I guess I was referencing the part in S1 where Andy got a description of BOB from Sarah for his sketch, and Cooper later said he didn't go with because "I'm a strong sender so I don't want to through her off" (or something to that effect). It just struck me as odd that he wouldn't want to ...

Whatever the original intentions were, I think it’s highly likely that when L/F rewatched E29 together while writing S3, they formed some new ideas about that moment that may not have had anything to do with whatever DKL was thinking in 1991 when he conceived it. For instance, it seems likely to me...

This is just me, but I always took "I'm in the Black Lodge with Cooper" and "I'm waiting for you" to be spoken by two distinct entities. "I'm waiting for you" is definitely Windom, but the preceding Sarah statement always felt a little bit different to me. In a way, it ...

I really want to say that the phone voice sounds like Sarah's distorted voice in ep. 29 of the original series, but they are worlds apart. I wonder why the impostor feels the need to pose as Phillip Jeffries. Like, what significance does that have? To Ray Monroe, Phillip Jeffries is just some random...

Mr. C's phone call with the not-Phillip Jeffries voice in Ep. 2 is one of the most elusive parts of The Return. I was guessing that maybe the voice was Sarah Palmer / The Experiment / Mother / Judy, due to the New York reference, but after re-watching Lost Highway recently, I'm beginning to suspect ...

last year: wow, what a cliffhanger, how are Coop and Laura ever gonna get out of this one? one year later: The conclusion of ep. 18 functions as a thematic and emotional coda to the Twin Peaks experience, forever cementing the series foundation in Laura's domestic agony, which she (and the audience)...

I think one big difference between dialogue in S1/S2 and dialogue in S3 is that in Twin Peaks Classic, there was almost always a constant stream of speech, but in the Return, most of the speech is punctuated and broken up by silence. Sure, the original had it's non-verbal eerie moments (Madeline's v...

In a way, I kind of wish Hawk had been given the Truman scenes, and that Candy Clark's character was named "Diane Shapiro, PhD, Brandeis".

I just always thought it was neat a coincidence how Hawk and Coop both had these important women in their lives off screen, both named Diane.

I really liked Robert Forster as Frank Truman -- but I do think the scene where Candy Truman is freaking out about random domestic things might have been a little funnier with Michael Ontkean reacting to her (I'm thinking his reactions to Lucy describing Invitation to Love, or even his initial react...

No I've not seen the Passion of the Christ. I've known what happens in it since I was a kid, so I've never felt too compelled to watch it. I obviously feel like I should watch it now, mainly so I can put these thoughts to rest. Yeah, I don't think Twin Peaks has many (or any) strong connections to C...

Lately I've been thinking about Carrie Page (and the final moments of S3) and how it exists in relationship to the ending of FWWM. This is something I (and a lot of other TP fans) have pondered over the past year, and I've had difficulty accepting that Carrie Page screaming at the Palmer house occur...

That's a good point - I don't think anyone seriously expected LFB to return for Season 3.

I have a hard time seeing Donna Hayward suddenly falling in love with Benjamin Horne AKA her father. I would also put "The evolution of the Arm with MJA's head on top of it" in the very much a rumour department. Same. I imagine the idea for the tensions between Ben and his assistant only ...

I'd be curious what the original script entailed for the characters of performers who didn't appear in The Return. I assume that Frank Truman got most of Harry Truman's lines/scenes (with a few of them going to Hawk). And I read somewhere that The Evolution of the Arm was always the plan, but just w...

I always loved that shot of James and Donna standing in the headlights of Truman's police vehicle, with Donna exclaiming "he didn't do anything!" I don't know why, there's just something very naturalistic and weird about the way the shot looks, especially coming right after James and Donna...