World of Blue - Archived Forum 2007-2022

kafa81 wrote:Are we sure Diane is texting with Mr.C?

The texts we see her receive are in the iMessage form...anyone that has an iphone knows what this is...and in part 9 Mr.C clearly sends a message via a flip phone of some sorts...so how did Diane receive an iMessage?

Am I looking into this too much, because the higher uppers of Twin Peaks don't give a shit...? Or is there something to this? And sorry if this was mentioned before

Well, you can set the SMS messages on some phones to go through different apps, like Hangouts or iMessage.

However, we know those texts aren't going direct from that flip-phone to Diane. In Part 10 Albert says that the texts are bounced off a cell tower in Philadelphia, and a server in Mexico. The server may be receiving the texts and forwarding them on iMessage, which would explain why the punctuation changes. It also muddies the waters on just who she's communicating with. Is she communicating with Doppelcoop? Is she pretending to be someone else communicating with Doppelcoop? Or is Doppelcoop pretending to be someone else to communicate with her? Or is she just getting forwards of Doppelcoop's messages to a third party?

The Log Lady mentioned the moon a couple episodes back. She said the glow around the moon is dying.

EddyEdson wrote:

wxray wrote:
or I guess if you want you could treat it as the van being a lodge-spirit-infested doppelganger-van which shifts to an alternate reality when Shelley & Carl get into it.

Too funny! I absolutely love trying to piece together the details of what's happening with the story, who's doing what, etc..... But some of these hyper-scrutinizing forum chatter theories are just going seriously sideways. Sometimes I don't fully get the impulse by the viewers to think they need to figure out absolutely everything before it actually unfolds. I really don't think TP has ever been set up to tell stories in this way. I've never seen it as a show that is trying to set up the viewer to get some kind of satisfaction out of figuring things out before they happen. Seems actually very contrary to Lynch's story-telling tendencies, focus on dreams with a lineage from surrealism, etc.

chromereflectsimage wrote:The Log Lady mentioned the moon a couple episodes back. She said the glow around the moon is dying.

Great observation, we all may be on to something here: "Gentlemen. When Two Separate Events Occur Simultaneously Pertaining To The Same Object In Inquiry We Must Always Pay Strict Attention."

thedarktrees wrote:

EddyEdson wrote: Too funny! I absolutely love trying to piece together the details of what's happening with the story, who's doing what, etc..... But some of these hyper-scrutinizing forum chatter theories are just going seriously sideways. Sometimes I don't fully get the impulse by the viewers to think they need to figure out absolutely everything before it actually unfolds. I really don't think TP has ever been set up to tell stories in this way. I've never seen it as a show that is trying to set up the viewer to get some kind of satisfaction out of figuring things out before they happen. Seems actually very contrary to Lynch's story-telling tendencies, focus on dreams with a lineage from surrealism, etc.

Yeah, some us get carried away. So what?

Artists produce art in all styles.

Consumers of art consume it in many ways. To each their own.

It has to said but has anyone noticed that Kyle MacLachlan himself has been barely on the screen for hours on end on this season?.

Part 7 is when DoppleCoop was left out of the jail then he was just on the first 10 minutes of part 8 then the small few minutes he had with Hutch & Chantel on part 9 & evil Cooper has not been seen since.

Then we have just seen these mostly just small scenes of Dougie Cooper on each part..

Its basically turned into the Gordon & Albert show at this stage with the Dale Cooper part as the sidestory bit their investigation.which of course is cool in of itself but isn't Kyle MacLachlan suppose to be the playing the main character on the show?.

Not really by way its all going, But more than likely the rest of Kyles main acting is going into the final episodes.

Which as many people have been saying they have by all means David & Mark been stretching out this story into way more hours that were needed when supposedly your main actor is not much in the show for hours on end..

Was there a new KEXP interview with Dean Hurley this week?

If L&F put these clues out there, they'd probably be happy if people dug them up instead of glossing them over. So it is all about figuring out what we just saw. It may overwhelm some people, so perhaps it is time for a profoundly hyper-scrutinizing thread?!

Inspired by the discovery of the T. S. Elliot book in the Audrey scene and its apparent ruminations on time and space, what is going on with time in this show?

So far the further the show has progressed, the more it has shown us that it is a purely linear story free from alternate timelines or differences in time between sections. As far as I can see, every main story line has crossed paths with the others by this point, ruling out the idea that one is set in the future or past. If anyone thinks this is wrong I'd love to hear.

So why then is there such a focus on time in the script? The repeated use of the dialogue "Is it past...or is it future?" would seem baffling if the whole show took place in the present with a pure linear timeline. Furthermore, has anyone got any closer to understanding what occurred in the Purple Room sequence in Part 3? This fascinates me. Would love to hear others thoughts.

Ross wrote:The Audrey scene seems so disconnected to the other Hornes. Especially if Richard ends up being her son. I have no idea, but I wonder if behind the scenes things had anything to do with this. We know (or think) Sherilyn didn't sign on until very late in the shoot. Maybe they had to write the other scenes without knowing if Audrey would be appearing at all?

The whole scene looks like an acting exercise - poorly writen and poorly delivered.

Agent Sam Stanley wrote:

wAtChLaR wrote:

Agent Sam Stanley wrote:I love reading those festival stories, reminds me of when I was up there in 2001. Thanks for sharing!

having been to 3 of the festivals ....that was something amazing...i'll never forget

Yeah, I was only 15 at the time but it was quite an experience. Which years did you attend to?

2000-2002, seeing Julee Cruise live in 2002 was amazing

firefly2193 wrote:Inspired by the discovery of the T. S. Elliot book in the Audrey scene and its apparent ruminations on time and space, what is going on with time in this show?

So far the further the show has progressed, the more it has shown us that it is a purely linear story free from alternate timelines or differences in time between sections. As far as I can see, every main story line has crossed paths with the others by this point, ruling out the idea that one is set in the future or past. If anyone thinks this is wrong I'd love to hear.

So why then is there such a focus on time in the script? The repeated use of the dialogue "Is it past...or is it future?" would seem baffling if the whole show took place in the present with a pure linear timeline. Furthermore, has anyone got any closer to understanding what occurred in the Purple Room sequence in Part 3? This fascinates me. Would love to hear others thoughts.

The past three parts have also been told more loosely with regards to the chronology. Almost everything in the first nine parts took place in easy to follow, more or less chronological order, other than the clear deviation of the Atomic Bomb. Then in Parts 10 thru 12, it seems that the scenes became more jumbled in the editing room, all still seeming to take place within the same couple of days, but often doubling back and seeming to take place in a more scattered, hard to follow order than usual. This was done to have thematically resonant scenes bounce off one another for sure, but I also wonder if there's something more to it. Are we supposed to feel disoriented? Is time folding in on itself?

boske wrote:If L&F put these clues out there, they'd probably be happy if people dug them up instead of glossing them over. So it is all about figuring out what we just saw. It may overwhelm some people, so perhaps it is time for a profoundly hyper-scrutinizing thread?!

I think a lot of people are almost hyper-attentive or even borderline paranoid at this stage. It's like when you were a kid and walked somewhere in a scared state of mind. Every object you couldn't clearly define was a potential threat. It's almost straight from the handbook of conspiracy theorists - seeing intent where there may be none. I'm guilty of it myself, so no fingers pointed

95% of fan theories will probably turn out to be complete air-shots. Could become fun reading after ep. 18

firefly2193 wrote:Furthermore, has anyone got any closer to understanding what occurred in the Purple Room sequence in Part 3? This fascinates me. Would love to hear others thoughts.

I just rewatched this episode again today and noticed some further things. I don't think this takes place in a lodge or within the Red Room. I think it is like a tear in time, not in another dimension but in no dimension at all. It definitely seems to have some connection to electricity too, so maybe it's *inside* electricity like some believe Jeffries is.

I also think noticed there are distinct differences between Naido and American Girl and what they seem to represent. I get a very positive impression from Naido, she seems very welcoming and protective to Coop. She warns him about the 15 machine and leads him. It appears to me that she sacrifices herself on the roof when she pulls the lever, despite Coops protestations for her not to.

When he returns, almost a doppelganger of Naido is in her place wearing a red cardigan, not a purple dress. She also talks backwards like the Red Room inhabitants, and talks about 'my mother', a potential connection to Mother from episode 8. Unlike Naido who pulls and leads Cooper, American Girl pushes Cooper away 'you better hurry!'

When Coop is sucked into the 3 machine he becomes shrouded in a black smoke that we later see in Dougie when his head disappears in the Red Room and again in episode 8.

Now what any of that means, I still have no idea.


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Audrey is not acting out of character. She is doing what she has always been doing, trying to help Cooper.
She has made a deal with the devil in marrying Charlie. Charlie has money and has probably been bank rolling that New York observatory location on Audrey's behalf. She is now caught in a loveless contract driven marriage with someone that might be dangerous.

Last but not least, Charlie seems to be involved with Mr.C.