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This is one of the most powerful David Lynch directed things I’ve ever seen. Lynch’s world - TP and beyond - has always had a cosmology. There is good and there is evil. These things must have come into existence somehow. There are heavenly realms like the White Lodge and wherever Laura Palmer goes at the end of Fire Walk with Me. There are hellish dimensions like the Black Lodge and some purgatorial ones like the Purple Room.
Twin Peaks has always seemed part of the same world as Blue Velvet and Mulholland Drive to me. Their cosmology is similar: good is represented by small town values whether it be Twin Peaks, Lumberton or wherever Betty Elms originates in MD. Evil is often said to be lurking under the surface in Lynch’s world, like the bugs in the Beaumont’s garden. But it is also an otherworldly phenomenon that intersects our world in an unpredictable fashion like the wandering Mulholland Drive. The evil behind the diner in MD could be from the Black Lodge. Frank Booth is very like Bob in many ways. Gotta Light is the most explicit creation myth in LynchWorld. The first part of this episode has evil Cooper resurrected by otherworlders that look like coal miners or perhaps products of an explosion like the Big Bang of Evil at White Sands. The denizens of the other worlds are many and could be analyzed at length. It seems Dark Cooper or maybe Bob has too many extra-dimensional allies to die. Bob himself seems to be the grandchild of the Big Bang of Evil. His direct predecessor being a sort of proto-humanoid creature called “The Experiment” who vomits him out with a large stream of seminal fluid. The floating appearance of the Experiment along with the music was chilling to me. The music later when the Giant vomits Laura into existence becomes very similar to The Voice of Love when Laura sees her angel and transcends suffering in FWWM. It is a very deliberate choice that it is Laura’s high school photo we see here.
About Dark Cooper’s rebirth, it is itself directly facilitated by music. “The” Nine Inch Nails give Cooper his resurrection by placing their performance right in the middle of the scene. This is a very important choice by Lynch. Music has tremendous power in LynchWorld. Blue Velvet is practically a symphony of creation and destruction in the film that bears its name.
After this we see something that has gestated in the desert for eleven years after the Big Bang of Evil, an insect/frog that crawls into a teen girls mouth in a way that suggests Bob-like Possession. You can’t help but wonder what the girls relation is to Laura Palmer.
The biggest question or concern I was left with after this was if Bob is born with the Big Bang and Laura is born in the Black and white room to combat him, this all seems to simple of a good vs Evil story. The relationship between Laura and Bob/Leland is far more complicated than this suggests. When you watch FWWM there are so many levels of psychological, spiritual and mythical musings to play with it would be a let down for it to just be : Bob/bad Laura/good. In the movie/first season it’s Oedipal, it’s an intimate family story, it’s a whole universe in one town. And we did seem to lose something by leaving the town so often in the new season. However maybe I’m the only one oversimplifying. None of this detracted from the raw power, the experience of watching this episode.

There are a few composers that invade my thoughts and feelings. Nameless feelings I thought only I had they seem to have access to and are expressing.

🚦🦉

Runs at night
The black dog runs at night
The black dog runs at night
Runs at night
The black dog runs at night
The black dog runs at night
Runs at night
The black dog runs at night
The black dog runs at night
Runs at night
The black dog runs at night
The black dog runs at night
Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night Runs at night
The black dog runs at night
The black dog runs at night

Sometimes the wheel turns, the ball drops and this light briefly shines on you. It can’t last but for a few short hours you are a being filled with light.

TO REMEMBER YOU ARE ALIVE

Not the future. The show was not a lie, it merely aged backwards. The old man I will be speaks and the boy walking in the cold can hear him across decades. Imagine a scared child his feet on concrete who hears a voice. It is him from the future So is it him or another ? The concrete is still there

It carries thoughts of other worlds to me. They are as alien as the thoughts of trees. Blacker than the space between galaxies. They cannot be translated only felt. Sometimes I hear things I will say in the future as an old grey man. I see the child I was hear them but he doesn’t know the man

He was a kid when he met you.
His eyes were like searchlights and yours had the look as if seeing the world from deep beneath the waves, spangled and filtered through the moving blue.
The perfumed air led him to you. The neon so thick you could walk on it like luminal bridges between centuries.
The light went out and I wondered what would you say if he went with you into another millennium

Is all in the soul that remains unconquered and unsubtle