Episode 16 made me think of the red room curtains as red theatre curtains, and when he said "curtain call" I interpreted it as end to that particular story - the one about Laura Palmer. The arm also asks him "is it the story . . ." Which story is he in? Is the red room just a labyrinth of stories and characters expelled upon the world?

thanks for reminding me - the Arm said something like "Is it the story about the little girl down the lane"? i can't remember the exact quote but didn't we discuss the story about the little girl down the lane in relation to one of Charlie's conversations with Audrey.. didn't they talk about that story?!

[Shloogorgh]

for me, episode 17 was the one that had my heart sinking into the ground.. loved the first part of it but the battle of Nitnendo Boss BOB and Green Glove fuck was saddening and gave me trouble in continuing watching without hating the rest of it.

luckily i was able to let go and just let the series take me wherever it wanted, letting go of any expectations, and i found myself enarmroed with the strange dream logic and visual weirdness that continued into 18.. at the end i just burst out in a big smile, laughing to myself while shaking my head in disbelief. t's certainly not the end i had hoped for though, that's for sure.

Yeah, for all of Mr C's cold menace, all he ended up doing was showing up at the sheriff station, having a tense scene, and then getting shot and leaving behind an angry BOB orb. I didn't really care for any of the goings-on in the sheriff station this season. It was all either dry exposition or comedy that missed the mark for me. I did enjoy Andy and Lucy more in part 17 though.

[SpookyDollhouse]

Something else to think about: the final Cooper we see are all of his identities in one place; if we're gonna play "the real world" game this is the real Cooper, a whole we've only seen pieces of.

[SpookyDollhouse]

I do have to say that ultimately Twin Peaks lived up to its chosen genre -- a genuine mystery to the very end, even more so than other Lynch works or the original two seasons.

Here's the thing, we almost never get anything like this. That's the take away here, we wanted a mystery to lull over and we got one. Like Picnic at Hanging Rock years ago...and what Lynch and Frost wanted to do with Twin Peaks, they finally got to do.

Not everyone is going to agree but to me the best mysteries are ones that stay mysteries. What is the truth? It's not that easy.

[ThumbsUp]

Something else to think about: the final Cooper we see are all of his identities in one place; if we're gonna play "the real world" game this is the real Cooper, a whole we've only seen pieces of.

Perhaps we could say the same about Laura and Carrie. Might Carrie have been the way Laura would've ended up as an adult (in a sense, she already is)? Carrie also talks about making mistakes in her youth or some such.

Can we talk about the incredibly disturbing scene of them getting followed in the car? Reminded me of the Mike/Leland/Laura FWWM scene. And the framing of the shot of Carrie in the front seat and no one in the back?

And how they stopped at a convenience store, and the framing of that scene, with all the darkness in the bottom half of the frame?

Also, the Lost Highway night shot from the driver's POV that Lynch loves. We see it both from good and bad Coops' POVs.

Perhaps cars symbolise the "stories" that keep popping up that seem to suggest different universes or timelines or whatever. The long drive with Carrie is a symbol of the whole season as we went on a long journey with someone we thought we knew/recognised as viewers (Coop/Dougie and now Laura/Carrie).

[Cipher]

Here's the thing, we almost never get anything like this. That's the take away here, we wanted a mystery to lull over and we got one. Like Picnic at Hanging Rock years ago...and what Lynch and Frost wanted to do with Twin Peaks, they finally got to do.

Not everyone is going to agree but to me the best mysteries are ones that stay mysteries. What is the truth? It's not that easy.

A Picnic at Hanging Rock mention in the wild? Be still my heart.

But yeah, these weren't just genre trappings, in the end.

[Tailsun]

The story of the girl who lived down the lane.

Audrey said the same thing to Charlie. Charlie threatened to end her story. Sarah told Hawk it's a god damn bad story.

"Story" = a particular timeline, dimension, parallel universe? Carrie had to get her coat like Audrey had to, the phone was ringing in Carrie's and Audrey was sick of waiting for the phone to ring.

I think Audrey's whole thread was to foreshadow the system of dreamers/dreams that the entire TP universe seems to be functioning in.

Thank you for this - I thought I remembered Audrey mentioning the "girl down the lane." Those other details thought - amazing!

I felt tons of deja vu during part 18 and I'm sure there are even more moments that were "seeded" earlier in the series. Very reminiscent of MD. I think Jeffries' manipulation of the Owl Cave/ring symbol is relevant here. A familiar representation of our reality (or story as you put it) rearranging and folding in on itself until it becomes "infinity," distorting our story into something uncanny. Definitely veering into extreme abstraction, even by TP standards. I'd be curious to see if this changes the impact of some scenes with a rewatch.

[QuantumMechanic]

Was the "exactly 430 miles" spot where Mr. C went off the road way back in Ep 3 during the attempt to suck him back into the lodge?

I don't think it is because we didn't see any powerlines or the substation in Ep 3 (or at least I don't remember them). But I've seen some people elsewhere swearing it is the same spot.

[claaa7]

Something else to think about: the final Cooper we see are all of his identities in one place; if we're gonna play "the real world" game this is the real Cooper, a whole we've only seen pieces of.

Perhaps we could say the same about Laura and Carrie. Might Carrie have been the way Laura would've ended up as an adult (in a sense, she already is)? Carrie also talks about making mistakes in her youth or some such.

Can we talk about the incredibly disturbing scene of them getting followed in the car? Reminded me of the Mike/Leland/Laura FWWM scene. And the framing of the shot of Carrie in the front seat and no one in the back?

And how they stopped at a convenience store, and the framing of that scene, with all the darkness in the bottom half of the frame?

Also, the Lost Highway night shot from the driver's POV that Lynch loves. We see it both from good and bad Coops' POVs.

Perhaps cars symbolise the "stories" that keep popping up that seem to suggest different universes or timelines or whatever. The long drive with Carrie is a symbol of the whole season as we went on a long journey with someone we thought we knew/recognised as viewers (Coop/Dougie and now Laura/Carrie).

Yes! Ive seen some posts really disliking the long driving scenes but i thought they were packed with atmosphere and mystery.