I really like that first scene, but there are a bunch of mystifying lines in it. The "twenty-five years your senior" thing, the weirdly non-Peaks "Goodbye my son" which seems like it came from a different movie/show, and of course the endlessly frustrating case of the three people who gave the doppelganger coordinates. (Coordinates!)
We know of:
Ray (we don't see what the numbers are)
Jeffries (we see the beginning of the sequence: 48 degrees
And then of course Diane, but only AFTER this scene takes place. The numbers seen on Ruth's arm are 4855142117[smudged number]63956. The sequence Diane texts the doppelgänger later is almost the same as this (she puts a 1 where I have a smudged number). The only other difference is that she inserts a 0 which is not on Ruth's arm as the eighth number (between the 2 and the double 1s).
Based on the text message that links the doppel/Richard scene with the Diane scene, it doesn't seem likely that the Diane scene was moved in editing and was originally intended to precede the doppel scene. I wonder if it's possible that Lynch just lost track of the sequencing? This seems unlikely, since both he and Cori Glazer are very attentive to detail. Barring that, who are the possible people who may have given the doppel a third set of coordinates? I'm really blanking on possibilities.
It makes me laugh that Bushnell puts the phone back in his pocket without hanging up (and it definitely doesn't seem from the way he ends the conversation that Phil hung up). I like to imagine Phil not sure if he should stay on the line. I also get the sense that Don Murray may not use cell phones often.
Speaking of Don Murray, I don't think I've mentioned him on this rewatch, but he is such a warm, comforting presence. I love the moment where Dale shakes his hand and says he won't soon forget his kindness and decency. On the Comic Con panel, Don comes across as such a classy, sweet human being. I love when everyone is laughing about the fan telling Lillard to do his Shaggy voice, and Don goes out of his way to praise Lillard's work on the show.
That whole sequence on the Joneses' block is so much fun. We see so many aspects of the show crashing into each other (Joneses, Mr. C's underworld, FBI, Mitchums), all escalating into a hilariously violent comedy of errors brought on, appropriately for TR, by a complete rando with no ties to anyone.
Jennifer Jason Leigh is so funny in that scene with the accountant. I love the way she barks "GO FUCK YOURSELF!!" completely out of nowhere. I've really grown to love the Hutchenses, they're among my absolutely favorite new characters on TR.
Rod's button on the scene, "People are under a lot of stress, Bradley," is such a beautiful thing. Followed by Brad very contemplatively whispering, "Yeah."
Dr. Budway, I presume? I know Lynch was probably just reusing the actress and forgot/didn't care she was on the original series, but I do like to imagine in my personal head canon that Louie got her medical degree and improbably ended up treating a comatose Cooper.
That's a nice little oner of the Joneses driving off from the hospital (with Kyle doing his own driving) just as the FBI pulls in.
Any thoughts on the meaning of " : - ) ALL." ? Is this the doppel's twisted way of telling Diane to kill the whole Blue Rose crew?
The text seems to activate a memory in Diane. It's strange: contrary to what you might expect, the text actually seems to turn her "good," at least momentarily. She invokes Cooper's name (even using the term of endearment "Coop"), and it seems to me her telling Coop she remembers ties directly in to Part 17, when Cooper asks the real Diane if she remembers everything. Is tulpa Diane remembering whatever plan we see them enact in Part 17/18? Further supporting this interpretation, she then seems to send the doppel false coordinates ("I hope this works...")...very likely the same coordinates that lead to him being trapped and ultimately killed in Part 17, per the Fireman's master plan. But then immediately afterwards, she gets this steely look and goes to shoot Gordon & co.! The whole sequence is kind of mystifying. Once she looks at the text again in the hotel room (notably, her reply with the coordinates is now gone!), she panics and says, "I'm in the sheriff's station. I gave him those coordinates. I'm in the sheriff's station because..." It seems like the text provides her a glimpse of the future, and a sense of the link between her sending the coordinates and the real Diane appearing where/when she does. She then keeps repeating "I'm not me," almost as if she's struggling against her programming to warn them. When she pulls the gun out, it's almost as if she's doing it automatically and wants to get an unavoidable task done as quickly as possible, or maybe she even wants to get killed. (Notice that Albert is reaching for his gun as soon as she says, “I’m not me.") She doesn't seem terribly fazed to be dead once she appears in the Red Room, almost as if she's resigned herself to nonexistence. Maybe she does actually become good, and purposely gets herself killed so the real Diane can return? But why would a text from the doppel have that result?
I know a few weeks ago there was some debate on one of the threads for an earlier Part about tulpa Diane's intentions and level of awareness. I think on a literal level, the doppel manufactured her as an entity he could control. On a metaphorical/psychological level, I think she is in thrall to him, the way many victims of rape and abuse feel their attacker has almost magical powers over them. I still view her as sincere in the Part 7 prison scene, asking who the doppel is and being scarred by the trauma of that night, even as she is also his accomplice. Notice how terrified/disturbed she is whenever she gets a text from him, behavior consistent with someone suffering trauma.
Other random oddities: Diane gets off on the 11th floor, but the room number is 1827. And the elevator car seems to strangely only have an "up" button and a "down" button, with no floors!
It's oddly sweet when Diane says, "I just wanted to hear everything about where he'd been and what he'd been doing." She must have missed those tapes coming in constantly! Strange relationship those two had, even before all the doubles got involved.
It still rubs me a little bit the wrong way that pacifist Albert shoots her, even if it is self defense. It's hard to even imagine Albert carrying a gun. TR treats him much more as a straight FBI agent, and he rarely does any forensic work (the scene where he's bonding with Constance is one of the few examples I can think of).
I know some people think that the shtick is overplayed, but I could listen to Laura Dern say "fuck you" for hours. I love that Diane is completely unfazed by Mike, and is the one person who has cursed in the Red Room.
I know I've said it before, but that goodbye scene with Janey-E and Sonny Jim is one of the most poignant of either series for me, and I think one of the most important for Coop's character. Kyle sells his sincerity and sense of loss so well when he says, "We're a family," and reassures Sonny Jim that he is his dad. His face when he hugs them both says all we need to know about how badly he wants to stay, and everything he's given up for the Bureau, for public service, for his investigations into the supernatural, and his devotion to helping, benefiting, and advancing humanity. If Mark's theory of Part 17/18 is that Cooper's hubris leads him to overreach while trying to do good, perhaps one moral is that it's sometimes better to touch a few lives deeply than to try to save the world. Perhaps Cooper would have done more good by staying with the family that loves him.
The whole ending Audrey sequence, starting with "Severson" taking the stage, is so haunting. It's one of my favorites in all of TP. So many lyrics in that song have resonance to the themes of the show, and to Cooper and Audrey's situtations in particular. Not sure if I've made/noted this connections before, but "Offered the hand of a disembodied man" calls to mind Garland Briggs's attempts to help/hinder the various Coopers. I still get chills when the MC says, "Audrey's Dance," and the crowd shuffles to the side as if hypnotized. I think it's one the best dream/nightmare-like moments in Lynch's entire oeuvre. Another detail there I hadn't noticed before: the ominous cymbal roll is actually a diegetic sound! Watch the percussionist as the crowd moves to the side: he's doing a cymbal roll while staring directly into camera (presumably staring at Audrey). It's creepy as hell.
I said a few Parts back on this rewatch that I'm halfways-convinced Audrey is in fact in a mental institution, in light of some stuff I latched onto this time around, particularly in the Emily Stofle scene. I really hesitate to put a definitive label on the Audrey material, because it does work so well as pure dream-logic, and I'm not sure Lynch really wanted us to "solve" it. I'm now also realizing that this interpretation was colored by the early episodes of the original series. I made note on this rewatch that Audrey does seem to be portrayed as somewhat mentally ill, or at least having a behavioral/social disorder early on. There's something "off" about her in those first few hours that fades away even by the middle of season 1.
Building on my idea that she is perhaps in an institution and her “contract” with Charlie is to marry him in exchange for her mind/spirit being allowed to roam free in a constructed reality...note that the moment the reality breaks is when she refuses to toast her marriage to Charlie. Charlie toasts "to us," and Audrey defiantly toasts, "To Billy." It's at that very moment that the Roadhouse MC announces "Audrey's Dance." I had also previously noted that two of the three other people who reference Billy are DKL's family members. In keeping with the themes of our reality invading the world of TP (Mary Reber, etc.), note that, although we don't get a good look at his face, 1st A.D. Scott Cameron is the guy who breaks the hypnotic mood of Audrey's dance by bashing another dude with a bottle. I'm not quite sure what to make of that.
-- "Bushnell, pass me some of those sandwiches. I'm starving." After waking up from his coma in the hospital, Cooper eats two finger sandwiches (both look like roast beef and greens)
-- Coffee in the Mitchums' limo