{"id":160502630,"date":"2020-01-22T04:51:00","date_gmt":"2020-01-22T04:51:00","guid":{"rendered":"https:\/\/www.andrewgrevas.com\/?p=160502630"},"modified":"2026-02-22T04:52:21","modified_gmt":"2026-02-22T04:52:21","slug":"twin-peaks-topics-bickering-peaks-discuss-violence-towards-women-in-twin-peaks","status":"publish","type":"post","link":"https:\/\/www.andrewgrevas.com\/?p=160502630","title":{"rendered":"Twin Peaks Topics: Bickering Peaks Discuss Violence Towards Women in Twin Peaks"},"content":{"rendered":"\n

Twin Peaks Topics is a series<\/a> where I interview people from the Twin Peaks community about a topic of their choice. For the first edition, I spoke with Lindsay and Aiden, the hosts of Bickering Peaks about violence towards women on the show.<\/em><\/p>\n\n\n\n

Andrew<\/strong>: Lindsay, you recently wrote an article called \u201cIt\u2019s a World of Bobs\u201d and I was going to see if you could give a brief description of what that article was about.<\/p>\n\n\n\n

Lindsay<\/strong>: It came to my attention by December or January, once the #MeToo and #TimesUp movements picked up and were starting to make waves that I thought, you know, is it necessary for us to reevaluate some of the media or the things that we love about pop culture in light of this? Is that something we need to do? And I thought \u201cI\u2019m going to look at Twin Peaks in this light.\u201d So that\u2019s what the article was really about, taking a look at that through the eyes of someone who had seen and been impacted by the #MeToo and # TimesUp movements. I don\u2019t want to criticize David Lynch and say that he absolutely is guilty of something that he\u2019s not. I don\u2019t think that he\u2019s a misogynist and I don\u2019t believe that he or Mark Frost are any way implicated in #MeToo and # TimesUp movements. But there are certain things that come up again and again in David Lynch\u2019s work and especially in Twin Peaks<\/em> regarding violence against women and especially sexual violence against women. And then in Season 3, it seemed like that was amped up to a really heightened level. So I just wanted to look at if that was really necessary to tell the story that needed to be told? In the end, I wasn\u2019t sure if it was or not but there were certainly things that were troubling about it, and I think people had picked up on that as well, but nobody was really sure how to talk about it. I think even now; maybe it\u2019s too early to really think about that. But I wanted to give it a shot anyway. Especially after Roxanne Gay wrote an article about Roseanne, looking at that in light of current events and Molly Ringwald wrote one about reevaluating The Breakfast Club.<\/em> So I thought, you know, other people are doing this too, so maybe it\u2019s not completely out of the left field to kind of approach Twin Peaks<\/em> in that kind of way.<\/p>\n\n\n\n

Andrew<\/strong>: Aidan, was this something that you had thought about prior to Lindsay\u2019s article?<\/p>\n\n\n\n

Aidan<\/strong>: I considered it for sure but it wasn\u2019t top of mind. I\u2019d always kind of taken a bit of a hands-off approach to the sexualized violence in Twin Peaks<\/em> because I was just like, \u201cWell they\u2019re just reflecting reality and I think that\u2019s still a fairly justifiable way of looking at it.\u201d But Lindsay, you know, she told me about this article and I\u2019m skeptical the whole time. I was like, \u201cWell, you know, that\u2019s what they\u2019re doing. They\u2019re just showing what happens and it\u2019s terrible and it seems egregious but that\u2019s because it\u2019s still happening.\u201d After I read the article, I was like, \u201cOh yeah, you know what? You\u2019ve got a really good point.\u201d That was kind of my journey through it because I did really start off as kind of a skeptic.<\/p>\n\n\n\n

Andrew<\/strong>: Lindsay, you said you didn\u2019t come to any definite conclusions. Do you still feel that way now that you\u2019re a little bit removed from writing the article?<\/p>\n\n\n\n

Lindsay<\/strong>: You know\u2026part of me wishes I\u2019d taken a little bit more of a stand and I think if I had sat with this for another few months, I might have taken more of a stand on it. I think that\u2019s just the nature of this discussion is that it evolves in my thinking. So, if you ask me today, I might say something different than I would say tomorrow, but I\u2019m not angry at the show for doing what it does. I\u2019m not angry at Lynch and Frost for poking at that question or dealing with these issues. I don\u2019t think that it\u2019s a bad thing. I think people who have been through a trauma like that are going to respond to it much differently than I did or than somebody else might. So it\u2019s a really personal journey and I think that\u2019s something that anybody will say about Twin Peaks<\/em>, that everybody comes at it from a different place. I do think there is an element like Aidan said about holding a mirror up to society and showing what actually exists. I think that that is necessary too but I do think that it was over the top at times.<\/p>\n\n\n\n

Andrew<\/strong>: This question is to both of you. What would be some examples that you consider the most extreme and potentially unnecessary acts of violence towards women throughout the third season?<\/p>\n\n\n\n

Lindsay<\/strong>: I think for me, the biggest one that comes to mind right off the top of my head is the violence against Darya in Part 2. It\u2019s particularly sexualized. She\u2019s scantily clad, and Mr. C is fully clothed, and there\u2019s just an extra layer of vulnerability there that I feel really uncomfortable with. I feel that that was a little bit unnecessary. She didn\u2019t have to be half naked and there didn\u2019t have to be a sexual relationship between the two of them. She could have just been someone who snitched on Mr. C and it didn\u2019t have to have that extra layer of vulnerable sexuality glossed over top.<\/p>\n\n\n\n

Aidan<\/strong>: The one that always jumps to my mind was Lorraine. It\u2019s an office full of women and three women get killed in the span of like a single minute on screen or something like that. It\u2019s the most brutal murder in Twin Peaks<\/em> in my opinion because it\u2019s personal. It\u2019s bloody. It doesn\u2019t have any of the emotional impact that Maddy getting killed had, but it\u2019s shown almost to the same level, it zooms right in on the stabbing motions, and you hear it. And it\u2019s squirting blood, and there\u2019s this playful music to it. It\u2019s just that it didn\u2019t really seem that needed quite so much, especially because they\u2019re minor characters. It always bothered me.<\/p>\n\n\n\n

Andrew<\/strong>: David Lynch and Mark Frost are obviously known for a lot of different things. For those that follow Frost on Twitter, [we] know how socially conscious he is and David Lynch has a reputation with some of his female characters, not in every film, but in a few where they go through this journey of being beaten down only to emerge victorious somehow in the end. Even in the case of Laura Palmer, victorious in death. Knowing these things about them, does that change your opinion at all? Do you think that perhaps there was something more that we should be looking at as viewers or was this just a case of them perhaps not being quite as up to date with social themes as we would like them to be as viewers?<\/p>\n\n\n\n

Lindsay<\/strong>: That\u2019s a great question because I think this conversation, the larger conversation, has kind of branched out. They (Lynch and Frost) haven\u2019t come out and said anything about this in terms of their work. Maybe it doesn\u2019t matter; maybe they don\u2019t need to say anything. David Lynch never says anything about this work. I think that their approach is perhaps a little bit harsh, but I think that ultimately they\u2019re trying to do the same thing that other people were doing. They just have a different method of achieving that.<\/p>\n\n\n\n

For David Lynch to always have a woman in trouble like that\u2019s his M.O. \u2014 it\u2019s a big motif for his films\u2014it\u2019s to achieve a certain narrative end. So it\u2019s something and who knows why right? Complex psychological reasons why an auteur would go back to the same wellsprings for years and years and years? But it worked for him, and he tells his stories the way he wants to tell them by doing that. That\u2019s what he does. But it does have \u2014 it has consequences I guess because if you\u2019re constantly showing women in trouble and virtuous men who try and save them and either do or don\u2019t, or the woman maybe saves herself or doesn\u2019t\u2014 there are various ways of looking at that. It kind of makes that whole damsel in distress play out a little bit cliched, almost in a sense. Not that anything in David Lynch\u2019s films are cliched\u2026<\/p>\n\n\n\n

Aidan<\/strong>: He plays with tropes and clich\u00e9s and does different things with them. But yes, he does come back to the same one over and over. Maybe it\u2019s just because, as you said, it just works for him. So he goes back to it because he knows that he will be able to generate that emotional response. He knows that the damsel in distress evokes a certain response from the audience and you know, the spins that he puts on it, the response can be mitigated and transformed a little bit by those things. Like when you watch Inland Empire and a female character or characters, depending on how you understand that movie, are having trouble, but at the same time she\u2019s having dance sequences to Kylie Minogue songs and it\u2019s all part of this journey of the characters being in trouble. It doesn\u2019t feel quite like a typical damsel in distress, but at the heart of it, it still is. And I think that\u2019s \u2014 to get back to your question, Andrew, eventually\u2014it\u2019s hard to judge that because they\u2019ve always been at least a negligent case. He\u2019s always been kind of keeping that artistic distance from the trope. So, with that in mind, it\u2019s kind of both. It makes it easier to say when its cliche and abuse of women and also harder because he literally separates the cliche quite often, but he still relies on the cliche to get that initial emotional response. So, it\u2019s really hard to say, I think.<\/p>\n\n\n\n

Andrew<\/strong>: You already touched on what was going to be my next question. You compared the death of Lorraine to the death of Maddy, and you even noted on the emotion behind Maddy\u2019s death. I want to dive a little bit deeper into that. What makes those situations different for you? Maddy\u2019s death has often been referred to as one of the most violent things that anyone\u2019s seen on television. How does the act of having more emotion in the story not make it more acceptable, but perhaps easier to ingest as part of the story, when compared to a cold killing like, Lorraine?<\/p>\n\n\n\n

Aidan<\/strong>: We got to know Maddy, we got to see her and watch her, you know, and her death is tied up also with the reveal of Bob. This whole journey into this chaotic kind of place, that\u2019s all tied together into that one moment. Whereas with Lorraine, I\u2019ve seen her two times. She\u2019s been on the phone in an office, and then in that same office, she comes and gets stabbed. We don\u2019t have any connections to any other storylines or to the character herself: we don\u2019t really care that she\u2019s dying. So the visual, you know, the grossness of it really takes over. That\u2019s all you remember about it. Whereas when Maddy dies, you remember, \u201cOh my god, this is Bob, and oh my god, Agent Cooper, what are you doing? Why are you at the Roadhouse?\u201d<\/p>\n\n\n\n

Lindsay<\/strong>: If I can add something here. This was something that came up in conversations with other writers and editors at 25YL. I was kind of workshopping the essay before and there\u2019s this element of an anonymous death. Lorraine dies and it\u2019s like almost nameless. She\u2019s on the screen for all of however-many seconds and then she died. And so it\u2019s like, how if there is no emotional connection, why does it bother us? And that that might be a commentary on the wider problem of, you know, excessive reporting of violent acts or desensitization of our culture towards violent acts.<\/p>\n\n\n\n

Andrew<\/strong>: One of the other big topics that I wanted to bring up was the sexual violence with Audrey and Diane being the prime examples in Season 3. Now we have known since early Season 2 of Twin Peaks<\/em> that it was a story of sexual violence. Even before we knew who Laura Palmer\u2019s killer was that it was the story of an abused girl, that she was a prostitute, and that her life went down a very sexualized road as a result of the abuse that she endured. We knew that sexual violence was a big component of the story. Season 3 introduces two more victims in Audrey and Diane of Bob or Mr C. However you choose to define that, and the reaction was much different. People were upset. How did that sit with you knowing that Twin Peaks<\/em> has a history of sexual violence towards women and then these two characters, one who is a franchise player and then the other who\u2019s the name that we\u2019ve known from the beginning, are now introduced as victims of rape.<\/p>\n\n\n\n

Lindsay<\/strong>: I was one of the first people to bring that up on the site about the show. It\u2019s like, \u201cOh, something bad happened to Audrey and Richard is the result and this is not good.\u201d And people were like, \u201cNo, how could you think that, this is awful?\u201d And it\u2019s almost like there was this like suspension of disbelief, almost that people were like \u201cThat\u2019s not what they show is about.\u201d But that\u2019s what the show was from the beginning. And if you\u2019re going to deny that then you\u2019re denying Laura Palmer, you\u2019re denying everything that happened to her. You\u2019re denying every single one of her experiences and you\u2019re also denying the very real story of what happened to Audrey and what we find out happened to Diane as well.<\/p>\n\n\n\n

Aidan<\/strong>: You know, we\u2019ve talked about violence against women and how that was at the core of the show all the way from the beginning\u2014it\u2019s a dead body we start with, so that was always there. So that kind of leads me away from thinking that they\u2019ve kind of overdone the violence because that\u2019s what the show started. You knew it was going to be there. I think they amped it up and you know, they didn\u2019t create the emotional resonance of it for the physical violence so much the sexual violence, with Audrey and Diane. Two of the characters we knew in the very first episode of the show \u2013 granted we only knew Diane through Cooper \u2013 but these are two of the most important female characters in the show and they were the most important to Cooper. So it makes a lot of sense that they were the victims and it lends a little more credence to the overall idea that the creators had a purpose for what they were doing.<\/p>\n\n\n\n

They were hitting us where it hurts, not so much with the physical violence, like with Miriam or Sylvia Horne. Those instances were really brutal and violent and hard to watch, but it was the sexual violence that really came to the emotional guts. We don\u2019t see sexual violence; it wasn\u2019t like we never saw someone being raped on screen. We heard about it, and that is an important distinction to make because maybe that\u2019s where they drew a line in the sand or like, you know, \u201cWe\u2019re not gonna do that even though it\u2019s shown in Fire Walk With Me<\/em>.\u201d It wasn\u2019t shown in Season 3 even though it was talked about. And I think that that is important to note. You couldn\u2019t have shown all of Laura\u2019s journey without her coming to that realization of who Bob was in her bedroom. That\u2019s the emotional climax of the movie in a lot of ways.<\/p>\n\n\n\n

Here they did it differently. The stuff that they dealt with on-screen about sexualized violence is Diane remembering and breaking into tears when she sees Cooper again. Audrey\u2019s not able to get to precisely what it was or remember the experience of it, maybe because she wasn\u2019t perhaps conscious for it, but I mean that dislocation, the fact that you don\u2019t know where Audrey is, it\u2019s kind of a metaphor for exactly for the outcome of that. The sexualized violence, to me, it was far more interesting and nuanced than the other violence in Season 3.<\/p>\n\n\n\n

Audrey and Diane\u2019s sexual assaults<\/h3>\n\n\n\n

Andrew<\/strong>: It\u2019s really interesting to me because like you guys said, it wasn\u2019t mentioned or expressed the way that Diane vocalized it. We had to put the context clues together through Doc Hayward giving us the narrative pieces. I do think that it hits the audience a lot harder, partially because we discovered it without it being her to tell us. Then partially because she was such a beloved character. Laura Palmer was dead when we started the show, but she became a loved character despite being dead. Audrey in many ways, was the equivalent in Season 3. She was a female lead who all of a sudden was put in this really vulnerable position. I think that did kind of give people that emotional gut punch. Is the fact that it was Cooper instead of Leland this time around perhaps what made it a more difficult pill for people to swallow?<\/p>\n\n\n\n

Lindsay<\/strong>: Absolutely. I think the reveal we learned in Season 2 was heartbreaking and disturbing because that was Laura\u2019s father, so it was incest and rape and murder all rolled up into one. So that is different, it\u2019s on another level. To have Cooper, who is a character that we came to love over the course of 29, 30 hours of television or more. Then we know that we left him at the end of Season 2 in this horrible, precarious situation and I think we kind of all suspected that if his double was out there in the world, this was probably going to happen. But then find out that it happened to Audrey and it happened to Diane. It\u2019s like he\u2019s the hero but all of a sudden he\u2019s not because he\u2019s done these horrible things. I think what would have been really interesting to see on screen was the full Cooper, the whole Cooper, the Cooper who re-emerges from the Red Room as a whole person again, grappling with what his double did, the murders and sexual assault, the rape, all of that stuff that, that was done in his stead when he was trapped in this place would have been such an interesting thing to a horrible thing to experience as viewers.<\/p>\n\n\n\n

We didn\u2019t see that ultimately, but I think that as a character that was supposed to represent everything that was pure and everything that was good and everything that was righteous. To know that a) that he committed these crimes and b) if you continue with John Thorne\u2019s theory, that this was half of Cooper, the part of Cooper that left the Lodge and was doing these things. So, it\u2019s a part of Cooper that did these crimes. Then it means that Cooper is somehow culpable for it. It\u2019s tough to swallow. It kind of makes you question the whole cult of hero worship that we have around. Not just him, but maybe all heroes. It makes sense. Leland was horrible, but Cooper was much harder because we always knew him as a good guy.<\/p>\n\n\n\n

Andrew<\/strong>: This question is for you, Aidan. Lindsay brought up that she wishes she could have seen the whole Cooper come to terms with everything that happened. This is where I slightly disagree because I do think that we saw that. So, I\u2019ll pose this question: Cooper says to Diane in Part 17, do you remember everything? This was prior to the frozen Cooper face. Do you think that that was perhaps a recognition that Cooper, that version of Cooper that we saw there, that we saw, did know everything that had happened and he was confirming with Diane that she did?<\/p>\n\n\n\n

Aidan<\/strong>: I feel like yes but it\u2019s an odd thing because there\u2019s a Cooper that\u2019s in the last two episodes, and there\u2019s a line between when we get \u201cI am the FBI\u201d Agent Cooper and when we get the \u201ctrue Cooper\u201d\u2014is what I call him\u2014which is the one that you see with Carrie Page. I think the line between those Coopers is not super clear in the whole transition, you know, when they\u2019re in the car and when we switch over, everything is different. Is he the pure, true Cooper at that point already or is it when he first unmasks Diane? There\u2019s a whole lot of uncertainty about who he is and all those moments in time because everything is so odd. I would tend to agree that the question is weighted with that knowledge that does she remember everything? Does that include her as Naido saving Cooper?<\/p>\n\n\n\n

When you\u2019ve reviewed the purple world scene knowing that it\u2019s Diane, she\u2019s still willing after everything that Cooper inflicted on her. She\u2019s always willing to sacrifice herself seemingly for him, She ended the banging or whatever that was, for a little while at least, and changed it so that he could go into the back to the real world and she was flung off into space, so it definitely\u2014that\u2019s how I interpret that question. I don\u2019t know which version of Cooper\u2019s asking it, but I feel as the audience we\u2019re supposed to think when she says yes, it\u2019s like, yes, she remembers being raped, she remembers all this, and she still wants to go through everything with him. So, I feel like they insert a bit more agency. I think that\u2019s kind of like the true Diane that we\u2019re finally seeing. The whole tulpa Diane problem also bothers me because, you know, if Mr. C created her, she remembers things, and we take her words at face value when she talks about how she was raped, but there\u2019s always that shadow hanging over it of why would he create a tulpa that remembers that? Why would he not create a tulpa that just loves Mr. C and is equally into evil?<\/p>\n\n\n\n

Lindsay<\/strong>: I think that there\u2019s a powerful metaphor there for what happens to a person when they are sexually assaulted or when they have a trauma inflicted on them. They compartmentalize themselves, and they have to be able to deal with it somehow, and some people manage, and some people get through it and are able to lead successful lives without, you know, going through years and years and hundreds of thousands of dollars of therapy and some people can\u2019t. Maybe this is Diane; the \u201ctulpa\u201d was created by Mr. C when he raped her because that\u2019s a different Diane than the Diane that let him into the apartment. There was a different Diane at the end of the night and that\u2019s when the \u201ctulpa\u201d was \u201ccreated.\u201d I\u2019m having some problems navigating the real world and what is manufactured.<\/p>\n\n\n\n

Aidan<\/strong>: There is uncertainty about how that process works. Which is always going to make it easier to kind of downplay what happened to Diane. Which is a shame because I agree with you, that\u2019s how I kind of interpreted it\u2014as a metaphor. When Phillip Gerrard says someone manufactured you, and she says, \u201cfuck you.\u201d Mr. C created her out of the trauma, out of the garmonbozia. The thing that gets messy with it all is that Dougie doesn\u2019t seem to be manufactured that way; he\u2019s blissfully ignorant the whole time. It\u2019s interesting to think of how different things are created.<\/p>\n\n\n\n

Andrew<\/strong>: The final topic that I wanted to bring up and we are going to have to kind of veer into theory world as well, but there\u2019s no way that we could have the conversation about violence towards women and Twin Peaks without discussing Laura Palmer. With the character arc that we saw for Laura and Carrie Page in Season 3, there was a lot of debate and discussion about her agency, whether she was potentially robbed of the outcome that she desired, which was death as we saw in Fire Walk With Me<\/em>. How do you guys feel about the characters of Laura and Carrie in terms of how they were treated and were they victimized even further in the Season 3 storyline?<\/p>\n\n\n\n

Lindsay<\/strong>: I covered it in an article that I wrote back in late September or early October called \u201cThe Continuing Education of Dale Cooper\u201d. I argued that he did re-victimize Laura through Carrie and at the end of Part 18, and did rob Laura Palmer of the closure that she needed or that she earned, that she sought at the end of Fire Walk With Me<\/em> because she didn\u2019t go to the train car and she didn\u2019t die that night. She never got her angel. I mean, the way the timelines flow in Twin Peaks<\/em> is murky now at best. So it\u2019s possible that maybe that Fire Walk With Me<\/em> hasn\u2019t happened yet or that it\u2019s still going to happen. We don\u2019t know. But there is an element and\u2026I have to wonder about this, just that the way that Mark Frost and David Lynch talked about Season 3 and the way that they kind of stomped on all of our\u2014for the most part\u2014on all of our expectations and our nostalgia and everything like that. I have to wonder if they didn\u2019t take Cooper down a peg and say, you know, this hero that you guys had been worshiping, this guy that you guys have put on this pedestal for the last 25 years, he\u2019s not actually that great. This is what the result is of a guy who thinks that he can do everything and he thinks that he is, you know, the ultimate good guy, who buys into the myth, and this is what ends up happening and that this is wrong.<\/p>\n\n\n\n

If I\u2019m right and that ending for Laura Palmer has been removed or changed in some way then I can\u2019t see Frost or Lynch\u2014especially, because of how much he loves Laura Palmer\u2014I can\u2019t see him taking away Laura\u2019s happy ending easily or without sacrificing something else. And if that sacrifice has to come in at the expensive of destroying this hero that he created, I can see him doing that. I think he loves Laura Palmer enough that it would be acceptable to him. He\u2019d say \u201cYou know what? If Laura doesn\u2019t get a happy ending, it\u2019s because Cooper ruined it.\u201d<\/p>\n\n\n\n

Aidan<\/strong>: Alright, let the bickering begin. I think that Laura\u2019s essence at the end of the day was really complicated in Season 3. There\u2019s the whole Judy\/BOB combination and how the combination of the two of them will lead to the end of the world as in The Final Dossier.<\/em> I think when you start getting into the metaphorical aspects of who Laura is and how Cooper interacts with that, I think that at the end, Laura is achieving what she needs to do and she\u2019s led to it by Cooper, but it\u2019s not the pure, innocent Cooper that we grew up with. It is the final Cooper that we see, the \u201ctrue Cooper\u201d who has merged his dark self. I\u2019ll never speak ill of that scene in the diner in Odessa when he shoots the guys in the foot and deep fries the guns. It\u2019s just like Mr. C, and it\u2019s just like Cooper in this harmonious package. I feel like that Cooper that we see there is not the innocent one. He knows what he\u2019s doing. He knows that there\u2019s going to be bad consequences, perhaps, but he\u2019s willing to see them through because they lead to the best outcome for Laura. He\u2019s looking out for Laura\u2019s interests in my mind. Maybe exposing her to Sarah and Judy is perhaps not the best but Laura Stewart published an article and to summarize it poorly, Judy is the memory of suffering. BOB is the one who creates suffering and feeds off that and Judy is the remnants that are left behind. I think Laura Palmer screaming and destroying the lights out of Judy\u2019s home is a great way to end the series. Laura was finally confronting the memory of her trauma and defeating it. That\u2019s how I view the end.<\/p>\n\n\n\n

Lindsay<\/strong>: If you view the ending that way, where does the ending of Fire Walk With Me<\/em> fit?<\/p>\n\n\n\n

Aidan<\/strong>: I think that there are two separate endings. I think they are kind of incompatible. Fire Walk With Me <\/em>is beautiful and positive for Laura in the sense that she is free of the suffering. She no longer has to face BOB. She had an angel on her side to see her through the death essentially. I think even though she no longer has to worry about BOB, she\u2019s free of that and she didn\u2019t let BOB take over herself. Her soul is still hers; she still has that memory. Even if she\u2019s dead waiting 25 years in the Red Room, that bad memory is still there for her. The fact that Cooper tries to preempt that suffering by taking her away before she was murdered, but then finds her as Carrie Page later on, is indicative that her death was not the source of her pain, it was her life that was the source of all her pain. If Judy is the memory of that, then he has to take her. Not to run away from BOB but to confront the memory of that. I feel like Laura\u2019s theory really kind of wrap things up for me.<\/p>\n\n\n\n

Lindsay<\/strong>: If there are multiple timelines and if the ending of Fire Walk With Me<\/em> could still exist in some way and if she did find her angel at the end and that ending happened or could still happen\u2014is there a parallel universe? Is that where Carrie went when she was taken? So maybe you\u2019re right, and maybe Cooper did have to go to Odessa and did have to take Carrie who still had maybe some suppressed trauma because she lived through that and then was spirited away to Odessa and forgot or had that memory erased. So she had to confront that. I don\u2019t know. I still think that his confusion at the end is indicative that maybe he wasn\u2019t on the right path.<\/p>\n\n\n\n

Aidan<\/strong>: Sure, but I also think that something did happen and the fact that we do hear Sarah Palmer\u2019s voice. Something has happened, and it\u2019s definitely not clear.<\/p>\n\n\n\n

Lindsay<\/strong>: That we can agree on. It is definitely not clear what happened!<\/p>\n","protected":false},"excerpt":{"rendered":"

Twin Peaks Topics is a series where I interview people from the Twin Peaks community about a topic of their choice. For the first edition, I spoke with Lindsay and Aiden, the hosts of Bickering Peaks about violence towards women on the show. Andrew: Lindsay, you recently wrote an article called \u201cIt\u2019s a World of […]<\/p>\n","protected":false},"author":1,"featured_media":4787,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[38],"tags":[112,39],"class_list":["post-160502630","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-twin-peaks","tag-david-lynch","tag-showtime"],"_links":{"self":[{"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/posts\/160502630","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=160502630"}],"version-history":[{"count":1,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/posts\/160502630\/revisions"}],"predecessor-version":[{"id":160502631,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/posts\/160502630\/revisions\/160502631"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=\/wp\/v2\/media\/4787"}],"wp:attachment":[{"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=160502630"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=160502630"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.andrewgrevas.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=160502630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}