Mark Frost & David Lynch
Twin Peaks: The Return

NIGHT LIFE IN TWIN PEAKS • THE OWLS ARE NOT WHAT THEY SEEM

Through the darkness of future past. The magician longs to see.
One chants out between two worlds. Fire walk with me.

.

Ghostroom59. Woods of the Changeling.
Twelve sycamores. Everything in the sound of the name in the time of innocence. Bodies, lights, and space junk, elements have appeared triply fast in a hole in the sky and have already vanished. One lives in a dream of the woods. All that exists is now Carl Rodd would have said, a long-distance witness. The woods remain a disorienting place and a mysterious entity; one can dominate it for temporary segments, but no science can deeply scrutinize its intimacy, never accept its food if it's not a place of this world, the risk is getting trapped in it. Sometimes the woods are a place made for other beings and not for us. Here there's always music in the air, enchanting, sensual, that alienates, disorients, a sort of paradoxically welcoming and sedative funeral music, that translates from one dimension to another, without borders and without a center but inexplicably possesses its circumference in a circle, an abstract mood, a distant world before the advent of the internet, only domestic phones and public phones, emotionally detached and physically isolated, but more invited to a form of love. Dissonance, suspension, assonance, deep bass drum beats, sidereal but parallel, deep, hypnotic Dark Mvzak. In the woods life coming from other places, the possible encounter with the people of the sky, the owl's backward speech reminding to look into the darkness, nature that is sentient, mystical and evocative, but also oppressive and threatening with the mist among the trees and on the peaks, suggests an idea of eternity and holds in the circles of the trees' time the circular secret of unknown time in that form. Enter the night in the woods deeply asleep and grasp its secret depths inherent in the color red, Arcadia. Enter it at adolescence and come out of it as adults completely changed. There is no end, there is the mutation of a reality that inserts and transforms into another reality. This is now, and this moment will never come again. Evil dances in the beauty of darkness, the girl wanted to be a tree to listen to the things happening in the woods, about the sound the wind makes when it blows through the trees, the sensitivity of animals, the fear of darkness and everything behind it. The answers to all questions are in the wind and the trees, the rocks and the water, the lake nymph, the ouroboros that in circulations sheds its skin and reforms it, always different but always the same, meanwhile...
The Lobbyists of General Motors and the Executives of Northern Pacific have lunch at the Railroad Diner [RR]: Coffee, Eggs, French Toast*, Redwood, Soup of the Day, Beef Stew, Cherry Pie.
31.24 Dollars on the Bill.
*(The dishes are served with toast, potato pancakes, bacon or sausage)

.

Ghostroom48. Questions in a World of Blue.
The curtain rises on the White Lodge. There is something in the air and the air is on fire.
At the opening, the core, the sorting, the crossing of all that will be determinant and decisive, even unbounding. The beginning is the provisional end of everything.

Twin Peaks in 2017 has nothing of the revival, the authors take the script and spread it through the rooms. Here the same glitches, gaps and sense switches experienced in dreams are experimented. Practices of autoscopy, ouofboexps, the dreamlike flow and the nonsensical lyricism of those vagaries. The darkness of a language as simple as it is ambiguous in its ellipses and disorienting dualisms is everywhere. A distancing from the familiar and the known close yet far, seemingly reassuring, but maladapted in a composite reality replete with underlying unease. The special effects almost in superimposition, so kitsch as to be alienating, absurd and unreal, not involved in an atmospheric continuity insider of modern fx that render certain electrical phenomena within the shoots not entirely unfamiliar to normality and the environments of those fictional universes proposed.
Everyone has their own inner Twin Peaks.
Lynch is not exactly a cinephile by his own admission. He evidently knows cinema and often pays homage to it, but remains a diaphragm open to many other disciplines, to arts, weapons, machines and crafts. Lynch in reverse chooses a metanarrative in a broad sense. Grammar? What grammar? What will have been the physiognomy of a much-loved '90s TV story? Nothing, he starts from the end trying to sort out the scattered debris, he'll never succeed, he can't, a tormented sentiment for eternity. The story ends where it begins, but does not end and begins again in a perpetual becoming different but the same and agreed timings cannot be. An absent present because this is already the past, in fact, perhaps it is the future that returns on itself and from the past begins again or restarts from another unspecified place in the void. The end and the beginning are the same thing. Repetition is a form of change. They will all remain bewildered and not in the least pampered or consoled by the creators, who do well to do so. They filmed their dreams Fellini did, fairy tales Burton makes, Lynch deals with nightmares. Viewer gratification will be neither immediate, nor postponed, nor dilated, rather, it will be definitively misdirected to unknown alternative worlds. The onironautics of Frost/Lynch must make one die of desire. Here there is no room for the human comedy soap-operatic of the early seasons, Invitation To Love is probably not even broadcast anymore. No concession to black irony, the grotesque and the tragicomic reactions of a small town to a murder that made Twin Peaks a surface vision opposed to the nocturnal underwood, the boorish vulgarity and the gloom of Fire Walk With Me, which was the underground, here one deals only with extrastructural abstractions. There is no narrative tripartition, the plot that now should be and luckily so, a surpassed concept that has lost its primacy over image and mental association is not followed. The occurrence of things is mostly incomprehensible in its flow to conscious life, why should films and TV series have the presumption to provide a setup? Here no morale is made, although one glimpses, more evident for the first time, a political vein. Here the vision of the authors is followed, but above all the opportunity is given to decipher, or at least to observe, the complexity of the gray daily life of some, which will always be unreachable as a superior entity above those people's heads, which is good to be indecipherable because complexity must not be reduced or simplified, any attempt in that direction is a totalitarian action. Complexity is aleatory and deceptive, it is like the market, always conceptually elusive, always updated, always modern, always elusive and ruthless. And no one can definitely tell you what it is. Lynch and Frost do not care about intelligibility, but they do so without arrogance. Twin Peaks, in any case, has always been liquid displacement, and in this new season also demonstrates that Fire Walk With Me was a funeral pyre, not a will-o'-the-wisp, and that the digressions of the second season had a cause. The creators have wisely dosed the nostalgia effect with almost perfect privative passages. Lynch, in particular, after all always does the same thing. He always uses the same elements combining and distorting them in different ways and most of the time by subtraction.
Where is the sense? Is there no sense? The sense, if there is, is always in other places, the self is someone else and zero does not exist. An invitation to play with fire. An American experiment.

The possible suppositions all necessarily stand in a dynamorphic condition of future perfect and in the circumference of a circle that opens, that has no center, but that still holds that circumference. And where is the center? There is no center. Here there are only questions and no precise answers, intertextual paths and an innate talent in reigniting and rewinding everything into mystery as twenty-five years ago, recreating the same buzz that today, however, feeds exponentially also on the internet that didn't exist then. Who are really the victims? Who are really the operators inside the slaughterhouse? Who attempted the Trip to the Northwest? What were those mysterious Giant races? Who were the White Indians? And who is the ARCHIVIST? Or how many individuals are hidden behind that office name? Who or what really was Josie Packard? Is she still in the wood of the Great Northern? How was she in her lesbian relationships? Whose was the child Laura bore in her womb? Were BOB's hallucinations in domestic violence episodes, the hallucinations of diabolical plans materialized in automatic writing processes while in a state of sleep deprivation, perhaps psychic hallucinations shared by family members unconsciously covering up the truth of the irreparable incestuous murder? Was Lana Budding an assassin spy sent by some shadowy patron who protected state reason from Doug Milford who knew too much and could have revealed it? How is Harriet Hayward doing? Why were the three triangles of the chosen ones arranged in different ways? Is the Owl Cave symbol that transforms into an infinite 8 the cycle in the temple of time? Are the rock paintings of the Indians legacies of their close encounters with the Owls? The Giant and MIKE eating the Garmonbozia, do they truly seem ambivalent beings, fully convincing of their benevolent nature? Are they a good opportunity on the side of good or are they the oil that allows the great carousel to keep turning? Who is Naido on the purple sea since she is not herself? Hutch and Chantal Hutchens, obsessed with torture, are they a tribute to Tarantino who years ago referred to Blue Velvet in Reservoir Dogs? Do identities undergo metamorphoses after liaisons? Lost Highway? Mulholland Drive? By the way of Federico... But what does Gordon Cole whistle? The Nino Rota of Amarcord or the Rammstein of Engel? Why does Agent Cooper want to reconverge the forgotten paths of a mother and her daughter? Does he want the resolving clash assuming its responsibilities or the actual reconciliation and resetting of the new settings regulating good and evil? Is Cooper the trinity of self? Why is the entrance to room 315 in the basement? 3+1+5=9 is the number between 8 and 10 and leads to the girl who says "I am dead, yet I live" and will kill you with these tears, father? Does someone now know why when Phillip Jeffries, in Philadelphia on February 16, 1989, asked what day and year it was he became so terrified? Someone now surely knows. Are numerical coincidences random? Or are they not and are causal? Who pulled the trigger against the President? And Tamara Preston? Here's an answer, "Sometimes an owl is just an owl" says Tamara, who practices skepsis, is glacial and strictly rational, yet she stirs, sometimes, in a dance on site, nevertheless remains distant, or so it seems. But Andy will have a pure heart. And what if the call was the same that warned for school many years ago? But if Laura who sees the angel in FWWM is saved by Cooper and thus the doppelgänger Laura remains in the Lodge, the Laura saved in the Lodge and brought back to reality will then, from there on, be Carrie Page who nonetheless will have had a miserable existence like Laura because destined to misfortune? And if Carrie Page lied about her identity? And again... Is she saved on that or another occasion? Is that event just a panacea of consolation and hope of being saved in an indeterminate future or past? But is this the future or is it the past? And why does she start screaming now? Does that call in the middle make her surface memories of a previous or at least parallel life that lies on another line unexplained by common consciousness conceptions of where and when? And if after that blackout in the night Carrie found herself again as that girl who lived down the road in her life or future condition that actually might be a slightly revisited past and to relive and begin where it all began, or maybe not, in a hypothetical or always the same converse metempsychosis? But a moment before all this Laura wasn't at home and now she seems not to be at home again, but where would she ever be? But is this the future or the past? What is that glass box under video surveillance at the beginning, and what is that individual doing there staring at it? Is that case already the metanarration seen from outside by the viewer on the couch watching TV with such attention because they know today's serial products require a concentration never experienced before? In the end what will be done? Suspend judgment? Look for individual and prospective meanings? Repetition is a form of change suggest the Oblique Strategies. Is this the future or is it the past?
The answers are in the wind, the trees, the rocks, and the water, but also in the high tension cables.
Other questions? "The Grateful Dead? The worst garage band in the world".
(Albert Rosenfield - FBI Agent - Vinyl and jazz records collector)

Diving into the eighteen hours of this series is demanding, but it's a rare vision and difficult to replicate elsewhere. Twin Peaks remains a mass of questions in a world of sadness. It was like this back then and today it is even more so. Bobby and Mike now live adult situations, like the omnivorous binge watcher of meanings of now. Twenty-nine years ago, at the Roadhouse, suddenly everyone started crying without anyone knowing the reason. They started crying and cried.
A short time before Teresa Banks was found floating in a plastic bag at Wind River.
On March 28, 1989, Agent Cooper disappeared from the world for 25 years.
The past dictates the future. : – ) ALL. THE AIR IS ON FIRE.

.

Ghostroom14. Paragraph "8" | Dance of the Dream Man.
N576/THE/OWLS/ARE/NOT/WHAT/THEY/SEEM/JK78/M987/COOPER/COOPER/COOPER/M878...... Not captured from the vastness of space, but from an unspecified point in the Forest of the Ghostwood Development.
Blue Pine Project - SETI ARRAY 7-1. Doug Milford appears and disappears in a black Buick in the stories of Roswell and Maury Island. Now it's known, he worked for Project Sign, then for Project GRUDGE which used national press and media to dismantle and cover up information giving UFOs as of non-terrestrial and extradimensional origin. He was part of Blue Book, est. 1952. Perhaps those nine flying disks were USA fixed-wing aircraft discarding nuclear waste or something else. The Grays of Zeta Reticuli ask for "genetic material", but the "Wise Men" act in the shadows, and indeed in 1953 there's Gleem, in 1966 Aquarius, the Lodge is the III also known as M12. Consult page 148, Protocol 8. No 41865. Mysteries against declassified secrets. Exopolitics, the Royal Church of the Mother Ship, Pine Gap in Australia, ECHELON Network. There exists a right of expropriation for public utility that also involved the lands of the reserves. Thus Blue Pine Mount was possible, officially a meteorological and radar detection outpost, but who knows what else. At that point the Great Spirit will have unleashed evil and will have had his revenge on the so-called civilized world. The Dog Star, the Jornada del Muerto. The Electricity. The Pink Room & The Great Darkness. Homestead, Marfa Lights. May 6, 1937, LZ 129 Hindenburg. Quantico, quanta, the spacetime continuum. Blue Rose, MOOP. Theoretically possible journeys but not feasible with today's technologies not yet suitable, speculatively scientifically and theologically, but knowing nothing about them in reality. Northwest Passage is a TV pilot from 1990. The Leviathan, Ezekiel 1:21. Owl eats mouse. Keep in mind the Oblique Strategies, the five-pick extraction, note sources. Lafayette Ronald Hubbard. The Parsonage, "The Pastor's House", sexual magic was practiced inside there, an anacoluthon, and the Book of Lies is from 1921, now the gates are seven. The Babalon operation or the Mother of Abominations to summon the Elemental, the native Tongva and "The explosive sciences would have opened the doors" said this Parsons about New Mexico. Then there was Project Paperclip, an operation many levels above Top Secret involving Nazi scientists fleeing to the United States to avoid persecution, the banality of evil and Nuremberg. The Wraith is a 1986 science fiction film, Best Seller is a 1987 crime drama with James Woods. Parsons died from mercury fulminate. The agape. The Jitterbug. The Möbius Strip that requires two turns to return to the starting point. Scenes Missing in addendum. Undercover.
"The genie is out of the bottle". The illogical consequence.
July 16, 1945, Alamogordo, 05:29 am, the door opens.
August 69, 4591, the gates of Hell finally swing open.

I Was A Communist for the F.B.I. is from 1951, a heavy battery pounds from the depth of the night. Daisy Cutter. August 6, 1956, KPJK, AM radio station in White Sands, it was a dark and moonless night: "This is the water and this is the well. Drink full and descend. The horse is the white of the eyes and dark within", hear it and you faint. Radio waves, shortly after the station abruptly stops transmitting. Six minutes of strange electric sounds and mechanisms similar to words coming from radio devices, then the radio goes silent. No one is reachable by phone, the Novack family lives nearby, someone, in delirium, swallows an insect. Road to Deer Meadow. The Chalfont live here. The Tremond station themselves at Twin Peaks, fascinating closed circle, a distant world system, a closed community reality in its mystique and shot, reluctantly, into orbit in a cone towards an initiatory entrance that however is for few, or rather, for many, but not for all. They exist at a different pressure. One lives a dream within a wood moving through time in an astral plane. Mehr Doppelgänger.
February 24, 1902. The Big Sleep came out in 1946. Hill Street Blues is from 1981.

This is the number 6, this is the number 8, not so straight and there is no end in the figure 8. The White Lodge, it's love, it is a terrible place from which emanates the disgusting smell of purity, not to mention the madmen of all ages, forced to do good without reason - said Windom Earle once. From the 6 maybe one can exit because it was possible to enter number 324810, from the 8 no. Cooper and Rodd seem to know why. Andy perhaps does not know, but Andy was born with a pure heart and Lucy is his cosmic completion. The 7 is dangerous. The 7 is 430 miles from number 7 of a Motel, then there is an electric box or an elevator. But an interception will occur in indefinite time and a deviation will intervene. But this is the number 6 and that is the number 8 which is the Monolith - the world that was already there and will continue to be there even after the earthly passage of people, the 8 is the child of the moon or also the child of the stars, the distorted American woman, Jupiter and beyond the infinite, a Threnody for Hiroshima's victims, the shining. The Lodge is an interstitial state of actions and non-sequitur verbasiser. Nothing could tame the chain reaction that was unleashed in the Red Room. Among its neoclassical rooms, Cooper failed irreparably. The shapeshifter, where there was one, now there are two, from birth to earthly death one already is a human being, a species traveling in that time segment. A child went out to play, opened the door and saw the world. Crossing the door caused a reflection. Evil was born. Evil was born, and followed the child. It's the INLAND EMPIRE, Baby. Home is in deep waters and The Man from Another Place is elsewhere. This is the number 6, this is the number 8, that rotates on the horizon and becomes negative. The Black Lodge, is fear, it is another place that is the opposite of the first, here an unimaginable power is released. Here live the forces of evil with their dark secrets. There is no room for prayers in this terrible realm. The spirits do not listen to invocations, and much less play with deer, they rather prefer to rip the flesh from your bones while they welcome you - said Windom Earle another time. This is the number 6, this is the number 8, an inexhaustible time loop. Then there is the 9 that stands between two worlds. At 02:53 you find the 10,
the 10 is the number of completion.

I think, Bill, they exist at a different pressure. The Twilight Zone debuted in 1959 and still amazes. Sarah Judith Novack was in New Mexico during the Trinity Test, as an adult she will know alcoholism, drug dependency, social isolation associated with agoraphobia and claustrophilia. But we will not talk about Judy, and we will talk about her anyway. Judy and the Experiment are the same. Badge Of Evil - 1956. Bill, they exist at a different pressure. The hills of torment, a house in the woods, Sparkwood. CONVENIENCE STORE, House of the Dead Dog, Woods of the Goose, a secret society. Northern Exposure, Alaska 1990. Body Heat/Double Indemnity - 1981, noir jazz records in Sunset Boulevard after midnight and after the sky poured rain, 1950. Unguid Field, The Night Flier is a 1997 horror movie. There is a kind of illness in the air. Something very, very strange among these old woods. A curse. A Presence. Takes on different forms, but it has been kept away from here for time immemorial. That something is among the people since man got down from the trees at Glastonbury Grove. The world was already there, the living being is only passing through. MOTHER Pandæmonium. REDRUM. Dark and Beautiful, maybe The angels will return and when you see the one who will want to help you, you will cry for joy. Impossible, Madame - they exist at a different pressure. Dream On is a US sitcom aired between 1990 and 1996. Back to Missoula, a drum brushes away in the heart of the night. -DEAD LINE. Twin Peaks begins at the Blue Pine Lodge. There is all this, but not everything can be seen. A station for researching and receiving radio waves from deep space.
All play and no work makes Jack a visionary toy. Kilroy was here?
K765/J567/HF456/V367/M666/K899/...... Listening Station Alpha.

.

Ghostroom95. Circumference of a Circle.
[Real Indications Runs at Night] The Bookhouse was meant for just this.
Someone felt that evil was engulfing the city. A price to pay for all that beauty was to fight its darkness to keep Twin Peaks healthy, safe, and separated from the modern world. In 2017 those someones have been defeated and the evil of the world has managed to enter all the way to its heart. Rebuilding what was lost in a bitter conclusion, starting from the end to try to impose some order on chaos, never succeeding. Everything is even gloomier, it concludes where it began again and in twenty-five years things have changed a lot. Harry S. Truman is ill, he's no longer at the department and is missed by all. Hawk, the visionary, remains always the right person to be guided through a valley of tears and death, Nadine Hurley has finally opened her sliding curtain shop, Run Silent - Run Drapes. Jerry Horne has a bong in his brain, often listens to Bitches Brew with experimental speakers he built himself that move water to form giant waves, the sativa, Woodstock, has met Ken Kesey and the Marry Pranksters, once said: "The center will not hold". Benjamin Horne is partially redeemed today, but damned and compromised. He strives to be a good and conscientious man, but he is tried by previous life and appears visibly vulnerable, weakened by guilt for the tremendous consequences he reserved for his family. Audrey Horne had opened a beauty salon, then closed it. Today she dances backwards and then, devastated, returns to who knows what secret rooms. Cooper stupefies but is elsewhere. They are there, but they are not. After many years it is discovered that Jacques Renault knew about Banks blackmailing attorney Palmer. That Dana Hayward went to New York University, then became a model. Worldly luxury and visibility had changed her, and then came disappointments, a dependency on medication and alcohol, rehabilitation, a psychiatric hospital, a degree obtained to become a nurse in a quieter place. Annie Blackburn is still in Spokane at 8:38 am, only once a year. She's here but she's not here. She lost her mind, flat detachment. Bobby, who in his youth shot someone at night in the woods for what would later turn out to be laxatives, after giving up the styleless debauchery of youthful intoxication, today is essentially a lonely man, apparently resolute but still secretly tormented, albeit in a different way. Bobby today is Robert Briggs. The desire for the murky that once was, the unsettling that made them weep in solitude.
The Twin Peaks of ideas today is full of emerged violence, evil is all the men and women of the world in which they survive and that has expanded even to that small town, already contaminated, but whose malignity remained underlying and not visible on the surface. Today it drowns like the rest of the globe in that infernal drain that has infected and disfigured even those paradisiacal features. Modernity has entered, its radiodiffused decadence has intervened and dragged it with it into Kali Yuga.
Norma Jennings and Dr. Lawrence Jacoby seem to be glimmers in the dark. Norma has uprooted The Secret of Daily Bread, understood and surely already knew, that in diners lies truth, relaxation and life, in food chains and starred restaurants lies fake pretension, forced composure and death. Jacoby, Banzai Pipeline and Zonderkop Institute, knows. He knows to go against militant ignorance, in youth he was interested in belief systems of South Pacific and South American natives, had the applause of Timothy Leary and Jerry Garcia with his work after a shaman told him: "You have been reborn in a new world". On one occasion, Jacoby stated: "True spiritual experiences and insights are by definition deeply disturbing". On another yet: "Life is nothing but a dream from which we seem able to wake up only rarely". It's been some time now since his psychiatry medical license was suspended. Today Dr. Amp stations between the White Tail mountains in perfect isolation with his golden shovels that he distributes to his followers. In Philadelphia, on February 16, 1989, Phillip Jeffries said: "It was a dream, we live inside a dream". The Third Man is a 1949 film. Pittsburgh, Western Psychiatric.

Part of the jar has been uncovered and something more has been discovered.
Now it's known, Diane is not a recorder although she appeared so. After the alleged closure of Project Blue Book, in 1970 the Blue Rose is born:
Gordon Cole, Phillip Jeffries, Chester Desmond, Sam Staley, Windom Earle, Dale Cooper, Albert Rosenfield. Cole and Rosenfield, anyway, already knew everything. Find the ocean in a drop of water. "Mysteries do not necessarily need to be fully understood" - says the ARCHIVIST alias The Forest Watcher, currently removed from office due to force majeure. Now it's Tamara Preston the Archivist, also promoted to Blue Rose member. Today, after the airings, it's clear that Twin Peaks 2017 is also a gigantic but discreet tribute to all those gone, Miguel Ferrer, Jack Nance - ERASERHEAD, Warren Frost, Frank Silva, Don Davis, David Bowie, Harry Dean Stanton, Catherine E. Coulson. Margaret/Catherine's death touches points perhaps only Lightning Over Water by Wenders for Nicholas Ray has grazed. A tragedy that would have destroyed and shattered any other person opened their heart and soul to a deeper truth. A sweet and infinite sadness. Death is just change, not the end, and a terrible emotion takes hold of the sensitives. After the broadcasts it is clear MacLachlan has been masterful in the three examples, BadCoop, Dougie the insurer who is a One-Dimensional Man and Agent Cooper who is, instead, a splendid Homeless Mind. The discovery that Cooper inside Dougie was much more than sentient and was recording events and affections is disorienting, the heart hits received when he stands motionless for hours under the statue of the policeman or when he is moved by the adopted son in the car knowing he might one day disappoint him and make him suffer are of a tenderness beyond borders.
Then there is a turn of keys, and you enter the Absurda.
There is a great scent of pine in the air, Crf=2πr is the formula for the circumference, but, evidently, not of all the circles of nature.

Life is just a snake-shaped dream. Agent Cooper and Laura Palmer are not ordinary human beings, they are both chosen and condemned, they can be different souls night after night, touched and marked by some kind of divine insight. They are there, but they are no longer here. They are there, but they are not where they should be. Cooper had the same dream Laura had before dying, and there they meet today, perhaps. In the dream he was older, those twenty-five years of imprisonment and withering were foreseen, just as the new blossoming was too. In twenty-five years he has acquired new awareness, like moving from one dream to another, for example. Cooper reveals himself as the Magician, but his magic will not prosper quite as hoped, his defeat will be human and professional and part of his essence will be lost or at least seriously damaged.

There is a door that allows being outside linear space-time, perhaps Major Briggs and Jeffries found it. BadCoop was looking for it, it seems that was his ultimate goal, but Andy has a pure heart, and in the White Lodge a deviation has intervened. Cooper finds that door, enters it, perhaps it is truly she. His face is superimposed in overlap. There are different time and reality planes beginning to overlap, he is still in the starting rooms, but is already heading elsewhere. The underimpressed fades and fades, the overimpressed appears and materializes little by little. Cooper has done nothing but follow the coordinates that BadCoop was on track for, and disappears again, in the underground boiler rooms of the Great Northern, perhaps meeting with an inescapable defeat against forces beyond comprehension capabilities. But the fundamental and precipitating issue, to date, remains another and has presented itself recently. The fundamental issue is that now, on February 24, 1989, between midnight and four in the morning, in Twin Peaks no girl was killed that night in the woods of Ghostwood there was an interception and that story might no longer exist. These interventions between Twin Peaks and Fire Walk With Me create a breathtaking diegetic uchronia. Laura now is no longer dead, but disappeared in another 1989. The father, a year later, on February 24, 1990, convinces himself that happiness is a warm rifle or liberation from evil and inflicts a self-inflicted shot in the head. But Leland in the Red Room has also asked Cooper to find her, in panic and remorse. And Cooper does find her for him, but the girl not only disappears from Twin Peaks, but also from the radar of the agent who will have to get back on her tracks. To do so he will need to travel those 430 miles and pass through another cavity. Cooper is the Magician and will try to put his tricks into action again, but Laura didn't want to save her soul anyway.

We are like the dreamer who dreams and lives inside the dream, but who is the dreamer? Cooper has changed again. The cause is a migration from one dimension to another that would hardly be traceable backward. In the new division, he seems hybridized with BadCoop. There are many fragments of self fragmented in many different places and perhaps not even synchronized times. Cooper ends up like Phillip Jeffries. Cooper fails because he sought the perfect passage to interfere with events, but perfection is evanescent and in essence only exists for a little while, it is possible but extemporaneous and it is difficult to introduce oneself with precision into the right interstice of circumstances. But then space and time continue to go along and that presumed perfection will no longer be possible, it would need to be continually moved, moving also away from oneself, by the way, but it is work beyond the possibilities of mortal man's and his resistances. All this Cooper should have known, and certainly did, but still ventures. Cooper misses the entrance, or doesn't miss it and things simply have to go this way, and the relative time shift of the wrong portal will condemn him to a new purgatory, but of this the Lodge was already informed, as a likely commissioner of the turn of keys. Sarah Palmer, Jowday, Joudy, Judy, The Mother, she is herself the Trinity, she is herself the nuclear test. The glass box, now known, was arranged and funded by BadCoop to imprison that destructive force and parasitize it for his own intentions. But Cooper's defeat had actually occurred time before and again it remains to ask whether this is the future or the past. What really deceived Cooper was Twin Peaks itself, which he had believed an Eden where to return natural and sane, but would have shown him the face of what would then be his eternal ruin. That face was and is the disoriented Cooper who has wandered for twenty-five years in those worlds of the Red Room walking always the same mirror rooms, never managing to find a way out and bring his evil part inside. There his downfall began, in that non-place generator incessantly of non-worlds renewed Cooper abdicates, not definitively perhaps, but unequivocally, in an interzone where space, communication and time are trials that remember nothing already experienced, where what risks being definitively lost is one's mind with its faculties. Cooper is confused, and this is because Black and White Lodge themselves are confused, because the evil is, evidently, sedimented and fused in goodness itself and there exists but one opportunity between this world and the other. The Dweller of the Threshold, where it's possible to face the darkness, but it is uneven and prohibitive to withstand the confrontation with oneself. Cooper still loses pieces today, collapses in the attempt to unbalance an assumed disorder of nature which possesses a balance itself difficult to grasp with human mind's means. Cooper errs unforgivably as Windom Earle did earlier, and this because certain operations are not within their reach, both represent no Deus Ex Machina, and God doesn't exist anyway, neither here, nor anywhere else. The goal is unreachable because it lies beyond the infinite circular horizon, Cooper arrives at a dead point, going beyond that same is an incomprehensible charade. He can try to go back, but most probably he will never find the exact starting point again and if he does he might not remember anything about it. That point simply no longer exists. The question that will be asked at the end, "what year is this?", is vain in all cases. The access point on the 8 loop is not important, the Lodge determines what is important, so the entry point Cooper will deem appropriate will always be irrelevant. Repetition remains a form of change, and Cooper ends exactly like Phillip Jeffries before him. Because it is a circumference, yes, but the external circumference of a closure. Only questions and mysteries remain to be solved to which he does not know how to answer, and to remedy and towards which he will not be able to easily find peace.

Cooper, however, really saved Laura in that 1989. She is safe but ends up in another place, disappears from Twin Peaks and finds herself in Odessa, interfered probably by the Mother, at a different latitude and with another identity and another name. She is still her, seemingly, but is also someone else equipped with a different primary consciousness. Cooper unwittingly triggers only new anxieties and thousands of questions in an incredible vertigo of what if. And if Laura were really only Carrie who, returned to Twin Peaks on a long night drive, really couldn't remember her childhood and adolescent home? Doesn't remember because the shift onto another axis might have caused her mnemonic disorientation, perhaps, but then seems to remember at a certain moment, but there is never certainty about her sincerity regarding her conscious identity. She never was. Laura ends up imprisoned once again, as if her desperate and fallible soul is destined to live, live and live again infinitely that same fiber of existence. Repeat in other corporeal forms and other being the same anxiety, adrenaline, and infinite sorrow to which she is destined and that forever will remain so beyond the limits of births, the believed deaths, and the disappearances, from which she cannot free herself because at bottom, she is passive to those fatalisms, and because she can never defeat an eternal destiny that reveals itself to be a foretold line. And then Laura screams always. Screams because first of all she disappeared from her life and finds herself lost with an identity that one doesn't even know if it knows is different. Screams because perhaps her mother searching to wake her, re-emerges in her mind, appears, but perhaps she has understood that there is actually no one to wake, because she simply isn't there.

The end explains everything explaining nothing. It would not make sense to explain often inexplicable and unspeakable occurrences of realms in their constant sinusoidal oscillation in inexhaustible points that touch just once from the birth of eternity. A superimposed paralyzing and frightening spacetime and conceptual loop. The conclusions would, in reality, be the future and possible developments. Twin Peaks 2017 is divided into two parts, from the first to the eighth and from the ninth to the sixteenth episode plus two finals. The finale would actually be the seventeenth where the arcane of BOB seems to be mere Electric McGuffin, but in another reality, it isn't at all, and the eighteenth describes the consequences and becomes de facto unfinished a new pilot on a mysterious story that vanishes again into mystery. The finale leaves with the same sense of loss, the beginning of a great fantastic narrative that immediately returns to the starting point. The long road is dazzled by paradoxes. Is this the future or is it the past?
The past has already been, Palmer House is another interstitial place and Twin Peaks is a heterotopic area.
The finale is sharply truncated electrical cables left dangling in suspension.

Lynch, as always, does not elucidate the sense and never will, perhaps he doesn't even believe he knows it and remains open to the possibilities of chaos which self-determines the universe. Remains incredulous, exactly like the spectator. He doesn't know a univocal sense during the writing phase, he moves within his weavings, because he knows the truth doesn't exist, was never just one but innumerable and relative realities scattered in the multiverse because there are not merely two parallel worlds but an un-numerable quantity. From Yin and Yang there's no exit. The Lodge, as an apparently immobile engine, controls time, a victory remains, but it is partial and bitter. An imminent resolution even more desperate because one finds themselves again where they started, but it is no longer the same place. The man who in the desert finds his steps and despairs, and here the repetition does not even seem remotely a form of change. A disturbing and once again traumatic farewell, like a whisper in the ear, like a magnificent and obsessive television spell.

Twin Peaks 3 is a kind of imperfect inverse canon, a nonexistent 360° readable homogram of heterozygous gemini. An explanation is all in the head, but it proves difficult to formalize and objectivize it into words. Clues of a palindromic ring structure, modular interpretations and thus modulable according to each one's unconscious. The circumference, again her, because people need circularity. And what is this if not a circle? The center of the zero of an infinity of bipolar symmetries in which souls deform. Time that is perhaps the only invincible monolith. The souls keep spinning around it waiting for a body to pilot and then transmigrate again, but the monolith instead remains always there, was already there, has always been there and will be there still, before man and after he will have departed, man is passing through, therefore inconsequential.

Many are the theories, but there seems to be no plan except that of drift in the purple sea. Only the silent chaos. It is horror vacui in reverse and replay proposed by Lynch and Frost, the personalities rewriting the course of those events in a key of expanded anti-narrative and destroy the memetic imagination they had built and which has been sustained in twenty-five years of success. Success that the two decide to demolish, a potential assisted commercial and textual suicide, an artistic freedom clung to by the teeth and an impressive expressive courage. An operation as if Dante returned and said that indeed he had never left with Virgil to see the stars again. The Return: the return happens at the end, not at the beginning, and it is again the same stall of stasis. It is not the return of a TV show, it is not the neural return to a fictional place, but the eternal return to immobility. It is the theory of catastrophes. They try to move from 0 to 1, but even moving in that direction you always end up in 0. The 8 is already television history. But you always return, again to Zero.

But is this the future or is it the past? And if Richard, Linda, and Carrie, who change identities at the antipodes of Eros and Thanatos, were a me and you finding themselves in 2017 incredulously and accommodated to defer judgment? It's likely that the editing has overdone with sugars this morning or with sleeping pills and caffeine last night. Anyway, the editing wishes to clarify that even if it overdid it in deviations, it hopes not to have explained itself at all because this is simple tantric autoerotism, pure and simple self-abuse.

Life is just a dream. Twin Peaks is the extradiegetic dream, the audience is the dreamer in trance over these eighteen hours and their dream is indeed Twin Peaks. With Lynch and Frost they dream it and continue to live inside it, becoming the citizenry of that imaginary community full of eternal mysteries and artificial secrets.
BLUEBOB is back and has possessed them again, and once again stirred them up.
The Circularity of Evil, the inevitable depravity. The end and the beginning are in the center. A Slow Space. Circumference of a Closure. Drive With A Dead Girl - Rest in Pain. WOWᗷOᗺWOW.

.

Ghostroom71. Night Life.
Broken lights, natural nights, gas stations left alone in their illumination, echoes.... Driving at night can always be a new experience. Observing the city from within the cabin can put unexpected dynamics on the engine and activate correspondences never thought of, it can create a connection and communication between two or more worlds, bring the many inside and the outside of the people into contact. The lights of the signs of closed shops, streets full of people during the day now empty, the bluish light radiations from TVs on at two in the morning filtering through the windows of houses. Imagination is let run into the silence. Sometimes instead the sensation can be of great unease. The visit to a school in the middle of the night at a secret and dark hour, tracking itineraries while crossing the Owl woods with the half-moon making portaits. Night and peace, and evil with its seduction methods of hermetic dances of dark abduction. Evil dances at night in suspension. Dances among its beauty, an enchantment that drags the good of the night into its pit and devours it with its intriguing and sly musics of fluttering clarinets, synthetic orchestrations, saxes, flutes and brass winds pandemic, twang country & western, barbiturate double basses, deep and tone-deaf bass drums of late midnight, between the dark shuffle and the blue, the ethereal, the subterraneon and a 30's gramophone. Et c'est une répétition constante et cyclique dans des circonstances environnementales et des situations climatiques continuellement variables et différentes dans inqualifiables et inquantifiables illuminations stellaires et états lunaires. Avoir une âme solitaire et c'est juste un bruit.

An endless night car journey that will prove futile. The tension and then the dismay of having gotten nowhere. The girl, or what she was or what remains of her, lets go of her chilling scream that rends the invisible black in two. It will remain the last thing heard amid the darkness.
An unassailable Blackout.
03:06 am - Birds & Tele-Visions. 04:30 am, the darkest hour of the night.
6 (324810) Ø The chrome reflects our image.
NIGHT FILE 59 Confidentials. The World Spins in silence. ELECTRICITY.