Twin Peaks Rewatch 52/53: The Return, Parts 17 and 18 in Twin Peaks Rewatch Episodes Posted September 6, 2017 18 hours ago, Captain Fram said: Coop Actual relishes a final moment with his collected friends. In his heart, and with knowledge gained from 25 years of whatever the hell happened to him in the red room, Coop seizes the opportunity to destroy the malevolent evil Judy. To do this he needs (the One) Laura Palmer, and he needs her alive. Back in 1989 now. After incorrectly deducing that James is not cool, Laura Palmer storms off into the forest to meet her untimely demise. This time though, she is intercepted by Cooper, who tells her he's taking her home. Given that Coop's on a mission to eliminate Judy, this to me says that even back then, Sarah Palmer had "Judy" within her. Perhaps it was latent back then, awakening fully only after a great trauma (like the murder of your daughter and the revelation that it was your husband, perhaps) This lends validity to the theory that Sarah Palmer is in fact the young girl who swallows the bug in Ep 8. I digress. Coop leads Laura by hand through the night. As they approach the warp zone Laura is suddenly whisked away, leaving Coop alone. I believe this is the work of Judy, for she cannot kill Laura on her own - Sarah Palmer repeatedly smashes a glass bottle into the photograph of Laura, and there's not a scratch on it - but she can send her away, to another place and time, where she might forget herself completely, and Coop might not follow. Good point about Judy latent in Sarah, and I agree that Coop is trying to find Laura (in any version) in order to stop Judy moreso than to rescue Laura for her own sake. 15 hours ago, SkullKid said: The thing that's really stuck in my head is the image of Diane seeing herself at the motel after Cooper walked inside. Since this purgatorial place seems to take place outside of time, maybe multiple versions of oneself can exist. Maybe a Bad Cooper walked out of that motel and got in the car with that Diane, whereas a Good Cooper (though one still not entirely in control of his mental faculties) walked out and got in a different car with that *other* Diane. The sex scene we see features Bad Coop, whereas somewhere off screen, another Coop and Diane share a similar romantic moment. Basically, the Coop we see wake up in the morning and yell for Diane is not the same Coop that we saw in the sex scene. It's as if the same thing keeps happening in this same place over and over, in slightly different ways. But probably not. I feel like there's a simple answer to all this buried underneath Lynch's artistic flourishes. This was essentially my take too, though I perhaps articulated it badly earlier. Especially since I really don't think badCoop is dead. That said, the 'Diane sees his face that way be because of her trauma and we see from her perspective' idea seems reasonable, and I am also liking the idea someone mentioned about how Jeffries' warned against slipperiness, such that maybe things just change in the alt-world, dreamlike. It did feel like a dream, to me, and I interpreted Coop's odd behavior as his knowing that he's in sonething of an unreality/dreamworld (fits also with the 'things might be different' line to Diane). So he ignores the corpse in Page's house maybe because he knows it's not real or at least distorted and in some sense it doesn't matter what happens in the dream world, and he is willing to be aggressive in the bar for the same reason - the people in there aren't real, or they can't really be hurt, or something. And his quietness I just took to be because he was in a damn scary situation. All that combined with this being still some of the first we get to see of him post lodge-trauma. Also, frankly, I really dislike the idea that he is now an amalgam/Richard combo of the good and bad Coops. People are saying that he's more realistic when combined, but I don't buy that. People aren't all perfectly grey blends of good and bad. That's just a stereotype of realism, and imo a boring one. Good Coop was essentially good, but he wasn't a saint (griping about loud neighbors, happily engaging in vigilante-ism around One Eyed Jack's while an FBI agent, seeming tempted by Audrey, etc), and I think he was as if not more realistic than Coop in episode 18. Anyway, on an unrelated note, that white horse in Page's house, iirc, had it's eyes grown over with lumps of skin, like Naido. I don't know what that could mean, if anything.