Perception de Ambiguity on Sep 8 2017, 10:29:25 AM wrote:I didn't think of Diane being exactly jealous of Laura, rather that Cooper is consumed with the Laura case to the point where he is not only lost to Diane but to the world.
And just like "What year is this?" is backed up by how Lynch avoids showing any indicators that would place the final section in the now. It could be the present, or it could be years in the past, or even in the future. I think Lynch knows the answer but he embraces any chance that presents itself to open up the possibilities and to let the viewers come to their own conclusions.
It's understandable that Diane never having been present during the old series (and me for instance initially thinking that she was a mere imaginary friend of Cooper's, one of his quirks that help him get through the day and organise his thoughts), gets a fairly dramatic depiction in The Return, that she would be "born out of a curse", be manufactured to antagonise the FBI with her "fuck you"s and supply information to Evil Cooper. Her character backstory and arc throughout the season were purposefully enigmatic, so it's particularly difficult to grasp why she leaves Coop in the last episode, and why it's so convenient to apply an alternate personality / parallel universe plot manoeuvre with her character.
I didn't expect that Naido would turn into Diane, but it makes perfect sense considering the rape, how that left her with scars such that she'd be lost like Cooper for 25 years in the Black Lodge. But their encounter in the room next to the Purple Sea was particularly cryptic, Coop certainly didn't seem to recognise her then, and we wouldn't be able to guess if she did, in her extremely amputated and erratic state. In a certain sense she sacrifices herself for him at that moment, because by pulling the lever on the top of the Room she lets the electricity run through the socket such that Coop may return, but it also flings her out into immense space to be left in a forest, naked, for extended(?) days*. Again, this seems like a thing orchestrated by the Fireman, considering how later he makes Andy believe she's very important. It's still strange that when Coop asks the "Real" Diane if she "remembers everything", she responds yes (seems like another purposeful-convenience element to heighten the 180 turn).
*The obscure running of time is a highly distinctive feature of the series, not just (obviously) in the Black Lodge scenes, but also in the "real-life" intersecting towns there's a fairly dream-like and even inconsistent feel. (I believe it has been mentioned on this thread before about Audrey's arc.) And to talk about Diane in particular, when the Twin Peaks agents go out to Jack Rabbit's Palace, the vortex opens at exactly 2:53 pm, the same time Coop passes through the socket to become Dougie. (And again when Coop becomes himself, 2+5+3 = 10, "the divine number of perfection".) It almost seems impossible that those two events would happen at the same time (Part 3 in the Black Lodge with Part 14 in Twin Peaks), but it's damn interesting to think about. This feeling is of course related to the timelessness of certain sequences, or the uncertainty what exact time it is, the blending of future and past; what you mentioned. "What year is this?" was one of the most electrifying
lines in the series for me.
The Fireman = the storyteller is the most plausible association from a metafictional perspective, not only does her transmit information to characters that's vital for the future, but we also see him float next to the cinema screen twice, and his name has been credited as "???????" for the most part.
Yeah, I don't like to think about him as a sort of "God" that orchestrates everything either. All those Black Lodge characters - MIKE, the Arm, etc. - seem to be a very sloppy bunch: like, the best thing they can do is incarnate an old man who doesn't notice someone is bleeding to death on the floor, and so on. They only transmit information in riddles or abstract lines. This idea that the "supernatural" world is imperfect, ambiguous and erratic is an important one, Lynch already personified this by the one-armed man pulling a lever at the start of 'Eraserhead'.
But apart from that, there's of course this whole theme of teleology, destiny, prophecy, determinism, chance, contingency, will, desire, director's control, etc. - What eventually advances every character to the place they are in the end? A mixture of all? And all of that becomes tenfold more complicated when we're dealing with nonlinearity, alternate universes and doubles.
In the end all we're left with is mystery and darkness that have to be dealt with intuitively. Major Briggs' situation almost cannot be treated analytically, and he's always mentioned, never directly acting. His role in the Return reminds me of that of the Fireman, the difference being that he somehow conveniently discovered all that information beforehand, that the Fireman already was allegedly familiar with. The two also don't look too dissimilar, and the Fireman used Briggs to activate the whole South Dakota chapter of the story.
The only character that seemed to lack the homecoming will, that was constantly on the move, always a nomad, was Evil Cooper (and his servant assassins). Bob is like a child that doesn't want to be confined within the Black Lodge, desiring to roam other realities.
Plot: "When Frank accidentally hits Dennis's car while Dennis is eating cereal, Frank and Dennis go to the Paddy's Pub court to face off on who will pay for the damages."
Written by: Th. Pynchon