Great thoughts from your revisit! Want to touch on a couple.
Mr. Reindeer wrote:So many phenomenal Dougie moments in this one. The look of boyish wonder when he stands in the elevator (although I still question the mechanics of why the doors keep opening), the smile of adoration when he hears Jade's name, the stern "make sense of it."
Dale making a fist when he sees the boxing poster is another hint at what I was speculating in my recent Part 5 post, that Coop has violence embedded deep in his soul. I really want to do a deeper analysis of this at some point.
The comment on violence here is really interesting, in light of the Cooper who emerges at the end of the series.
But, no love for the scene with him drawing? That was the moment the Dougie material really clicked for me; the meditative joy of watching a nascent human first experience some form of self-expression (even if he's being guided, he's leaving marks; he's creating). I recently moved to a new country, working in Japan, and as a language-learner that spoke to me in particular, as did most of the Dougie material. It's astounding powerful to find yourself stripped of, and then recapturing in small doses, methods of communication and expression.
The scene of the boy's soul (?) floating up is interesting now that I've learned that HDS was an atheist (or, at least, deeply agnostic). He plays it so sincerely and beautifully.
Not to tell you off for this, but I don't see why that should matter. I'm an atheist and the series' treatment of spirituality has never been anything less than completely resonant for me. It's never focused on religion explicitly; it invokes afterlife-related mythology for the emotionally loaded material it is. And yes, Stanton plays that scene beautifully.
I wish we'd seen more of Red too. I love that whole scene. Was he really a magic motherfucker? In the world of Twin Peaks
, the answer is "possibly," but I guess we'll never actually know.