Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mr. Strawberry » Fri Feb 08, 2019 11:43 am

Supposed to be waiting to rewatch until a couple of friends can make the time -- they haven't seen it yet and are very excited.

But I've been waiting for months, lost my willpower and watched the first two parts last night.

I have to say, this is so different than what I remembered. It really reminds me of rewatching the original series and being amazed by little forgotten details, surprised by things I'd never noticed before, and overwhelmed by the new thoughts and perspectives that each viewing offers.

The whole thing is really tripping me out. I can't make sense of any of it! For example, Cooper sees MIKE who asks, "Is it future or is it past?" After this, Laura tells Cooper than he can go out now. But moments later MIKE appears again, and asks the same question. What's that all about? This time, Cooper is ushered into another room where he is told that he cannot go out until his doppelganger comes back in. That seems to contradict what Laura told him.

When Cooper slips through the curtains, is he moving to a place that MIKE and The Arm did not expect him to go? It appears that he wants to open the curtains but doesn't know how, as though he has knowledge of a future ability, or something.

When Cooper looks out through the curtains, he sees his doppelganger driving down a desert highway. Is he seeing the moment that Mr. C crashes at 2:53? And when Cooper falls into the Glass Box, it is while Sam and Tracey are looking for the missing guard. In other words, these two scenes do not appear in chronological order, since we had already seen Sam and Tracey look for the guard, and we will not see Mr. C speeding down the highway until later.

It's the chronological disorder that's making me question what these scenes mean. Things are presented this way for a very specific reason but damn, again, I can't make sense of it. In any case, this is a great experience and I'll have much more to say on it later (still drinking some strong coffee).
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mordeen » Fri Feb 15, 2019 2:42 pm

Mr. Strawberry wrote:
When Cooper slips through the curtains, is he moving to a place that MIKE and The Arm did not expect him to go? It appears that he wants to open the curtains but doesn't know how, as though he has knowledge of a future ability, or something.


Yes, he slips Between Two Worlds, and nearly finds his way out before the Evolution's Doppelganger attacks him. He's still between the Two Worlds, Black and White (Lodge) and literally falls between them (the opening in the floor) and into a new place. He's still dreaming, after all, so when he lands in what many have adopted as the "Mauve Space," look carefully as he looks out over the vast ocean, and focus on the horizon. It's barely noticeable, but if you adjust brightness and contrast you can see that the horizon is an eye. The place Between Two Worlds is inside Cooper's mind.

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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby mtwentz » Fri Feb 15, 2019 2:53 pm

Mordeen wrote:
Mr. Strawberry wrote:
When Cooper slips through the curtains, is he moving to a place that MIKE and The Arm did not expect him to go? It appears that he wants to open the curtains but doesn't know how, as though he has knowledge of a future ability, or something.


Yes, he slips Between Two Worlds, and nearly finds his way out before the Evolution's Doppelganger attacks him. He's still between the Two Worlds, Black and White (Lodge) and literally falls between them (the opening in the floor) and into a new place. He's still dreaming, after all, so when he lands in what many have adopted as the "Mauve Space," look carefully as he looks out over the vast ocean, and focus on the horizon. It's barely noticeable, but if you adjust brightness and contrast you can see that the horizon is an eye. The place Between Two Worlds is inside Cooper's mind.

- Mordeen


I love it! That's what makes The Return so enriching, while admittedly at the same, not as accessible to the masses as the original series. It really is, as Major Briggs once said, the 'mind revealing itself to itself'.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Hester Prynne » Sat Feb 16, 2019 9:48 pm

Mordeen wrote:
It's barely noticeable, but if you adjust brightness and contrast you can see that the horizon is an eye. The place Between Two Worlds is inside Cooper's mind.

- Mordeen


This made my day. Although after going back and watching this, it makes me wonder how many other things I missed.

As Cooper falls through non-existence, the shot even starts to zoom in on Cooper's face, then his eyes, and then the "mauve space" - like we are traveling straight into his mind.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby baxter » Sun Feb 17, 2019 2:26 am

I don't see an eye! It is sort of suggestive, but could also just be a cloud pattern.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Hester Prynne » Sun Feb 17, 2019 7:24 am

I think it's supposed to be suggestive, but if you adjust the settings on your tv picture to give it more contrast and look at it from a distance, it resembles an eye, an eyelid, and a brow line.

Or maybe it is just in the eye of the beholder :wink: .
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mordeen » Sun Feb 17, 2019 8:37 am

I lifted this one off the internet because I don't have photoshop at my disposal atm, but I spotted it on the first viewing and it's even more stark with better adjustments.

the minds eye.jpg
the minds eye.jpg (34.01 KiB) Viewed 4435 times


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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby baxter » Sun Feb 17, 2019 6:07 pm

Great- thanks Mordeen!

I retain some scepticism about this, but I can see where you are coming from. It did at least make me rewatch that episode last night, and I had forgotten how brilliant and mindblowing the whole thing is.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mr. Reindeer » Tue May 12, 2020 8:24 pm

Continuing my quarantine rewatch onward from the original series and FWWM, I have a feeling I’m going to have less to say about TR on a Part-to-Part basis throughout my rewatch, having written so much on these boards about TR the last few years. But man, I enjoyed the hell out of Part 1. Such deliberate pacing, setting up so many disparate elements that will come together later. After having spent some time analyzing the Cooper/Earle chess match a few weeks ago, I have to say, this Part feels like L/F making some beautiful opening chess moves that the audience won’t come to understand until much later.

The extended opening title sequence for this Part is so wonderful. Going from the mountains (the talisman of TP mystery) to the remains of the mill (reminding us that the beautiful iconography that opened every original episode of the show is lost to the mists of time) to the high school and Laura’s photo (reminding us that Laura is always the starting point to all the other mysteries) to the falls (the other major element to the original series main titles: unlike the mill, a thing of nature and not man, which has stood the test of time), and finally to the Red Room (a place made by neither man nor nature, but something else entirely).

That opening Fireman scene is still an enigma. I know it’s been said that it was originally planned to be placed somewhere else, and it would sure be interesting to learn where. It contains Lynch-specific elements that Frost had no involvement with (Richard and Linda). We also know there was other Fireman material in the Red Room that was cut, as well as some instances of Cooper occasionally becoming more conscious during the Dougie storyline which were wisely cut. And of course, there is the telling absence of the lapel pin, which indicates this scene may have been planned to take place after Cooper’s return to our world.

If we’re assuming a Black Lodge/White Lodge divide (and I’m not entirely convinced that Lynch’s personal view of the mythology is that cut-and-dry), it’s interesting that Cooper is in the Fireman’s terrain. How often/easily was he able to cross over there from the Red Room (he is apparently “far away” when this scene occurs)? When the Fireman refers to “our house,” is Dale included in the “our”? Is the “it” Judy, or something else?

Interesting that the “two birds, one stone” plot was initially Cooper’s idea (it’s the last thing he said to Gordon before entering the Lodge). Is the Fireman’s plot the same as whatever Dale planned 25 years ago, or is he using the same phrase to indicate something new to Cooper in a way he’ll understand it?

I love how many characters are introduced in this Part that we never see again. I understand why this anti-narrative approach is frustrating to many people. For many years, I found the Deer Meadow sequence in FWWM frustrating, as I had no interest in a milquetoast version of Cooper and an inverted Bizarro-Twin Peaks. But I’ve come to love all that stuff, as well as all the little pockets of the universe we get to briefly visit in this Part, from Sam and Tracey (RIP those poor kids) to Hank and Chip and Harvey to Otis and Buella (really love that world!).

Thank goodness Ben has gone back to cigars. Those celery sticks did nothing for him, and even a good man must have a vice or two.

Mark says in the Bushman book that he doesn’t recall if anything further was intended for the random insurance guy.

Any theories what’s on the cards that Ray and Darya hand to the guy in the wheelchair? It’s almost like they’re punching the clock to start work.

Likewise, any thoughts on where that guard disappeared to? It’s always struck me that there may be more to Tracey than meets the eye. Did Mr. C hire her to seduce Sam and potentially attract Judy as some sort of weird honey trap? Do we think Judy is really attracted/enraged by sex like a horror movie cliché, or is it just a coincidence that she pops in at that moment?

The caked-on white makeup on Judy/“Experiment” resembles Jumping Man and gives me even more reason to assume they’re related. Her gaping mouth also reminds me a little of the closeups of Jumping Man’s mouth in TMP. Odd that Judy doesn’t have her horns from Part 8.

Thank God Catherine Coulson kept that Log and those glasses so they would be readily on hand to shoot her scenes on short notice. On any other show, those things might have just disappeared into the Hollywood prop mill, or been sold off or thrown away. We’re so lucky to have a cast and crew who care so passionately about the franchise. If there’s any performance that rivals Sheryl Lee in FWWM for the word “heroic,” it’s Coulson in TR, who literally gave her last breaths as a gift to the fandom. I hope that documentary about her life gets released someday.

Finally, in my ongoing feature covering Dale’s Diet: This is the first piece of TP filmed media where Dale doesn’t eat or drink anything! He appears in two scenes (one in the Fireman’s house and one as the Doppelgänger), and neither scene provides the opportunity to indulge his sweet tooth or passion for caffeine. Otis doesn’t even offer him a jar of moonshine.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mr. Reindeer » Wed May 13, 2020 7:28 pm

Part 2 rewatch...

Does anyone know what the building is in the opening credits? I find it interesting that Lynch chose a drone shot with man-made structures in it, rather than an unspoiled woods/mountain shot like he generally favored in both series. (We get our best look at it under Angelo and Duwayne Dunham’s credits, before the fade to the falls.) In my personal head canon, this is Garland’s listening post in the mountains.

What do we think Phyllis’s part was in framing Bill? It certainly seems that she did something. Did she plant the weird sushi-flesh thing in the Volvo trunk?

I think this has been discussed before, but both Phyllis and Duncan Todd have weird glitchy digital effects at the moment of their death, potentially implying that both are tulpas. This adds meaning to the line, “You followed human nature perfectly.”

I love the eerie isolation of Duncan Todd’s office in the middle of all the hubbub and chaos of Las Vegas. It somehow makes it infinitely more creepy to know there’s a casino full of merry-making people down below him.

It’s interesting that Hawk knows something is supposed to happen at Glastonbury Grove on this night (nothing actually does, in our world, but Cooper begins his escape from the Red Room). Where did Hawk get this information? This scene is such a non sequitur (albeit a cool one), and I imagine there was some deleted scene that preceded this. Margaret is heartbreaking.

Cooper’s FBI pin looks very different from the original show. And of course, his Red Room shirt and tie have changed completely from E29 (but that was true in the FWWM Red Room scenes as well, which additionally lacked the pin entirely). Lynch clearly favors the white shirt and black tie.

Laura repeats her Episode 2 dialogue claiming not to be Laura, then immediately backtracks and says that she is Laura. The whole mystery of whether or not the “Beautiful Woman” (as she is called in the Episode 2 script) is Laura or not is one of the more beguiling puzzles.

“I am dead yet I live.” Could this be a reference to her uncertain state of being once Cooper tries to save her and creates a paradox/time loop? Is this perhaps why she is both Laura and not Laura, as she can’t be fully present in either the real world or the afterlife?

Whatever it is that takes Laura up, Cooper seems to see it as well.

I love the weird sucking noise the EotA makes when it tries to whoop.

DoppelCooper killing Jack might be the weirdest murder in film history. It’s like a grotesque version of Cooper pinching Harry’s nose on the original series.

All the stuff with Ray is still a tad vague to me. So Darya is also an FBI informant, right? Presumably Ray is her handler, and he’s reporting to Jeffries, who is representing himself as an FBI agent tracking evil Cooper (unclear if he’s actually in touch with Gordon and the FBI...seemingly not). And what’s with Ray getting arrested for transporting a weapon across state lines? I think I remember it being implied somewhere (maybe in TFD) that he intentionally got arrested to protect himself; but if that’s the case, then he’s leaving Darya alone to finish the job of killing Cooper (or, as ultimately happens, being killed by him). That seems pretty shitty.

Who do we think is even behind the hit on DoppelCoop? Jeffries, apparently, but presumably this goes beyond him. Mr. C talks about how badly “they” want him dead. Are the Lodge spirits now hiring hitmen?!

Any thoughts on the Ace of Spades card? Was that Judy’s symbol at One-Eyed Jack’s in another life?

I adore Chantal, and I love what a slob she is. Look at those Cheetos strewn all over the floor! That poor maid.

“253. Time and time again. Bob Bob Bob.” With an eye toward Part 17/18, all of this screams time loop to me. 253 (10, the number of completion, i.e. the endgame/goal). Time and time again indicates Cooper repeatedly trying and failing. “Bob” is a palindrome, indicating a circle.

It’s a little disorienting that Leland has way more black in his hair than he did when he died! The afterlife has been kind to him. Both Kyle and Ray aged way better than the original series predicted!

I love the EotA’s doppelganger so much. A lemon stuck on top of a tree branch has no business being that terrifying.

As a native New Yorker, I never would have anticipated that the first place Coop would end up after exiting the Lodge would be NYC (albeit only briefly). Something I haven’t thought about before: assuming it’s Judy posing as “Jeffries” on the phone, when she says, “I missed you in New York,” could she be referring to the fact that Cooper was in the glass box seconds before she was?

That shot of Sarah pulling her leg up on the couch while completely enraptured watching the lions attack a water buffalo, with the TV reflected in the mirrors behind her...that is a strong contender for my favorite shot in all of TP history. In fact, the one-two punch of the horrifically sad and scary Sarah scene followed by the unabashed nostalgia of the Roadhouse “Shadow” scene might be the perfect distillation of TR writ small. (These two sequences are also the only time we spend in Twin Peaks all episode aside from the Hawk/Margaret sequence. I know someone at some point was tracking how much time was spent in Twin Peaks each Part. I feel like this is a strong contender for the least time in town.)

BTW, those are the same mirrors that were behind the couch in the Pilot...so that round mirror that is furthest to Sarah’s right (or screen left) is the same mirror that Bob/Frank Silva was accidentally reflected in all those years ago!

It’s really nice to see Shelly with female friends, given how isolated she was for most of the original series, other than Norma. She’s adorable after she takes the tequila shot and waves her hands in disgust.

Not to be a continuity stickler, but Shelly’s Rainier beer can turns into a Rainier bottle for two closeups, just long enough for her to stroke it in suggestive fashion while gazing at Red.

DoppelCoop’s Diet:
— It’s tough to be sure, but looks to me like the Doppel is enjoying a plate of creamed corn, with an additional side of more corn (!), along with (naturally) a cup of coffee as he chats with Ray, Darya and Jack at the restaurant at Bell’s Motor Lodge Motel
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby AXX°N N. » Mon May 18, 2020 3:27 am

Mr. Reindeer wrote:That opening Fireman scene is still an enigma. I know it’s been said that it was originally planned to be placed somewhere else, and it would sure be interesting to learn where.

In the Blue Rose issue 11, in an interview with Dunham, he says he remembers that it came later, but was moved to the beginning.

Mr. Reindeer wrote:It’s always struck me that there may be more to Tracey than meets the eye. Did Mr. C hire her to seduce Sam and potentially attract Judy as some sort of weird honey trap? Do we think Judy is really attracted/enraged by sex like a horror movie cliché, or is it just a coincidence that she pops in at that moment?

It's funny, I initially thought there was something to Tracey, then walked away from that feeling on a rewatch, then it's since returned again. I think the thing with their sex and the attraction of Judy, and the Cooper & Diane sex scene, has to do with sex magick as many have posited, but I also think both can be understood in the terms of this Lynch quote, and on comparison to, for instance, the dreamy and heavenly Lost Highway sex scene which abruptly turns to horror: "Sex is a doorway to something so powerful and mystical, but movies usually depict it in a completely flat way." If sex is a doorway, like the Lodge, it might be a doorway to both heaven and hell. It's a phenomenon that people can have abrupt mental breaks during even loving sex, because it's a state of total open vulnerability.

Mr. Reindeer wrote:Does anyone know what the building is in the opening credits? I find it interesting that Lynch chose a drone shot with man-made structures in it, rather than an unspoiled woods/mountain shot like he generally favored in both series. (We get our best look at it under Angelo and Duwayne Dunham’s credits, before the fade to the falls.) In my personal head canon, this is Garland’s listening post in the mountains.

I saw someone once say these were facilities related to the fact that in real life, the falls are (were?) a power station. I don't know if they were certain or extrapolating. Incidentally, it's also my head-canon that it's Briggs' post! :)

Mr. Reindeer wrote:Where did Hawk get this information?

I always assumed that it was him working off information they retained during their OS investigation about when things would be aligned.

Mr. Reindeer wrote:“I am dead yet I live.” Could this be a reference to her uncertain state of being once Cooper tries to save her and creates a paradox/time loop? Is this perhaps why she is both Laura and not Laura, as she can’t be fully present in either the real world or the afterlife?

It could even be a more significant retcon, implying that all along when Laura had been saying that, she was saying that from the vantage point of future events concerning her Carrie Paige identity.

Mr. Reindeer wrote:As a native New Yorker, I never would have anticipated that the first place Coop would end up after exiting the Lodge would be NYC (albeit only briefly).

Try being born in WA, only to move to TX, and have the last Part land there, only to return to WA. The last episode unsettled me a great deal. I was living in a place in TX that looked exactly like Odessa at the time, and I have a lot of baggage related to my home town. The long, dark drive back, the feeling of inevitability and less and less runtime, and the potent dread of the edifice of the Palmer house as destination, had far too much room for me to project onto it.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby LateReg » Mon May 18, 2020 9:01 am

Mr. Reindeer wrote:Part 2 rewatch...

Does anyone know what the building is in the opening credits? I find it interesting that Lynch chose a drone shot with man-made structures in it, rather than an unspoiled woods/mountain shot like he generally favored in both series. (We get our best look at it under Angelo and Duwayne Dunham’s credits, before the fade to the falls.) In my personal head canon, this is Garland’s listening post in the mountains.

That shot of Sarah pulling her leg up on the couch while completely enraptured watching the lions attack a water buffalo, with the TV reflected in the mirrors behind her...that is a strong contender for my favorite shot in all of TP history. In fact, the one-two punch of the horrifically sad and scary Sarah scene followed by the unabashed nostalgia of the Roadhouse “Shadow” scene might be the perfect distillation of TR writ small. (These two sequences are also the only time we spend in Twin Peaks all episode aside from the Hawk/Margaret sequence. I know someone at some point was tracking how much time was spent in Twin Peaks each Part. I feel like this is a strong contender for the least time in town.)

BTW, those are the same mirrors that were behind the couch in the Pilot...so that round mirror that is furthest to Sarah’s right (or screen left) is the same mirror that Bob/Frank Silva was accidentally reflected in all those years ago!

It’s really nice to see Shelly with female friends, given how isolated she was for most of the original series, other than Norma. She’s adorable after she takes the tequila shot and waves her hands in disgust.

Not to be a continuity stickler, but Shelly’s Rainier beer can turns into a Rainier bottle for two closeups, just long enough for her to stroke it in suggestive fashion while gazing at Red.



About a week ago, I had also finished a quarantine rewatch of the entire series that I began on the 30th Anniversary. I haven't had time to look at your original series recaps, but I am enjoying these, and may dive right back into The Return again.

In response to the sections I've quoted:

1. I've also always imagined that that is Garland's post in the mountains, and in fact had always suspected we would see what was in there at some point during the show. Doesn't that shot occur in one of the latter Parts? At that moment I truly thought we were heading there. I like what Axxon has pointed out about that being related to real life generator for the falls, and would like to know more about that as it certainly fits the "pull back the curtain" motif of The Return, which also includes the reveal that the remains of the mill are located right across the street from the Sheriff's station, a bit of impossible geography. At any rate, that building within the credits presents an incredibly tantalizing mystery.

2. That is a great shot of Sarah and the TV reflected in the mirrors. Regarding the mirrors being the same, as I've pointed out before, as the camera pans in it is eventually reflected in the same exact mirror that accidentally reflected Bob in the pilot. It's arguably the first of many instances that begs the viewer to wonder whether it was intentional or serendipitous, or an initial accident that was intentionally left in during editing, and to what point it matters given the intuitive way Lynch works. Can it really be a coincidence that this shot occurs in the exact same moment and mirror of the new series as it does in the old, right at the end of the pilot? The camera's appearance certainly fits and sets up one of the many meta-layers of the series. I also thought how perfectly it fits with the theory that Axxon had recently mentioned, that the camera itself is Judy.

3. Speaking of intentionality vs serendipitous mistakes, doesn't Shelly's Rainier can turning into a bottle seem a bit odd...a bit slippery? Fits with the theory of time rewriting itself as its off its axis/looping, whether an error or not. Also...thanks, I never noticed!
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mr. Reindeer » Mon May 18, 2020 10:28 am

AXX°N N. wrote:
Mr. Reindeer wrote:That opening Fireman scene is still an enigma. I know it’s been said that it was originally planned to be placed somewhere else, and it would sure be interesting to learn where.

In the Blue Rose issue 11, in an interview with Dunham, he says he remembers that it came later, but was moved to the beginning.


I meant, I wonder where the scene was initially meant to go. Someone should ask Dunham, probably a way better chance of getting an answer than asking Lynch. Maybe I’ll try to dig up that photo of Lynch/Dunham’s wall of index cards and see if anything is legible...

Mr. Reindeer wrote:It’s always struck me that there may be more to Tracey than meets the eye. Did Mr. C hire her to seduce Sam and potentially attract Judy as some sort of weird honey trap? Do we think Judy is really attracted/enraged by sex like a horror movie cliché, or is it just a coincidence that she pops in at that moment?

It's funny, I initially thought there was something to Tracey, then walked away from that feeling on a rewatch, then it's since returned again. I think the thing with their sex and the attraction of Judy, and the Cooper & Diane sex scene, has to do with sex magick as many have posited, but I also think both can be understood in the terms of this Lynch quote, and on comparison to, for instance, the dreamy and heavenly Lost Highway sex scene which abruptly turns to horror: "Sex is a doorway to something so powerful and mystical, but movies usually depict it in a completely flat way." If sex is a doorway, like the Lodge, it might be a doorway to both heaven and hell. It's a phenomenon that people can have abrupt mental breaks during even loving sex, because it's a state of total open vulnerability.


Great point. It fits nicely with the spirits feeding off human emotion (pleasure, pain, etc.).

Mr. Reindeer wrote:Does anyone know what the building is in the opening credits? I find it interesting that Lynch chose a drone shot with man-made structures in it, rather than an unspoiled woods/mountain shot like he generally favored in both series. (We get our best look at it under Angelo and Duwayne Dunham’s credits, before the fade to the falls.) In my personal head canon, this is Garland’s listening post in the mountains.

I saw someone once say these were facilities related to the fact that in real life, the falls are (were?) a power station. I don't know if they were certain or extrapolating. Incidentally, it's also my head-canon that it's Briggs' post! :)

I think the power station for the falls is the building seen nearby the Great Northern in all the establishing shots on both series, and also the cover of TFD. The location in TR opening titles seems to be somewhere else. But it could certainly be a remote/related building.

Mr. Reindeer wrote:As a native New Yorker, I never would have anticipated that the first place Coop would end up after exiting the Lodge would be NYC (albeit only briefly).

Try being born in WA, only to move to TX, and have the last Part land there, only to return to WA. The last episode unsettled me a great deal. I was living in a place in TX that looked exactly like Odessa at the time, and I have a lot of baggage related to my home town. The long, dark drive back, the feeling of inevitability and less and less runtime, and the potent dread of the edifice of the Palmer house as destination, had far too much room for me to project onto it.


Ha, that’s so trippy! Thanks for sharing.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby Mr. Reindeer » Thu Jun 18, 2020 7:28 am

I can’t remember if this has been said (aloud) before, but in the Jason S. behind the scenes film for Part 1, the Fireman scene “starts” (since they shot it in reverse) with Cooper shaking (presumably having just manifested), then looking around at the place, then the Fireman entering and sitting. The Fireman then says, “Beware the thirteenth sycamore.”

Could this be referring to the tree by the gold pond? Is it possible this isn’t a “good” entryway despite appearances? Not only does the doppel get trapped there (presumably by the Fireman’s hand), but good Cooper’s plans go awry when he tries to bring Laura there.
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Re: Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

Postby WindUpBird » Thu Jun 18, 2020 9:47 am

I like that!

In that case would the 13th Sycamore be the one under the moon on Blue Pine mountain the Log Lady warned Hawk about?

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