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  1. Is it possible that the recycled Au Revoir Simone performance is an indication that these storyline fragments are not chronological? At first I figured the rotating band showcases were a way for Twin Peaks to self-reference how the series has seeped into pop culture (it's hard not to feel echoes of Julee Cruise's floaty nostalgia and sentimentalism in almost all the bands. If the show has been anything so far it's been on-brand-Twin-Peaks. Sometimes I feel like I'm watching both Twin Peaks and Twin Peaks: The Soundtrack marketing in every episode.) But it would be interesting if the music also serves as timeline touchstones as the storyline begins to jump around in sequence.
  2. I wonder the same! I get the sense we're nearing the end of Coop-as-Dougie (or at least a pivotal evolution) with the end of this episode switching to a tv-within-tv perspective. Coop-Dougie has gained visibility beyond his slice of suburbia and my hunch is that contacts from Coop's old life will see his ninja exploits on tv and ID him. It only makes sense in the Twin Peaks world where every piece of empirical evidence is visually associative (Hawk drops Indian head dime, Hawk sees logo on door, Hawk discovers missing diary pages). And every shred of Twin Peaks lore is a spread of iconographic nods (Lancelot Court/Merlin's Market, the numerology carried over from Fire Walk With Me, the "blue rose" carry-over from Fire Walk With Me, the blue-tone of each scene where "blue rose" has been mentioned so far, etc). Cookie-cutter suburbia and their deteriorating subdevelopments (the most American symbol of vapid exteriority) contains both potential for underlying psychic menace as well as its dual operators of good. Coop-Dougie will be seen and discovered and reconnected to the gestures of his old self. Whatever luck or intuition leads the characters of Twin Peaks from one clue to another, I think (hope?), will begin to merge the different (yet similar in their conflicts) landscapes together.