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I've only watched FWWM once (I need to change that), but from what little I remember, doesn't Harry Dean Stanton's character have a completely different personality between that and season 3?
Either way, I've noticed that since becoming a fan of Twin Peaks that I have this weird protective feeling toward characters like Andy, Lucy, Candy, and Carl Rodd. All of these characters have a certain purity and innocence about them. So I'm glad that I got to see Stanton have his character fleshed out.
And my goodness he had a gorgeous voice! Let alone for a 90-something lifelong smoker!
So a few weeks after the finale and I’m 99% certain my initial thoughts and interpretations from parts 17 and 18 were completely wrong (especially my idea about the different dreamers).
But I absolutely love that the show is still going through my head. I haven’t had something consume me like this (in a good way) in a long, long time.
I thought this theory from Reddit was really interesting: https://www.reddit.com/r/twinpeaks/comm ... planation/ Doppler made the original Dougie tulpah, Cooper makes the new Dougie tulpah. All season long we have commented that Doppler's movement and speech seems particularly strange at times, while the P18 'Richard' Cooper is clearly not the quintessential Cooper either.
One small supposition explains a lot; when you create a tulpah, you lose that part of yourself. Cooper gave up his childhood innocence and intuition, the qualities most obviously embodied by Dougie, and this explains Coop's lack of certainty throughout P18. Meanwhile, original Dougie gambled and got prostitutes: Doppler gave up pleasure (or a better holding word, maybe satisfaction). After all, Doppler is never satisfied in The Return, despite his 'want'. This also explains his difference from the highly eccentric Doppler we saw at the end of season 2.
This explains the weirdness of both Doppler and Cooper, and seems very appropriate. Am I missing something? Also, could there be implications for the Diane tulpah?
edit: To continue this idea slightly, if Cooper lost his 'childhood intuition' when he created the second Dougie, then the Cooper we see drive back into Twin Peaks in P17 is 'the one and only' because at that point in time the 'new' Dougie hasn't been created yet. This is the complete Coop, for now, and it's why he finally acts like the Coop from the original run. For the record, we don't see the new Dougie creation scene until P18, after our Cooper goes back 'in'. At this point, Cooper comes back out to see Diane, and essentially begins this theory by acting like he lost his intuition and/or childhood innocence.
I've just started reading this article. And I've only completed the introduction but I just needed to stop and say here, quickly, that while I'm sure this will be a fascinating read, I already fundamentally disagree with the author's thesis.
Like so many other people, the author seems to be completely missing the point of David Lynch's work and is working over-time to construct an understandable, conscious, recognizable, digestible, coherent, storytelling narrative where one does not exist.
But I'll see where this goes. I'm interested in watching this person defend themselves.
That was a great essay with a lot of interesting points. I don't totally agree with is reading of the show but I do appreciate how well he defines and supports his theory. I think, ultimately, too many aspects of the show are left out to sway me toward his conclusion. But, as you said, Spenno, the essay did give me a lot to think about.
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