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i imagine i'm less disappointed in the finale than most, but still locked in an uncertain state. if there is no return to the return, it will grow, otherwise dwindle to the size of small golden orb. they need to manufacture another.

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proximoception
Sep. 5th, 2017 04:05 pm (UTC)
The Bomb (standing in for knowledge of our fragility?) created (or just was) fear/Judy, and that fear created hate/Bob. The Fireman created the good in Laura in return. With hate having been beaten back Cooper is confronting the fear responsible for it. Laura's victory in Fire Walk With Me was to stay basically loving in the face of hate and fear. Cooper's in Twin Peaks was to expose and confront hate - in The Return he traces it to its source to confront that. Which means bringing Laura to the house where her Bob-consumed father hurt her, but it's not he that's there. It's her mother, who went the denial route, wandered around drinking, maintaining an orderly household veneer and calling fearfully after Laura without actually talking to her or showing up when she needed protection. She's Judy-haunted like Leland was Bob-haunted. Laura's loud scream broke her own denial. It's a hitching post for more storyline if more is needed, but it's also a fit ending. She faced it. And Cooper didn't give up in his quest to help her do so. Judy's quasi-world was all about denial/giving up - hence Linda's letter, armed harassers having the run of the place, Laura's evasion of her present troubles. Screaming at it while not looking away throws the whole thing in the fryer. Shows you know how awful it is, but paradoxically bounds that awfulness by assigning it a magnitude.

The magnitude of the world's awfulness is a separate problem from both fear (not facing it) and hate (internalizing it). This fits the negative or uncertain note. Being like Cooper et al. are, like Bobby now is (recall his policing outside the diner) is not necessarily happy. It doesn't solve the problems, it just means you no longer are one yourself.

Re. fear, it was the issue Cooper was faced with back in 2.22: turning back inside it is what makes the White Lodge the Black, thus creating your double. As retconned, Cooper deliberately turned back. At the time, his failure was connected to his fear of losing Annie by going forward with her, at least as equals (the pageant had some objectification/rescuee suggestions). They reconstituted a bit of this with the Cooper/Diane backstory: they had kissed once. When she's released they commit to it, which enables their passage into fear-world. Diane's fear-double claims her, leading her to run away from her love for him, which gives Cooper his clue about what the deal is in that place. That's how he knows what to do with Laura, and also why the Laura/James stoplight scene was brought back at such length. James waiting to go until the sign says stop is his judgment on what Laura has just done - and probably to some extent his admission of his own failure to fight harder to stay with her. Cooper stays with her - and Laura, who had earlier let go of his hand, has learnt from the repetition of her previous troubles in this new life (cf Shelly taking up with the Leo-like Red) that she should finally let him. The source must be addressed. But not alone. That's what the White Lodgers are - anyone who tries to help, even if most of the time they either can't or can't be sure they have ("It is happening again" and "What year is it?").

Editing to add just this: note how Lynch grabbed the sobbing, fleeing student detail from the original pilot and repeats it, slowed down like in a horror movie, at the beginning of The Return. THAT's what Judy is. That's why everyone facing the scene of the little boy's death was so much like the "It is happening again" scene, and why Harry Dean Stanton walking into the middle of it is the key moment of the series. Cooper is doing what he did, there at the end. Which is the most you can do.
jones_casey
Sep. 7th, 2017 07:03 am (UTC)
even when i don't fully agree with everything, your analysis is always amazing and i'm always so glad to read what you have to say. i hope to find some mental time to write about my impressions soon.
proximoception
Sep. 7th, 2017 01:11 pm (UTC)
I'd be happy to read them. Esp. about the various prophecies and outlet world events near the start as that was all too much to keep straight.

(I assume the scratchy record thing the Fireman's worried about symbolizes the repetition you're doomed to by not facing your past? The Twin Peaks-returnee content is mostly about that: Nadine takes decades to break free of her own repeated pattern (since apparently she's left Mike and gotten back together with Ed at some point?), allowing Norma and Ed to too; Shelly's daughter repeats hers and her surrogate mother Norma's of taking up with ririculously misbehaving men; faux-Cooper's son repeats his pure evil; Audrey's clearly repeating her give-me-attention-for-hating-you dynamic she had with her father with Charlie; I guess we're to see Gersten as repeating Donna's James-stealing with Steven?; James repeats his chivalric Laura-stealing with Renee etc. In other characters substance addiction, the ultimate repetition, is a big theme - junk food for Jason Leigh, gambling for Dougie, cocaine for Steven, meth for the itchy armpits girl. The attention paid to the junkie mother in Rancho Rosa makes sense in that context.)
proximoception
Sep. 7th, 2017 01:12 pm (UTC)
And maybe even makes sense of the horrifying face-peeling guy who literally mindlessly repeats everything in the jail, who you can't help wondering if he's the mysterious Billy.
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