MabaseSlums

While I'm not saying that I'm explicitly disappointed at the lack of screen time to Audrey's situation, I am left wondering about a few things. If she's trapped in some state, when did this blank-white, possibly ethereal, place let her have a baby that roams the "real" world? Where did Richard get his name from? Was BadCoop there long enough to name the child in this now-Cooper-centric way? The Horne family seems intimately familiar with his actions, too, which just points out even more to me (to me to me) that we have no idea where Audrey is. The family seems comfortable in their knowledge of it, though.

I'm really gaining this feeling that the actions Cooper performs in re: to Laura/C. Page are, at the very least, intrusive to the women of the Palmer household. When Cooper leads FWWMLaura through the forest, supposedly "home", he loses grasp of her and hears her bloodcurdling scream. Followed shortly thereafter is the scene with Sarah, at one of her lowest points, wailing and showing aggression towards her daughter's photo. I think the intensity of it is worth noting & examining in relation to what's happening around it. Maybe the fact that Laura has been "saved" (shown by the pilot callback) is making her, who is still traumatized, viciously jealous? Like, "Why do you get to be saved while I'm still here?" It could also be that Cooper's actions have reopened this wound, in a way. Speaking in the context of watching this show, she died again, and it's Cooper's actions that caused it. Thus, she is overwhelmed with the grief that has been marinating inside for 25 years. I can't say for certain, but the Sarah scene has stuck onto me so hard that I can't help but theorize. I think a similar, albeit more obvious, thing could be placed upon Coop's whole Pt. 18 quest. His mission to "find Laura" leads him to bringing Carrie to the Palmer household, where it's implied that Laura "reawakens" after hearing her mom say her name. The more I think about it, the less I think there's anything "nice" to be grabbed. I know some were sharing the sentiment that this ending places them together, and that hey, Laura's alive! However, I can only see it now as Cooper's actions being so misguided that he went through timeline/dimensions/worlds just to have a dead girl remember the traumas she experienced. IF the series ends here, and you're only left to speculate, I have a hard time accepting a happy ending out of "What year is this?" > "Laura?" > *scream* > Palmer house shrouded in darkness. Recalling my post from pages long past, THAT is why I want this to be the ending of the show. To watch more of what I think is Cooper's mistake causing Laura's unrest would be miserable, not just in terms of "plot", but from an experiential standpoint. It's worth noting that the person who gives Cooper the task of finding Laura is Leland, a man who I wouldn't trust anywhere near her. Perhaps his lodge-arrested request for his daughter's whereabouts is symbolic of Cooper's reasons of finding her. Not that he wants to abuse her like Leland, but that his desire to find her isn't completely sympathetic to her as a person. It is implied that the reason he wants to find her is to fight Judy/Mother, after all.

Does RR To Go = Meals on Wheels? I don't have a strong enough recollection of those moments, but I think that's an interesting detail.

I saw this tweet and it gave me a good laugh, so I'm posting it here for everyone's sake

I would be really disappointed if this wasn't the end of the show, personally. I can't quite set my feelings out 100% coherently right now, but that ending in particular feels so emotionally correct in terms of what The Return has been. Kyle Maclachlan's performance as the... LostCoop, I guess, was out-fucking-standing. The way Cooper eyes leered with Diane, the way he kept his gun pointed during the Judy's scene, and the looks he gave when he wasn't in complete control of a given situation are the kind of subtle changes in a performance that made Pt. 18 for me, regardless of how I think it fits into everything. Now, I just need to spend some time working it out.

if anything I'd say it's an emotional connection more than a literal 1:1. Knowing that BadCoop sexually abused Diane at one point makes the very uncomfy sex scene between those two (in what can only be described in a possibly alternate dimension?) signal to me some sort of change in at least one of their characters. My gut is kind of leaning towards the theory that the Coop we see in the 2nd half of Pt. 18 is a combination of the good and bad sides of the man. Someone's who is heroic when needed and has a just mission to fulfill, but is also manipulative and uses his power to get there.

There's an alternate universe where the ":-) ALL" text Mr. C sends Diane has an emoji in it. Whenever I saw that my first thought was the turn of phrase "all smiles" backwards.

I cannot even begin to unravel the contents of this episode, so I'll make a silly little observation instead! Those super-jittery scenes (the gas station & Naido's appearance) really remind me of scrubbing through footage in NLE software. I wonder if the act of editing on a computer somehow influenced Lynch and co.? I can't say for certain if this would be the first production he's encountered that "effect", but it'd be cool if that was the case. Seriously, that's all I can come up with. This show, I swear to god

IE is also the last non-Peaks thing of his that I watched, and was really taken aback at how this stuff is measuring up to that. The more things change, I guess. Slightly related, I wanna know Laura Dern's involvement in this series already! (Also, yeah, that movie is super horrifying)

I think this episode is my favorite of the currently released so far. Not only is it the beginning of the Wacky Adventures of Coop, but the way it wildly expands the scope of Lodge happenings is really welcome. One of the worst parts about late Twin Peaks for me was how it began to make this otherworldly place a bit of a known quantity, but by bathing in elements that are completely unrecognizable, but working in a similar logic, it really reasserts the force the concept has. I come at Twin Peaks being a fan of Lynch's filmic sensibilities first and foremost, so this series has really been doing it for me. The overall shift is still a bit odd, but I put my trust in it as a viewer. Its been surprisingly satisfying as an episode-to-episode affair.