Twin Peaks: Audrey, Billy, and living inside a dream

The lion the witch and the wardrobe

[Most of this was written before the finale, but surprisingly not only that the finale didn’t refute the below theory it strengthen it, so I added a whole new section that reflects that, and in retrospect the theory seems also to explain why Billy and Audrey were not in the finale, all the clues are here]

A second and a half before the Twin Peaks finale I have a theory about Audrey, Billy she’s looking for, and the dream theme repeated over and over again in Twin Peaks.

I will take you step by step down the rabbit hole, just bear with me:

Audrey is looking for Billy, her lover, the one she seems to sleep with while she was in a relationship with the dwarf/not dwarf Charlie. It is Billy who will save her from the miserable life she seems to be living.

In part 16 Audrey finally arrives at the Roadhouse, right after we are introduced to Eddie Vedder – not by his stage name, but by his real name – Edward Louis Severson the third, and that’s significant.
After Eddie’s show is over we discover that Audrey is not really in the reality of Twin Peaks, but in some dream she dreams, and in fact in the Twin Peaks reality she’s in a bright white room, in front of a mirror no less, probably at Ghostwood madhouse that was also mentioned in her conversations with Charlie.

In her existential crisis Audrey says “I feel like I’m somewhere else, have you ever had that feeling Charlie?“.

Then she adds “I feel like I’m somewhere else and feel like I’m somebody else, have you ever felt that?”

So where is she Charlie? What makes her feel like she’s not herself anymore?

An hint that Audrey is not in the Twin Peaks reality hinted to me by the user EpicEsquire that he read in this article, and I quote:
“Another clue is the Emcee’s words. He calls it “Audrey’s Dance”.  That is the name of that track on the Twin Peaks soundtrack alright, but in *our* world.  Not in the world of Twin Peaks.  She didn’t punch “Audrey’s Dance” on the RR Diner jukebox 25 years ago.  So what is *that* supposed to mean?” 

But who is Billy? There was some mentioning of Billy, that his truck was stolen, but they might just share the same name.

But what if Billy is Billy zane?


Wait a second, There is no Billy Zane in the reality of Twin Peaks, that’s the name of the actor, the one who plays Audrey’s lover from the original season, John Justice Wheeler


So let’s move to the movie for now, Twin peaks: fire walk with me, and remember Phillip Jeffries (another one that shares a first name with other character, Philip Gerrard).

What does Phillip Jeffries say, whom is our beloved David Bowie?
“We live inside a dream”


And in part 14, in Gordon’s dream – purposely Gordon, the one who is david lynch the director of the series in the non Twin Peaks reality – says no other than Monica Bellucci, the only character until then that appeared as part of the non Twin Peaks reality, actually elaborate on what David Bowie says:

“We are like the dreamer who dreams, and then lives inside the dream. “Troubled, she then asked:” But who is the dreamer?”

Friends, David Lynch tells us something here, over and over again, and we all ignore him, there are three “realities” in Twin Peaks (a number which lynch really adores).

The first is the “normal” reality of the series (which is quite funny to call it “normal”), the Twin Peaks reality.

The second is the unusual reality of the series, the reality of the red room, the black lodge, the white lodge, and so on.

And the third reality my friends, and here is the center of my theory, is our reality, us the viewers, this world, the world of Monica Bellucci, and David Lynch (not Gordon!).

Notice what happens in Gordon’s dream, he is looking straight to the camera – the fourth wall breaks, the wall that breaks in movies and series only when the character exit his own media and talk to us the viewers:


Gordon meets Monica in a street in Paris, so when he turns around and looks at us he also looks at a very specific place….


Directly at the exhibition space where David Lynch in our reality has a show IRL – David Lynch “Plume of Desire”!
(thanks Mike for reminding me that :))

Let’s continue, Billy is mentioned twice more.

Once in Part 14, in the Roadhouse, in a conversation between two women (that one of them as Maura noted his David Lynch own wife). Those two for some reason did not appear before or after this scene (and I bet they will not even appear in the finale and I have a reason), blabbering about how Billy jumped over the fence and was bleeding from the nose and mouth, and Yada yada yada.

Second time Billy is mentioned for a moment, is when the son of David Lynch ladies and Gentlemen, now his son in our reality, himself, running and asking where is Billy?
And then what happens? All people on the bar at the diner are replaced! Reality has changed back!

What am I actually saying here?

I’m saying that Audrey sees our reality, that Gordon in his dream sees our reality, that Monica Bellucci’s question can be divided into three parts and explained as follows:
1. “We are like the dreamer who dreams” – The We in this sentence are us, the spectators who stare at the screen and dream of Twin Peaks with David Lynch.

2. “and then lives inside the dream” – Which of us, the devoted fans, does not feel living inside a dream called Twin Peaks? That we spend the rest of the days glazed with dreamy eyes, and do not know what to do with ourselves until the next part arrives.

3. “but who is the dreamer?” And that of course are us, the series is taking place in our collaborative dream, Twin Peaks itself constitutes one of the main themes this season – the series is a “Tulpa”, the imaginary creation of us all.

Even Mark Frost’s “The Final Dossier”, which is the last Twin Peaks book, in its last chapter, supports this:

(Tammy Preston:) “How much of what I know, what I’ve been culturally attuned to believe, feels like the set of a play on a strange stage I’ve wandered onto without knowing why I’m here. I don’t know the lines, I don’t know what part I’m playing, I don’t even know what the play’s about or what it’s called.
I’m just here onstage, stuck in a dream,
lights shining in my eyes. Is anyone out there watching?“…

Again I’m not saying that Twin Peaks is a dream, I’m saying it exists just as our reality exists, and we manifest it in our dream. There’s a big difference.
One last thing, remember what pulled Dougie’s attention and after 16 long and frustrating hours manifest him to existence as Dale Cooper?

After Dougie hits the remote 3 times, it was none other than a movie from our reality – Sunset Boulevard, with a character which drove David Lynch the creator to name his Twin Peaks counterpart Gordon Cole.

And I wish that was what David Lynch tried to convey, because I must add that this is how I see most of the series and films in my life, and that is how I read most of my books – with a great belief that somewhere in some universe (just like “The Tempest” in Dan Simmons Ilium / Olympus books) we create, we “Tulpa” into existence what we read or watch.

And in this case Twin Peaks, we bring it into existence in our desire for it to take shape, and here in Twin Peaks the piece we created looks back at us in a mirror, us the dreamers, Shockingly (like us) saying three times, What? What? What?


Update part 17+18

So after watching the finale, surprisingly (or not) not only the theory was not refuted, it was reinforced, and the clues were evident here also.

We’ll start with the fact that there was not a single mention of Audrey or Billy, cause Lynch already lay out to us what’s the deal with them as I illustrated above.

We’ll continue to the last part of episode 17, a huge amount of filming time Lynch put in front of our face the superimposed face of Dale Cooper, who looks straight at us without letting go.
This was not one second of looking at us as David Lynch did in his dream, these were minutes of breaking the fourth wall!
And if we still didn’t understand, comes the ultimate line, already spoken by Phillip Jeffries, reinforced by Monica Bellucci, and now coming from the staring face of Agent Dale Copper: “We live inside a dream“.


And now Part 18, the finale, the part that everyone still struggling with, and I’ll show you a few points that will shed a light on where exactly Dale/Richard and Laura/Carrie actually are.

First they drive for hours it seems, silently, with no dialogue what so ever, in the dark, this is the closest to how I think we all drive in real life alone in the dark, with no real meaning just driving somewhere, and a car headlights behind doesn’t mean someone follows us.

Then the sign of Twin Peaks, or more accurately the missing sign of Twin Peaks.
We’ve seen this sign that Episode, aren’t we:


A real sign, from a real city, with real population of 99,940 as of the census of 2010, as evident in Wikipedia.
So why no Sign of Twin Peaks seen when Dale/Richard enters town, as we’re used to throughout the series, pilot, opening credits and so on?
TP sign.png
The only “evidence” that we’re headed to Twin Peaks is coming from Dale/Richard mouth, telling Laura/Carrie he’s taking her there.

And from the moment Richard is awake David Lynch start throwing at us brands, some of them so bluntly that they got to have a good reason for, and as you’ll read they do.

Like this MAERSK sign that Richard/Dale looks at for a whole few seconds while driving to Eat at Judy’s Cafe

Or the Coca-Cola 60’s ad when he drops the guns to the hot boiling oil

And the Used Parts sign of Nissan, Infinity, Toyota, Mazda, Mitsubishi, OK, OK, we got it Lynch!

and lastly remember the gas station they stop by to eat as Richard promised Carrie?

A real Valero gas station

Now they are passing near the Double R Diner (below, the top picture), with the T-Mar big sign ,while we are used to in the series that it has also the RR2GO! sign, and all neon lights lit (below, the bottom picture).IMG_3486

In our reality, they should pass near Twede’s Cafe (pay attention to The blue “T-TWEEDE’S” sign)


So I did my research, apparently up till 1998, this was not the Twede’s Cafe but Mar-T cafe (hence the large “Mar-T” hovering till now unacknowledged above the Double R’s sign)


But the RR sign? we’ll get back to it in a bit.

Finally, let’s end with the last scene, where they reach the Palmer’s house.
But is it the Palmer’s house?

No, you say, it’s the Tremond/Chalfont house, that old lady with her grandson, supposedly inhabitants of the black lodge themselves.

And I say, Lynch has pulled on us his last trick: look at the credits.
Who plays Alice Tremond?
(And as someone from reddit noticed Alice = alice in wonderland (a dream world/alternate reality.), Tremond = tres monde = 3 worlds).

That Alice is played not by a real actress, but by none other than Mary Reber, the real owner of the home at 708 33rd Street, Everett, the house that served as the Palmer’s house for the shooting of Twin Peaks.

See you at the curtain call” says Dale Cooper, another clue, as this phrase refers to the moment occurring at the end of a performance when the actors return to the stage to introduce themselves.

Ladies and Gentlemen, the moment Dale Copper woke up in the motel, it was a different motel from the one he slept with Diane in, because he woke up in a motel that is in our reality!

But there’s a leakage to our reality, a leakage lynch hinted to us 2 times at least, the first a leakage from the Twin Peaks reality – the RR sign on our real Mar-T cafe, and the second is Mary Reber saying she’s Alice Tremond – a leakage from the black lodge reality.

It’s in our house now” says the Giant, not to Cooper, but to us the viewers, the Manifestors – we maybe “tulpa” them through our dreams, but by that we invited those 2 realities to enter our world.

It’s difficult to explain” says Richard to Carrie, and he’s right.
How can he explain all of that, and that what ever strange sex ritual he had with Diane, made him wake up from our Twin Peaks manifestation dream and enter our motel, our city and our reality, in an attempt to bring in with him the black lodge entity known as Judy.

There’s no David Lynch without the sound and the music that give that extra dimension to its work, so at last let’s not just watch, let’s also listen…

Remember what the log lady said? “Watch and listen to the dream of time and space“.

And what did the Giant said to Dale Cooper in the very first part of the season? and here we’re turning full circle.
Listen to the sounds, “Remember, 4:30. Richard and Linda. Two birds with one one stone.”

If you don’t know Richard and Linda are a famed husband-and-wife British folk-rockers, that have a song which is exactly 4:30 minutes long and is called Sunnyvista.
And I bet you’ll get like me goose bumps when you listen to its first line in the song:
In SunnyVista all your dreams are reality“…

There are 3 endings to the Twin Peaks story, one for each reality.

The first is the ending of “BOB” from the Black Lodge reality, the second is the ending of Laura as she is wiped out completely by Dale from the Twin Peaks reality, And the third ending is in our reality, where the 3 realities that now co-exist collapse on themselves – Carrie Page from our reality, hearing the whisper “Laura” from Twin Peaks reality, whispered by her mother that is inhabited by the Black Lodge reality.

A scream to collapse it all


Lights out











P.S. Remember the last line in the series “What year is this?” said by Dale Cooper just before the shout?
Well if Dale Cooper thinks he is still in the Twin Peaks timeline, and Laura Palmer promised him “I’ll see you again in 25 years“, then the year must be 25 years after the original series ended in March 1989, which means it’s March, 2014.
But that’s his confusion, he’s not only been moved to our reality, he’s also been moved to our timeline, and the year is now 2017!
And it hits him right after he saw Mary Reber, that shouldn’t even be there yet, as she bought the house only in September 2014



145 thoughts on “Twin Peaks: Audrey, Billy, and living inside a dream”

  1. Every since the tulpa episode I have believed that the entirely of The Return is a “thought form” brought into existence by the fans of the show. The word tulpa was dropped with David knowing all too well that ppl would latch onto it and find out what it was. The idea of tulpas and thoughts becoming reality is one of the heaviest new age concepts there is and extends far beyond the borders of the show. I feel like I have been taught a great truth about the nature of dreams, reality, and how it all collapses into one as well as the immense power and responsibility of the collective consciousness of human beings on Earth.

    Liked by 1 person

  2. Great theory! One of the best I’ve read on the new season and the different swirling versions of reality that exist within the Peaksosphere.. I don’t think it’ll ever be spelt out as clearly as that by Lynch himself, but his intention could well be what you talk about here. I’m strapped in for the finale and really don’t know what to expect..

    Liked by 1 person

  3. I feel like “Audrey’s Dance” is not intended as a song name, but as an announcement: “Now is when Audrey will dance”, which, while strange in real life, could certainly happen in the context of a dream.


    1. The song in the jukebox in season one could have been “Audrey’s Dance”. The title, “Audrey’s Dance” may be an instrumental piece written or dedicated to someone named Audrey. And Audrey in the title could be what caused Audrey Horne to choose it on the jukebox.

      Liked by 1 person

  4. This is the best representation of what Lynch is addressing in TP, and it’s also what is happening in several of his films. Especially Lost Highway, Mulholland Drive and Inland Empire. The ‘dream’ aspect though, is a bit of a misnomer. The real key is the word ‘Tulpa’ – which is to say that we are actually manifesting entire other realities to house all of the characters, ideas and identities that we think of or create. In a bigger way, Lynch is challenging and addressing the very idea of creation. IMO , he is interested in the idea that what we think exists in some way. He often discusses this idea of “catching the big fish” as if there were some vast ocean in the subconscious the fish is swimming in. The ‘ocean’ in the subsconscious, which he speaks of, are these other realities, where the ideas we catch/think of, exist. Are we creating these realities when we think/ dream/ catch these fish? Or have they always been there? In TP the villains have found a way to traverse this landscape and use it to their advantage. In the end, Laura has been saved but in order for her to have existed for 25 years, she was thrust into some alternate reality. Audrey’s alt. reality and identity and Billy and the like, are necessary for her to exist in her coma. In Inland Empire, an actress inhabits and is lost in the world’s she’s created for her characters (other actor’s characters?). In Mulholland Drive, it’s the ideal world an actress imagines for her future – her idea of ‘living the dream.’ In Lost Highway, a man murders his wife and can’t handle his actions psychologically so he splits, inventing a whole new identity to create the situations which allow for him to have done so. The scare factor in his films, often comes from these various characters, often depicted as some sort of Surreal Organized Crime ring, forcing the characters to deal with their reality, which in itself is an alternate reality, assuming, as this author is above, that Lynch, and in turn OUR REALITY, is part of the equation as well.


    1. This is the best theory I’ve seen and now I can sleep happily. However, one thing that still bugs me is:

      ”Is is the future or is it past?”

      Can’t wait for the Final Dossier 🙂

      Liked by 2 people

  5. Since Monica Belluci belonges to “our world” is in it strange then that Albert and Tammy, 2 entities from “TP world” are not suprised and confused when Godron is telling them this story about dreamer? They should be asking who is Monica Belluci??? Right?


    1. The precise sentence Gordon says, and that’s important: “I had another Monica Belluci dream”, another.
      That means he already told them in the past dreams about her, and I’m guessing that in the first time he told them about the dream it went something like Albert asking: who the hell is Monica Belluci? And Gordon saying: IDK, but that’s her name in my dream.

      Liked by 2 people

  6. But the woman really who lives in the “Palmer” house isn’t named Alice Tremond, her name is Mary Reber. So if the third reality is “the real world,” why use “Alice Tremond”?

    Liked by 1 person

    1. Cause first it will be too obvious
      Second there’s someone with her that we don’t see, someone that whisper to her things.
      there is a leakage between the 3 worlds, it’s obvious – we leaked onto twin peaks (Monica, Sunset boulevard, Audrey’s dance, Billy) and they leak to us (this TV series), and the black lodge world leaks to both of us – which means the mother/Judy might be the one telling her what to say, including her name if they ask for, whispering from the same side we heard voices when Hawk visited Sarah, and the one calling Laura at the end, which made Carrie realize the leakage and scream her lungs out.


    2. It can’t ever be the real real-world, only a representation of the real world. Using the “real” owner of the house *as an actor* indexes our idea of a real world — but of course it’s still scripted, she is acting as an actor.

      Liked by 1 person

    3. Exactly. This theory does not work. Lest we forget the Double R (Twede’s in ‘our reality’). I give the author some credit but this theory doesn’t hold up.


  7. This is the most satisfactory read I’ve done so far after the end of the show, especially after the detail about Mary Reber as the real owner of the house. Maybe Lynch/Frost have been telling us about their dual world/tulpa ideas all along if you think about the title of the show: TWIN Peaks, TWIN! Another connection to our reality: the song My Prayer by The Platters was played three times during the show and seems to be important. Fun fact, one of the original singers of The Platters is actually called David Lynch!

    Liked by 1 person

  8. That’s a very solid theory and I like it a lot. But would like to know how do you explain the calling of “Laura” from Sarah just before the screaming at the end of the episode.


    1. There’s someone with the owner of the house that we don’t see, someone that whisper to her things.
      There is a leakage between the 3 worlds, it’s obvious – we leaked onto twin peaks (Monica, Sunset boulevard, Audrey’s dance, Billy) and they leak to us (this TV series), and the black lodge world leaks to both of us – which means the mother/Judy might be the one telling her what to say, including her name if they ask for, whispering from the same side we heard voices when Hawk visited Sarah, and the one calling Laura at the end, which made Carrie realize the leakage and scream her lungs out.


      1. Excellent theory. This may be overthinking, but such a “leakage” seems to put the “electricity” thing into another perspective: what if the “electrical” way the Lodge spirits travel is… Um… The television / cinema?

        (FWWM has several images of TV static, sometimes superimposed to the Lodge scene, and there’s the whole “Invitation to Love” throughout the first two seasons…)


  9. Do you really need to be so offensive and make such a statement? Charlie works just fine, time to drop “dwarf/not dwarf”


    1. The context of Snow White and the seven dwarfs is the context David Lynch brought him to us – he deliberately chose the look of that actor, deliberately made him say he’s sleepy, put him sitting in the first scene so he’ll seem like a dwarf, then episode later we can see he’s not a dwarf as all the media thought of him.
      Don’t be angry at the messenger, there is no offense here but deliberate Lynch references.


  10. VERY YREV interesting perspective!!! Actors can often blur boundaries between themselves and their characters, particularly if they invest heavily in adopting the thoughts and characteristics of the fictional people they portray. This could be a retrospective reflection/ commentary by Lynch /Frost on the very nature of acting and the influence of fans/audience on the actors’ fictional universe. Fascinating!

    Liked by 1 person

  11. Awesome work. I arrived at the same conclusion, but all I was working with was the home owner in real life answering the door. Damn, you just gave 8 more strong points to reinforce it!

    Here’s one more tidbit to reinforce it: In David Lynch’s dream, when he’s looking down the street, there is a picture posted of that street and HE’S LOOKING AT HIS OWN ART GALLERY ON THAT STREET! (Not Gordon Cole’s art gallery, David Lynch’s art gallery!)

    Liked by 1 person

  12. The Double R reference is most interesting, and I want this theory to be reinforced because I’ve been wondering this since the Paris Dream. However, I think that first image you show of the RR is how it looks in our world. Is that a screen cap from the show or a google image?


  13. Thank you for this very interesting theory.
    Just a point, though: I think there is a misinterpretation of your representation of the “RR café”. The first picture you use is from our reality (“Twin Peaks cherry pie” is an advertisement name for the tourists in North Bend) and the second pictute the fictive one (with “RR” on it).


  14. i love this! I needed it.

    Also wanted to add this:

    “Notice what happens in Gordon’s dream, he is looking straight to the camera – the fourth wall breaks, the wall that breaks in movies and series only when the character exit his own media and talk to us the viewers:”

    ALSO when he turns around, Gordon Cole is facing a location in Paris where DAVID LYNCH had an art show.


  15. Thank you so much, this really helped things click for me. I’ve had scrambled brains since Sunday. The whole dreamer/we live in a dream bit especially put me off.

    Liked by 1 person

  16. First of all, great article. Second, I have some more fuel to add to this fire. In December my sister and (both of us huge Peakers) took a brief trip to Snoqualmie Falls (The main filming location). One thing we observed, is that the place where the “Welcome to Twin Peaks” sign stood is literally on the way to nothing. To go see it is out of the way of everything else. In the final moments of the show, Richard and Carrie don’t drive past where the sign was, they drive across a bridge. The bridge they drive across is in fact the real bridge that one would use to enter the town of Snoqualmie Falls.

    Liked by 4 people

  17. “Audrey is looking for Billy, her lover, whom she slept with even though she is in a relationship with the dwarf/not dwarf Charlie, it is Billy who will save her from the miserable reality she is in.”

    So I guess this is a blog where grammar doesn’t matter.


    1. Look, I’m from Israel, English is not my native language, Hebrew is, and I write amazingly in Hebrew ;).
      I admit it’s a lot easier for me to write in Hebrew, but I did my best to explain this theory in English for the whole world to read, and not just Hebrew readers. So with all things considered I think it’s reasonable. If you have grammar suggestions, I would love to hear them and improve the blog 🙂

      Liked by 4 people

    1. Look, I’m from Israel, English is not my native language, Hebrew is, and I write amazingly in Hebrew ;).
      I admit it’s a lot easier for me to write in Hebrew, but I did my best to explain this theory in English for the whole world to read, and not just Hebrew readers. So with all things considered I think it’s reasonable. If you have grammar suggestions, I would love to hear them and improve the blog 🙂

      Liked by 2 people

  18. Wow! This has been the only theory of the finale that has made any sense to me or my wife. We were both very disappointed from mid episode 17 through episode 18. Upset how Lynch totally erased the Twin Peaks that we knew and loved by saving Laura Palmer and moving into another reality. Then having such impossible answers to clues given in the 16 episodes before like Richard and Linda, 430 (miles?) etc. If this is the case, we can breathe a sign of relief knowing that maybe there was some logic and genius behind all the madness, confusion and seemly lack of caring about the viewers (especially those of us waiting over 25 years for TP to come back). Thank you, This is the first time we have smiled while discussing the end of this series. Now we have to rewatch, which we didn’t think we would do anytime soon.

    Liked by 3 people

  19. Maybe the Audrey sequences were parts of a nightmare from which the actress Sherilyn Fenn awakens in her makeup chair, in our reality, or a reality close to ours. Perhaps it is a reality wherein she sees her face before being made-up for a part? Perhaps the part is Audrey Horne?


    1. It may very well be that. Or it may be any number of interpretations that DL wants to invite. The wonderful thing about TP for me is I believe that it’s potentially all of these!


  20. This is 100% it. There’s more evidence all throughout the series– biggest symbol is cooper staring at the giant gold statue of The Gunslinger–The biggest of hat tips to Stephen King’s The Dark Tower series. I was positive by the time they mentioned Monica Belluci. I also thought Billy was Billy Zane.

    I mean, the name of the production company is Rancho Rosa, just like the community where Dougie and Janey-E live. She was ‘Dianne’s’ sister– you know, another tulpa– just like Rancho Rosa itself.

    There’s far too much Lynch-as-Cole reflecting on the nature of reality–drawing the sketch ‘stupidly’ with the sharpie. That’s what he does– he channels things over the ether–and then– this is important– he sent them over the airwaves based on modulations of 60hz power– TVs used to run on multiples of 60hz. (The frequency at which AC power in North America & Japan runs at) 60 hz = 30 frames per second Television, whereas 50hz in europe =25 fps. More on this later.

    So, let’s add this to the narrative and come up with the real final understanding of the show. To say they ‘broke the 4th wall’ in theater is an understatement. It was a play within a play within a play within…

    At 41, I am interested to see the change in society over 25 years.. By the way, Eddie Vedder played on the 26th anniversary of the release of ‘TEN’ To the day– August 27, 1991. If they had made 2016– it would have been precisely 25 years. But they already knew that they missed it.

    Wait. What year is it? Not 2016. 2017. They missed it.

    The real question is, did it break the 5th wall?

    I had already come to believe time was not what people think it is for so many reasons before the last couple of years, but there’s an impossible to tell story about my adventures leading up to June 10, 2016. I wrote about it before hand, even. I had many, many, many ‘signs’ that pointed me towards that date..and I have a few witnesses that saw me go down this rabbit hole.. and I did find something there.

    Of course June 10th was a Palindrome. 06102016

    Flash forward about a year later, and when I found out the final episode of Twin Peaks aired on June 10, 1991, I nearly lost my shit again. “10” is everywhere surrounding Twin Peaks ‘The Return’ They centered the series around David Bowie/Philip Jefferies, who only appeared in a single scene in Twin Peaks, which began with Cooper saying ‘Dianne, it’s 10:10 AM”

    The 10th episode featured Rebekah Del Rio, the ‘midpoint’ of the realities of Mulholland Drive. In fact, if you draw little “bobsketballs” each numbered with an episode 1 – 18, putting 10 at the top and 1 at the bottom, that little ball in the infinity/8 in episode 17, shows exactly where the “clock” of the series was–episode 17. The obvious ones were 3 & 15 with the sockets, Cooper Returning in episode 15, entering as Dougie in episode 3.

    There are so many clues the show is self-aware (the electric pole that says 6 in episode 6) they just don’t stop coming. –But why? Why David Lynch with a gun in his hand looking at it so? Why Cooper filling the screen, laura haunting him?

    I have a theory. Twin Peaks changed the landscape of TV– and all of our psyches. “It’s only TV” and “It’s only a movie” are oft repeated, but think about the front-and-center drugs, sex and gambling were in Twin Peaks–and how many adolescents brains were changed by this?

    Just look how popular fucking COFFEE has become since 1991. In episode one, a guy stares at a glass box, is tempted by a girl bearing a giant coffee. There is a security guard there, who one day isn’t in place– and while they’re not looking, a beast comes through and kills them both violently. That box was being recorded by hundreds and hundreds of SD cards.

    This final thing: Why would cooper be bringing Laura Palmer “HOME”? This makes no sense. To a MOTHER who on some level ignored what was going on in that house? To a father who was repeating a cycle of abuse that started with ‘Robert’ the man who used to live next to him when he was a kid?

    What was a story about the horrors of incest and oversexualization of teenagers ironically helped ‘change TV forever’ adding MUCH more sex into our society.

    (I’m not moralizing at all. I like sex. I like porn enough to know that it’s just a bit creepy how popular ‘incest porn’ seems to be getting of late)

    I think David Lynch was trying to put the genie back in the bottle, but it didn’t work– he could digitally erase laura from the beach, but he couldn’t break the cycle created by the original show. Maybe if he had managed to get it on the air 1 year earlier.

    “Laura is the One” might not mean Laura is the savior. It means Laura is the one who led us down a very dark path as media consumers–even as that 60hz cycle is transformed into Distributed Current for our electronic devices… Just like those SD cards– Just like that absurdly sharp digital camera that captured that New York skyline that screamed “This is the evolution of the Arm”

    It was meta alright. I think it was way more meta than most people realize…

    David Bowie, date of death? 1/10. That week, the largest Powerball Jackpot ever, over 1 billion dollars–powerball 10. The exact length of Blackstar, David Bowie’s legacy final tour de force? 10:00. The number of completion.

    Who knows, maybe the next series will be in 2027.. hopefully not 2028, though.

    I think this is more than the Return of a TV show, but I’m just some kook on the internet.


    1. Thank you for mentioning The Gunslinger! This whole season has had the biggest Dark Tower vibe. In fact, I’d say Lynch does it better than SK himself!


  21. yeah but…

    If ‘Billy’ is Billy Zane, why would some guy be running down the street and frantically asking random people at the diner if any of them have seen Billy??….I’m not saying there are no good theories or ideas here, there certainly do seem to be some notions that ring true, and perhaps even get to the root of Lynch/Frost’s intentions….BUT:

    As the audience of storytelling in its various forms, we are accustomed to story patterns without even being consciously aware of these ingrained expectations. For stories that can be categorized as ‘mystery’, we wait with anticipation as the mystery is ‘solved’. This is the resolution that satisfies our need for closure and facilitates our release from the suspense. Twin Peaks has and always will challenge us to ‘let go’ of that need, to learn to find happiness in “living with the question”. For my fellow fans who have found themselves frustrated, disappointed, angry, searching for ‘the answers’…please consider that the brilliant creators of Twin Peaks, whose story you have chosen to become invested in, want you to embrace with awe and wonder the mystery of existence. This is the gift they have given you, if you choose to accept it. ‘There is some fear in letting go’. Be brave. Peace-

    Liked by 1 person

  22. might interest you to know that the phrase We are like the dreamer who dreams, and then lives inside the dream. was used by David Lynch in the marketing and promotion of Inland Empire too.

    Liked by 2 people

  23. Might I add the relevancy of the message Evil Coop sends to Diane right after Richard Horne is ‘taken’? His message read: “:-) ALL” and our familiar Coop character, the one we longed for during all 15 episodes before. woke up moments later. This was again a message to us, the spectators/dreamers! Breaking through the medium again to our real world. The meta-perspective/three alternate realities has always been a recurrent theme in Lynch’s best work and especially in David’s last movies (LH, Mulholland Dr, Inland Empire and Rabbits). This analysis for me is spot on it gives me goosebumps while reading, realizing how unique this ride has been for the last 3 months. Fantastic article.

    Liked by 1 person

      1. thank you! her being in that scene stuck with me in the moment so its great to see how it played into the larger concepts of the series.


  24. So Audrey and Gordon are dreaming and their dreams are our reality, which means that WE are the dream from Twin Peaks’ perspective and are living inside the dream of the TP characters…
    Wow, we’re not real!


  25. I’m wondering what the sudden blackout of the house could mean in context of this theory. Did the blackout happen in the “real” world? Why? Or is it just something the characters experienced?


    1. I was thinking of Morrison too and the idea of all existence being made up of “stories” that cross over from the fiction we consume into our “real” world. And I suppose, in that context, what we think of as our “reality” on earth could be the fiction for beings in another dimension to witness and consume for entertainment.


  26. I too really enjoyed your take on the series. It’s similar to mine, but you have fleshed out the fourth wall approach in far greater and more persuasive detail than I had. Hats off to you. I do feel there is one piece missing, which is the simultaneous insinuation that our world, too, is simulacra. You can say he broke the fourth wall, but the final piece is that beyond the fourth wall is just as much a dream as the other parts of the story. You can only use the word “reality” as a shorthand for our favorite simulacra world.

    Liked by 1 person

    1. Good points. There is definitely new thinking that we humans exist in a virtual reality that was constructed for us to exist within. And that there may be a higher level original “reality” than this and we are less real than we believe we are.


  27. I think there is for sure something to what you’ve laid out here. But, it’s not the entire explanation. But there is something going on with alternate dimensions, some of which resemble our own. To get further into the weeds with Audrey, I’m afraid Sherilyn Fenn’s recent public statements would suggest she’s more like the Audrey from The Return than the original series. To further strengthen the Billy Zane theory, Audrey says “Billy f_cks me” Audrey was a virgin on the show, until John came along. So, there is only ONE person we know that to be true of!

    Liked by 1 person

  28. Nice! But, there is a problem: Odessa population as stated on the table was from the latest, 2010 census, not from 1991-1998 (as you suggested that is the time frame in question).


      1. Why would Richard know how to correlate the population of Odessa with a census report? But even if you are right, his asking wouldn’t explain the discrepancy. Could you please elaborate on how you see your point here resolving this problem with your description? I do not understand how Richard’s question explains time difference. Rather, it just asks about it.


      2. Richard doesn’t know to correlate the population with a census report, that’s a clue for us the viewers l, so we know it’s past 2010, and that’s the timeframe Richard thinks he’s in (2010-2017).
        But as we noticed from the Mar-t cafe something has changed along the way that moved him and Carrie to a different timeframe he didn’t expect (1991-1998), hence him asking “what year is it?”
        It doesn’t explain the reason for the time discrepancy, but what is the time discrepancy.


  29. Here are some interesting moments from the show, you realize that everyone was dreaming of a different version of themselves…richard dreamed he was cooper, Carrie was Laura (and madeline), lynch was gordon, etc. we witnessed Richard, carrie, linda and audrey wake up (who knows if she is really named audrey) .check out these moments from the show if you want to see how Lynch had this all planned this whole time…you’re welcome


  30. Either way, to me the old “it was all a dream” ending is a shite cop-out. Lynch used to be my favourite director, and when I found out that Mark Frost and a lot of the original cast were coming back I thought there may actually be a story this time (as opposed to IE and MD) but nope. He’s going senile and becoming an egomaniac. Not having the restrictions of film or anyone around him forcing him to add some narrative to his “moving paintings” it was inevitable that TP would be nonsense as well. It wasn’t all calculated… he just shot random stuff on a whim and tried to make up a story in the editing room. Shite IMO… and such a HUGE waste of the talented cast, a lot of whom are dead now.


    1. Let’s agree to disagree on that.
      First of all I’m not saying everything is a dream, I’m saying that we as the viewers tulpa Twin Peaks to existence with our collaborative dream and passion.
      Second, David Lynch is a genius, one that gave so much meaning and layers to its creation, some of them I tried here to untie. And to say these awful things about him that I won’t even repeat just because you didn’t like or understand or made peace with the ending is really to spit on all of the season and all of the ride till that which is Twin Peaks that we (and I hope you also) love.
      Maybe time will heal your wounds

      Liked by 1 person

      1. If there was any disappointment to be had from Twin Peaks, it has not been from the production side. Rather, some few members of the viewing public have valued their expectation higher than the vision of the creator. At best they are the TV equivalent of those that talk through a concert, at worst they are those that have chosen to interpret religious texts to reflect their own broken beliefs.


  31. Another element you can add to this heavy file : just before the Sunset Boulevard scene, Janey-E tells Dougie : “all our dreams are coming true”. A way for Lynch to tell us : ” Your 25 year dream to see the “real ” Dale coming back is happening just now” ?

    Liked by 1 person

  32. Thank you for this theory, it really does reconcile the dreamworlds dilemma intertwining the whole show. One may like or dislike the apparent “breaking of the 4th wall”, but it does open up infinite possibilities for how the story might go on, without actually crossing out all the previous series/FWWM. You’re right, Cooper and Carrie/Laura didn’t just wake up in the “real world”, and it doesn’t mean they can’t return to Twin Peaks as characters. Lynch & Frost are in effect inviting us to keep dreaming of TP and to continue the storyline. Sadly, I suspect it also means there’ll be no season 4. Once the wall is broken, there’s no bringing it back.

    P.S.: One fun note: not trying to focus on contradictions, but Cooper would’ve had hard time finding Twin Peaks near the Canadian border! LOL, maybe he was wired to Richard’s memory who for some reason knew where Snoqualmie is 😀


    1. Thank you! And yeah IMO that’s the last we ever going to see Twin Peaks on screen (although Frost’s book is coming).
      And regarding the finding of the locations, IMO again, he tells Carrie he’s going to take her to Twin Peaks, when in effect he’s going to take her to the closest sights in our reality that resembles Twin Peaks, in an effort to stimulate her memory, and we can see that in Richard asking Carrie: “You recognize anything?”


  33. Have you had any further thoughts on the earlier parts of the Season? Specifically the Camera Room and the brutal shadow murder?

    Clearly the cameras are some metaphase, but interested if you have any thoughts to tie it in to your theory?


    1. I’m not diving into all the other mythology here, like the experiment, but if you ask me, and I wrote about it in my facebook although in Hebrew, that couple watching the box and waiting for something to happen is a metaphor of us watching them watching the box waiting for something to happen, like somewhat recursive viewing 🙂
      But anyway, I don’t currently see it tie into my theory, other then the metaphor of the viewers above 🙂


    2. A couple thoughts on that couple:

      1) Their sex makes Judy appear. This is a common pattern in Twin Peaks: the passing of one state to another through sex and the ability to correlate that to a “portal” or opening to pass “between two worlds.” It’s an alternative to electricity.

      We also see the pairing of sex to violence, to transcendence, or to loss. We see this with Coop/Diane (Richard/Linda). This moment brings Coop from Twin Peaks world (Lodge world?) to our world. We see sex deep in the story of Laura — a story of sexual trauma, of a character both amazingly innocent and amazingly sex/drug crazed. We see sex in the story of the girl and boy in New Mexico in ep. 8: their “first kiss” precedes the frogbug possessing the girl. Teresa Banks. Ronette Pulaski: sex, violence, the passing between the worlds, the loss of innocence/the pursuit of transcendence, the opening for Black Lodge spirits and evil.

      2) In an interview with EW, Lynch admits he did not intend it to be a metaphor for us watching TV/the Box. However, he also admits that’s an interesting way to think about it. Given the video, electronic equipment, the solitary watching, the expectation for something to happen, and the way the viewer sits in a mock living room (notice the couch, lamps and sidetable), that’s an inevitable correlation whether Lynch intended to or not.

      3) So the tie to “theone3’s” awesome theory is, 1) a general reflection of sex in our world within the world or between the worlds of Twin Peaks, but more importantly 2) the scene where Coop passes through to our world by means of a sexual ritual. I believe when he leaves as Richard, he has a different car? It’s also worth noting that this sex ritual brings Judy (as the cafe), that the Coop figure comes out of that brush with Judy victorious with the Laura figure’s whereabouts, and that he eventually finds her with these whereabouts. Maybe Judy is vanquished in some way, or for just a moment?


  34. Hi there! I read this yesterday and you had written about how there were 3 different endings to the 3 different dreams. Did you take that part out or edit it? I was hoping to read that again.


  35. I find it interesting that Sherilyn Fenn once starred in a comedy about a recovering alcoholic named Billie Frank. Among the other characters were Trudy, Clark, and Chad. The show was called ‘Rude Awakening.’


  36. Another thing that may confirm your awesome theory is the scene in the last episode when Leland asked Dale to “find Laura”. When he gets out of the black lodge, the first character he met is Diane, played by Laura Dern. So in a way, he found the “real” Laura of the show and is now evolving in our reality.

    Liked by 3 people

  37. but if Twedes is the 3rd reality, and the image is supposed to be of the real Twedes/Mar-T diner, then why does it still have the RR’ signage on it? because in reality it doesn’t (I go there every year)

    Liked by 1 person

  38. I haven’t read all the comments so this may have already been mentioned but this theory made me think about something I noticed after watching the credits for part 16 and seeing Carlton Lee Russel credited as the “Jumping Man” as far as I know that character was never given that name by Lynch. Over time we have just all kind of agreed on the “Jumping Man” being a good name. What’s funny is he really doesn’t do much jumping except for maybe a couple times in the FWWM convenience store scene. He certainly doesn’t jump in the new season and yet that is the name Lynch went with.
    Also I think it’s in part 2 when we see the first “woodsmen”in the jail cell, and I don’t remember him being credited as a “woodsmen” until later. After part 2 that is just the name everyone settled on and lo and behold that is what he/they were later credited as. They don’t even really look like woodsmen. They look much more like homeless men! Did anyone else notice anything like this?

    Liked by 1 person

  39. Thank you again sharing this. There’s one thing that came across my mind today that made me rethink some aspects of your interpretation, though. Ok, Lynch was giving away some clues to the importance of “perceiving reality” in Richard/Carrie’s timeline–Odessa sign, RR sign, Coca-Cola sign, Maersk, Valero, etc. Your explanation for the last episode was that when Richard wakes up he’s in our reality, “the real” reality. It works as a contrast with the Twin Peaks world and I agree that Lynch wanted to make that clear giving away these clues. Ok, but then, if you think about it, you could also say that there’s tons of real life objects, institutions, etc in the Twin Peaks world: FBI, Twin Peaks being in Washington (a real state), Bill Hasting’s website that we all could access in our reality, Gordon whistling to a Rammstein song (a real german band), etc etc. Why are these less valid that the “Maersk, Valero” ones?
    I think there must be a lot more to Episode 8; the moth-frog, the little girl (Sarah, Mrs. Chalfont??), etc. Also, noone really theorized on why Gordon had the big picture of the A-bomb in his office (it must be connected to Episode 8). Why does the One Harmed Man speak forwards when he last recites the FWWM poem? Who’s The Little Girl Who Lives Down the Lane, Nicolas Gessner’s movie?? And finally, the very last scene of Twin Peaks is not Laura’s scream but the whispering scene when the credits are rolling down. That is the very last of TP that we’ll ever see so it must be somehow important. What do you think it is? Thanks, I’m curious to hear your opinions! 🙂


  40. Another clue is that Kyle and Laura Dern were a real couple in the past.
    So, the note of Linda says “we won’t see anymore”. That’s because they broke their relationship, and you can figure now they see each other only as good friends, no sex.
    Adding Ray Wise says “find Laura”, and Laura (Dern) is The first person Cooper (Kyle) see after exit/leave Lodge.
    Best review I’ve read (or one of them).
    After turn down the lights in Palmer’s House (or Tremond), Laura says on whispers to Cooper something like “you NEVER can’t save me” or “I’ll NEVER kill my Mother”.
    First explains that Judy is acting again one and another. Sarah is not in the town anymore. Evil is Alive.
    Second explains that Coop bring Laura to defeat/neutralize Sarah (Judy), and she knows it in The Black Lodge. So Laura don’t act vs her Mother at all. The Mother AKA Judy AKA Sarah Palmer (inhabited).
    Sorry for mistakes, from Spain.


  41. Fantastic article. Thank you for articulating this journey into the abstract realms for us.

    Just wanted to add something to back up your theory about our “third world”.

    In The Missing Pieces, Jeffries mentions that he found something “in Seattle, at Judy’s.”

    Kyle has stated in interviews published after the finale that they filmed the final scene at the Palmer house which is located near or around Seattle in real life.

    Kind of minor, but still…

    Liked by 1 person

  42. First of all, I liked so much your post and I share a lot of what you say. It clarifies so well something that I’ve always thought about the interconnecting realities of Twin Peaks but without the great insight that you show in using the destructuring model to explain the connections. Actually, Audrey sequences were quite difficult to me. I’ve been watching all of Lynch’s movies over the years and so many times that TP should have been quite comprehensible to at this point. It did, but only for the style and some single episodes, the soundtrack, the sound effects, etc. etc. because somehow I didn’t want to break the game by trying to interpret it too much.
    After some years of readings and viewings of Lynch movies, TP The Return is still one of the best experiences I’ve ever made but it’s also one of slippery interpretations and bafflement. Purposefully, I didn’t want to interpret the weltanschauung, until the final episode, which I found disturbing, moving, emotionally great, fictionally brilliant, the work of a great narrator, inventor, writer and so on (credits should also be given to Frost, who’s made a great job with Lynch, of course). I would like to ask, at this point: do you think there’s something to do with the parallel universes and the theory of possible worlds? After all, this is the basis of all fictional worlds and also human imagination and one that allows viewers and creators to share a common universe (fiction) which is parallel to ours and is made with parts of ours but remains, a reality of its own which we can enjoy again and again just like in a Moebius loop.

    Liked by 1 person

    1. Ok, so I’ll answer this question with something personal.
      Since I was a child, watching movies, tv shows and reading books about time travel fascinated me.
      But usually most of them had countless time travel paradoxes (i.e. killing your own grandpa problem) and so I had to come up at a really small age (twelve I think) with a theory that will settle these paradoxes once and for all.
      The theory that says that something will prevent you from creating a paradox, like someone would come in and stop you from killing your grandfather, or the gun won’t shoot just won’t do!
      First it doesn’t seem plausible that the time-space continuum will be aware to your universe destructive actions, let alone be able to stop you, like some Deus Ex Machina.
      Furthermore, as I read the Chaos Theory around that age, I understood that even being in a place where you were not there before, will create such a ripple or a butterfly effect that will change the future and by that have a real chance of preventing you from even going back through time all along, and we’re back to the grandpa paradox.
      So the only conclusion my mind was able to make peace with is a theory that says, that once you went back in time, just going back without even doing something, will put you in a different timeline than the one you came – you will be in a timeline that the possibility of you being there exists!
      I also believed that all the timelines already exist, for every possibility, and therefore infinite, and by going back you are “migrated” to the “fitting” timeline.
      So years gone by, and now I’m a Software Engineer student, and when taking Physics 1 course, I spoke with my professor and told him about my childhood theory.
      The smile on his face widened as he told me that I come up by myself with the Many-worlds interpretation that “implies that all possible alternate histories and futures are real, each representing an actual “world” (or “universe”).”
      So I guess that was a foreshadow of my skill of inventing theories 😊
      So back to Twin Peaks, yes I believe that what happened to Dale is “migrating” from the dream manifestation timeline (which we fans dreamt) to a timeline where the possibility of all the 3 realities co-existing exists 😊


      1. THat’s exactly what I intended, yes, the many worlds interpretation. Ok, I’m a Phd in American literature from Italy, quite familiar with literary theories, possible worlds in fiction and phylosophical implications of being a writer or creator of fictional worlds (of course this latter is ironic…) a little less familiar with software engineering or physics, for which I would define myself a dummy. But it’s so fascinating how fiction and physics converge, how creation and science may have a common factor: imagination. Thank you for your reply and good work!! I also have a blog (in Italian for now: ).

        Liked by 1 person

      2. Thank you for reading my article and your kind words 🙂

        And regarding imagination, IMO is the catalyst of all great creation, and I chose software engineering as a major because I believe it’s the best tool one can use to make his imagination a reality.

        But it’s just me 😉


    1. Also, perhaps the most famous example of a story with a connection to the real world is “Alice’s Adventures in Wonderland,” wherein the fictional heroine of the story about crossing worlds (Alice Liddell) is also the real-life girl who inspired the story. So “Alice Tremond” could scarcely be more supportive of this theory…


  43. I am so impressed with the amount of research you did for this. I have to admit, I just finished the finale 2 days ago, so I’m late to this.
    I think a lot of this makes sense. I am hoping you did this to all the episodes because I’m going to read them right now. I have a different theory about Audrey/Charlie theory but first I’m going to read what other brilliant insights you have.


  44. Thanks for great article! Bravo!
    And I want to add some interesting detail, lyrics of Shadow (Chromatics) from 2 ep. title song. As for me it looks like last scenes of season exactly! 🙂

    Shadow, take me down
    Shadow, take me down with you

    For the last time
    For the last time
    For the last time
    For the last time

    You’re in the water
    I’m standing on the shore
    Still thinking that I hear your voice
    Can you hear me?
    Can you hear me?
    Can you hear me?
    Can you hear me?

    For the last time
    For the last time
    For the last time
    For the last time

    At night I’m driving in your car
    Pretending that we’ll leave this town
    We’re watching all the street lights fade
    And now you’re just a stranger’s dream
    I took your picture from the frame
    And now you’re nothing like you seem
    Your shadow fell like last night’s rain


  45. wait….what if that insect thing that crawled into the girls mouth made the little girl dream the whole thing…………..because that gotta light guy put everyone to sleep…..making everyone to go sleep and become the dreamers….meaning everything since the atomic test back in the 40s or 50s was a collective dream.


  46. The hotel thing as you explain it makes sense, with the sex scene but the time passage theory makes sense too. Very nice writing. I like how you relate the obvious brand names, it seemed way too coincidental for Lynch. Everything is planned, every angle, every scene. So much info I am happy to just rewatching and find more. The Glass box blog helped me a lot with some of my most confusing bits.

    Liked by 1 person

  47. I mostly agree with your theory…also consider the following:

    1. Odessa is also a big city in Ucraine. Odessa Texas is like a Tulpa city in reality.

    2. MAERSK is a big transport company from Odessa, Ucraine.

    3. In italian, Odessa is an easy anagram of the word “Adesso”, which means NOW, PRESENT TIME.

    Liked by 1 person

  48. All of these theories hold as much water as if Lynch and Frost wrote down all the possibilities on sticky notes, placed them on a cork board and then asked a monkey to through darts at the board so the could pick the sticky’s and formulate and ending. IF you don’t believe me then try it yourself and see how coherent your ending is compared to this one. This is NOT a great piece of writing, it has no responsibility to the audience and even less so to the characters living in the world Lynch and Frost created. TRow any insult at me you want, it doesn’t matter because it will go off into a different timeline, dream sequence and probably be aimed at a Tulpa not me.


  49. Great analysis! I, though, don’t see it as breaking the 4th wall but rather Lynch & Frost giving us a clue of what the reality (i.e. the non-dream) is in the series. How else would they do that? E.g. to tell us that the “dimension” where Cooper and Carrie are is the “real” one, at the end, they give us a conclusive clue – the owner of the house is the “real” owner. This hasn’t necessarily anything to do with our reality – it’s just a hint that these events are what’s really going on in the series, opposed to the dream. I’m also not sure about the “collective dream” part – remember in season 1 or 2 Andy says on the phone “I’m the whole town”. I think this is an indicator that there’s only one dreamer. Though this is a bit complicated in Twin peaks as they are so much characters with a very complex plot going on… but maybe it’s still intended as being the dream of one single person. This is also how Mulholland Drive works, there’s a dreamer, we see first the dream, full of clues that something is off and there’s something bad going on in reality and then we see reality… well, sort of. It’s still the dream, which successively falls back into reality, close enough for us to guess it but without fully revealing itself. Considering that the dynamic of the whole series / movie is based on someone trying very hard to negate this reality, it makes sense that the moment of realization can’t be expanded but rather leads to immediate self-destruction (MD) or something abrupt like TP (scream, lights turning off).


  50. I’d like to add a minor contribution of my own to these comments. This post, and the comments that follow, are the richest discussion of Twin Peaks Season 3 that I’ve seen online. The intricacies, mysteries, and depth of this series are frankly unbelievable.

    Here’s my minor tidbit: We know that there are no—or very few—accidents in Lynch’s works. Everything is intentional, and though it might seem mundane at first glance, there’s a lot to analyze in every small moment. So quoting the text of the post, theone3 tells us:
    Remember what the log lady said? “Watch and listen to the dream of time and space.”
    And what did the Giant say to Dale Cooper in the very first part of the season? And here we’re turning full circle.
    “Listen to the sounds,” “Remember, 4:30. Richard and Linda. Two birds with one one stone.”
    If you don’t know, Richard and Linda are famed husband-and-wife British folk-rockers, who have a song that is exactly 4:30 minutes long and is called Sunnyvista. And I bet you’ll get like me goose bumps when you listen to its first line in the song: “In SunnyVista all your dreams are reality”…
    Now, in Episode 14, Freddie Sykes (played by Jake Wardle) recounts to James the story of how the green glove wound up as part of his body, and which gives him a superpower. At about 38:12 in the episode, as he is telling his story to James, he reaches the part where he wakes up the following morning after his encounter with the Fireman, and says “I got up, got out of bed.” Because this line is similar to the beginning of the second part of the 3-part Beatles song A Day in the Life, Freddie laughingly makes a reference to the song, continuing it in a humorous tone, “Dragged a comb across my head…” Well, this might not at first seem to have any connection to the rest of the episode, but what came to me when I was lying down between wakefulness and sleep, was that the final line of that very stanza in the song is “And somebody spoke and I went into a dream.”

    This might not be that profound or unlock any major secrets in the narrative, but it does seem to be an intentional use of references invoking dreams and dream worlds. It’s no coincidence that Episode 14 is perhaps the episode in Season 3 that most explicitly discusses dreams, as Gordon Cole recounts his Monica Bellucci dream. It’s also interesting that Lynch created a British character (who is otherwise out of place in the town of Twin Peaks) to reference a British song that is comprised of several disparate sections (it is like multiple songs fused together), and I wonder whether this intentionally intersects with the fact that the Sunnyvista song is sung by a British duo.

    That’s the full extent of my revelations, but on the topic of dreams, I would respond to the comment left above by “Granvorked P. Mykostoleeze” who expressed the feeling that the “it’s all a dream” motif is just a “shite cop-out.” I think that what this person is missing is that Twin Peaks is about much more than simply saying “Oh, it was all a dream”—it’s actually not saying that at all. It is rather interrogating what reality is, asking whether realities in one “place” are actually the dreams of another place, and exploring layers of dream/realities that might be interconnected. The whole idea of reality being the opposite of a dream is being dismantled in Lynch’s work, as the dream/reality distinction collapses.

    And this actually brings me to a very fascinating idea that keeps growing in me as I watch not only Twin Peaks, but a lot of Lynch’s work: Could Twin Peaks be real? Consider another statement from theone3’s above post:
    I must add that this is how I see most of the series and films in my life, and that is how I read most of my books – with a great belief that somewhere in some universe (just like “The Tempest” in Dan Simmons Ilium / Olympus books) we create, we “Tulpa” into existence what we read or watch.
    I’m thinking of it along these lines but slightly differently: Could Lynch/the Twin Peaks artform be “tulpa-ing” into existence the content of the show, using our own minds/souls as a kind of catalyst? (We could even think of our brains as an electrical apparatus that produce a reality based on what was inputted into the machine… maybe some links to Eraserhead here, where a head goes into a machine…)

    When I watch Twin Peaks, I have the distinct experience of feeling that I’m beginning to live or merge with a certain new reality to a degree that I have never experienced with any other film or show, and I’ve watched thousands. What is it about Twin Peaks that becomes so real for some of us? I think that this is exactly what Lynch is playing with. With all of these elements of the “bleed” between realities, he’s presenting to us the possibility that Twin Peaks is real, that it is linked to our world, that it is part of us or that we are part of it. Now of course, he had to engineer these moments in the show in which instances of the bleed between the worlds are conveyed. But isn’t that a lot like the human agency that exists as part of the production of any divinely-inspired (i.e. revelation-carrying) scriptural text? In other words, even though this whole universe/story was gestated in the mind of David Lynch, could it not also be real or express something that is real, by its very nature? And to the question of why all works of art aren’t somehow “real” in this same sense, I would say that it is because they do not intend to be, or if they do, they do not attain this degree of expressing a reality. After all, if we think of narrative literature in human history, there is a tremendous abundance of it, but only exceedingly rarely is a work considered to convey a divine truth, i.e. attain the status of scripture.

    Therefore, I submit to you this, that Twin Peaks may very well be more than a work of art—it may be prophetic. By “prophetic,” I mean it may convey a kind of truth content that says something normative about the way thing are or how things exist—Prophetic in that it has a message to convey that is more than what one typically encounters elsewhere. Never in my life have I felt so pulled in to a work of art in this medium, not in the sense of “oh it’s so gripping; it really pulls me into the story,” but pulled in in such a way that the show itself begins to feel real, and the lines between my own reality and that expressed by the show become blurred, and I feel some bleed taking place between my own world and that which I am apprehending through the medium that is conveying the prophetic content.

    Considering this prophetic quality that I feel Twin Peaks has, I hope that if David Lynch continues the series, he will go beyond examining existence and will reflect further on the meaning of our existence, in other words providing more of a philosophical message about life as one might encounter in a religious text.

    Some final and unrelated observations. I think that I have watched all (or almost all) of Lynch’s work. There are a couple that I’m not crazy about but I like (and deeply respect) most of his work. Of his films (excluding Fire Walk With Me which is part of the Twin Peaks universe), I’ve come to feel that Blue Velvet is my favorite Lynch film. When I watch it, I feel that I am seeing something that could very much be understood as part of the “canonical” Twin Peaks universe, if you will. As young Kyle MacLachlan interacts with the sinister (but sometimes ambivalent or ambiguous) characters that inhabit an uncanny and unsettling pocket of reality within the town, I feel that it is completely clear that a particular clan of lodge entities is being depicted. One has a white-painted face, which is a recurring theme with sinister spiritual entities in Lynch works (think Lost Highway and one of the lodge entities above the convenience story in Fire Walk With Me/Missing Pieces). The young Kyle MacLachlan character corresponds to Dale Cooper in a number of ways, the foremost being his shining, pure character. Though the original Twin Peaks was a breakthrough in the exploration of darker themes that were normally ignored by mainstream entertainment, and though we think of the trend that developed in the 90s as one in which characters began to be more portrayed as complex mixtures of good & evil, the first two seasons of Twin Peaks are striking in how exclusively good Dale Cooper is. He is almost unnatural in his moral perfection. He is a character with no moral failings and we never see him make a mistake of a moral kind in those first two seasons. On one level, it may be that he is everything that his doppelgänger is not, i.e. 100% good. (It’s as though in Cooper and his doppelgänger the good and evil natures have been separated into two separate beings—obviously, we know that Evil Cooper is evil, but I don’t think we pay attention to just how good the Good Cooper is.) On the other hand, I think that it is very clear from Lynch’s work that despite his exploration of significantly dark and violent aspects of sentient beings, his work nevertheless conveys a very strong sense of moral dichotomy; i.e. Lynch has very clear notions of good and evil, he sees them as distinct from each other, and his characters often clearly present an unambiguous orientation toward one or the other. I see Lynch’s works as being solidly grounded in a clear sense of what goodness and evil are; his works are more traditionally moral than what we encounter in many other films/shows of the last several decades. This might sound ironic considering the dark themes apparent in his works, but I think that this clear sense of good guys and bad guys is always there and I think that Lynch conveys a certain respect for human goodness rather than a worldview of moral ambiguity. Though I cannot pretend to offer any profound or insightful analysis of Blue Velvet, one aspect of the work definitely seems to be an exploration of what happens when MacLachlan’s character, as a very young and naive version of Dale Cooper, is exposed to the existence of negative forces that he had never previously considered. The journey might be scarring to him, but his commitment to his own moral character remains uncompromised, and though the experience might have wounded him, he remains essentially the same person, though wiser. The Twin Peaks character of Dale Cooper is fascinating to me, because it is basically a picture of that goodness in a mature form; the Blue Velvet boy has grown up, weathered the negativity that has stripped away his naivete, and yet he has preserved his innocence. His groundedness and confidence in his own goodness allow him to confront the threats that he must face with fearlessness. I think that there are more connections between Blue Velvet and Twin Peaks to be explored, including Laura Dern’s character, themes of dreams, etc., and I don’t see Blue Velvet discussed much in conjunction to Twin Peaks.

    I leave you with a final comment that might make you laugh, but I’ll stand by it. Considering the range of musical genres (from the more serious to the more whimsical) that Lynch has used in the series, a song that could fit perfectly into the ethos of this show is Ace of Base’s Da Capo. In addition to hearkening back to the decade that birthed this show, just listen to the lyrics and I think you’ll know exactly what I mean:
    There’s nothing I would love more than seeing the reconstituted Ace of Base performing this or Golden Ratio in the Roadhouse.

    Liked by 2 people

  51. I’m sitting here with goose-bumps. This recolors the series for me in a profound way. Thank you.

    Two things
    1. The way you have me thinking about it now, the Twin Peaks characters dream themselves into our world. This turns the cliche ending on its ear. Instead of the show being a dream, we’re the dream. The show’s characters are dreaming of us.
    2. Laura has dreamt that she is Carrie Page from Odessa. In the last moments, she hears her mother calling her name. “Laura”. She screams as she remembers that Odessa is a dream. The lights go out in our world, and she returns to the terrifying and strange reality of Twin Peaks.

    Liked by 1 person

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  53. Another piece that might fit into this puzzle. As we all know, the actor who played BOB in the first two seasons was originally a member of the crew who happened to appear in a mirror during one of the first few episodes. This may be one of the first ways in which our reality and that of Twin Peaks blended into each other.

    And BOB himself is a demon who experiences reality vicariously through his host. He says to Laura: “I want to taste through your mouth.” This strikes me as similar to the way in which we experience the reality of Twin Peaks vicariously, by watching the show.

    Liked by 1 person

  54. Three levels.

    Level 1: The characters existing as themselves
    Level 2: The next level of worlds – the Black Lodge, other “extra” environments within the show itself
    Level 3: Actual Reality. Us, the viewer.

    Essentially imagine you were playing a videogame. Level 1 would be your Character’s “normal” day to day routine. Level 2 would be hitting a patch of out of the ordinary weird in the game. Level 3 would be the character in the game catching a glimpse that they were in a game, and becoming aware of you, sitting in your living room watching them.

    Which is why Audrey is staring at the mirror. She’s accidentally achieved total awareness. She managed to aware herself out of the show itself, entirely. And since she doesn’t exist outside of the show, all she can see is herself, looking at herself, which is even more horrifying.

    Liked by 1 person

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