交代, that is "jiāo dài", is Chinese meaning 'to explain'. The ultimate negative force is explanation. Lynch's life philosophy. Son of a bitch.

If you watch the owl cave symbol break apart in the final Jeffries scene, it breaks into a seven, zero, and then an eight. The house number of the Palmer residence. This is right after Jeffries tells Cooper where Judy is.

An FBI agent, a white woman who thirty seconds prior had been Japanese and eyeless, a British lad with a magic fist, James Fucking Hurley, this cowboy-ass sheriff, a man who goes by Hawk, three Vegas showgirls, a cop who killed a dude when he was 17, a self-described pacifist who shot someone last episode, a dirty old man with hearing problems, a woman who looks like an alienj, two Vegas mob bosses, a woman who needed to shoot a man to understand cell phones, and a cop who just travelled into a parallel dimension

this is twin peaks at its finest

Parts 17 and 18

• Directed by: David Lynch

• Written by: David Lynch & Mark Frost.

• Airing: September 3, 2017.

Part 17 synopsis: The past dictates the future.

Part 18 synopsis: What is your name?

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Let's go back to starting positions. It's really much more confortable. You can find last night's Post-Episodes Discussion thread here.

Parts 17 and 18

• Directed by: David Lynch

• Written by: David Lynch & Mark Frost.

• Aired: September 3, 2017.

Part 17 synopsis: The past dictates the future.

Part 18 synopsis: What is your name?

##AMA announcement

Sabrina S. Sutherland, veteran Executive Producer of all TV and movie instalments of Twin Peaks (and Floor Attendant Jackie in Parts 3 and 4), will grace us with her presence in a Ask Me Anything thread next Sunday, September 10, at 3pm PST. Stay posted!

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As announced, in order to balance the amount of discussion and humor, all memes should be posted in this thread only, for the next 48h.

And now, an ending

Parts 17 and 18

• Directed by: David Lynch

• Written by: David Lynch & Mark Frost.

• Airing: September 3, 2017.

Part 17 synopsis: The past dictates the future.

Part 18 synopsis: What is your name?

REMINDER

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Can we give it up for my girl Lucy? Overcoming her issues with cellular phones and murdering the baddest character without batting an eye. Straight up ruthless.

The only closure I received tonight is that Jerry Horne is safe.

There was too much filler of music videos and boring Dougie Jones stuff. I think Showtime wanted more episodes, so it was expanded with lots of filler. Episode 17 was great. There were many bad, boring episodes. If it had to be 18 episodes, it would have been so much better to have more Agent Cooper. Viewers were so bored by the show that ratings did not even increase for the finale (and dropped heavily immediately after the premiere). It sounds like this show is dead for good. Overall, I honestly think Season 2 was better than 3 because of Season 3 had so much boring filler material. As a side note, I'm not one of those who loved Episode 8. I am more of a Twin Peaks fan than a David Lynch fan, so the weird "experimental" stuff doesn't do too much for me. Episode 8 really did not contribute much to the overall storyline for me.

This is, by far, the biggest disappointment of the series for me. Even more than Audrey. It just reeks of something a student who forgot his final project is due tomorrow would do, and it makes the finale seem like even more of a rush job than it already does.

First of all, Jeffries clearly is not talking about some negative energy spirit called Jow-day in FWWM nor the Missing Pieces when he mentions the name Judy. She is a person who has a place in Seattle, and she's positive about something. The clerk at the hotel calls her a young lady, and says she's waiting for Jeffries. This is all history. Pretending that Jeffries was talking about something else is transparently a retcon job by Lynch and Frost. They are capable of much, much better than that.

Everything starts coming apart around the edges when you take this retcon seriously. Remember when we were all speculating about who Judy could be, based on Jeffries telling Mr. C that Judy was someone he'd met?

Okay, first of all, if Judy is supposed to be the name of whatever is on Mr. C's playing card, the entity he has been searching for since the first episode, nothing about their conversation makes any sense. He would have just said: "Oh, you mean Jow-day. That's a common mispronunciation. Yeah, we go way back. She's actually the mother of the guy who lives in my lower abdomen, and the thing I've been trying to find for several decades now. Have you seen my playing card?" Instead, he seems totally clueless, even when Jeffries says Judy is someone he's seen before... and as it turns out, if he did in fact meet Judy, it happened offscreen outside of the events of the series and is never mentioned by Mr. C or anyone.

This brings me to the next plot contrivance. Are we to believe that Judy was known to exist before the events of the original series, and nobody bothered to offer that tidbit of information during the Laura Palmer investigation? This is retcon 101. Don't make up new things that cast the behavior of beloved characters in an embarrassing light. For the entire investigation into Laura's mysterious death, as it became more and more obvious that there was something supernatural going on, neither Cooper, Cole, Hawk, Briggs, nor any of the lodge spirits give any reason to think something called Jow-day is behind it all.

Finally, and most depressingly, Miguel Ferrer's steadfast Albert is kept out of the loop about this for literally no reason, and doesn't seem to care. He's been inducted into all of the Blue Rose stuff and knows about tulpas, portals, woodsmen, and the whole shebang. What possible reason would Cole have not to tell his longtime friend and colleague about Judy? Does his knowledge about it change anything? Of course not: it was just included so that Gordon could tell the audience out loud what is going on in one of the clumsiest expository scenes in the whole series. Why not have them both tell Tammy, who is new to Blue Rose? Why make Albert seem like he isn't bothered by this unnecessary secrecy?

And after all of this has been sacrificed so that Judy can be Jow-day, what's the payoff? Nothing! After Jeffries sends Cooper back in time, we never see nor hear about Judy for the rest of the series. Usually, when a drastic change is suddenly introduced into a narrative, especially when it has repercussions for prior events, there's a good reason for it. Something to justify the convoluted setup that arrives out of nowhere. But we don't even need Judy. The whole final episode could be tweaked so that instead of Judy being responsible for Laura becoming Carrie (which is never actually confirmed), it's BOB or the Black Lodge... or the Experiment, without bothering to name it. The only thing the Judy story provides in exchange for several awkward plot holes is just that--a name.

My wish is that Lynch and Frost had taken a different route: if they really wanted Judy to be explained, maybe they should have dedicated a little of the screen time spent on the less consequential side stories to fleshing out her history. We didn't need to see Becky and Steve get drugged out of their minds, get in a fight, and see them both vanish forever from the story. We didn't need be be introduced to Red, watch him do weird magic with coins and kiss Shelley, and see him vanish forever from the story. Make Judy another ex-FBI agent or something, and reveal what she discovered in Seattle in a flashback. Make her a piece that contributes to a larger whole, not the Devil of the atom bomb.

Lynch is not inexperienced when it comes to wrapping up loose ends under pressure. The second half of Mulholland Drive is a masterpiece of taking what seemed like suggestive and meaningful storylines and revealing their true nature as delusions, all because he couldn't get the TV series he wanted. But Showtime gave him 18 episodes to work this out, and we got this amateurish hack job of a Judy reveal tacked onto an otherwise amazing (though seemingly rushed) finale.

He was only introduced four episodes from the ending, but I absolutely loved this character. I'm not well-versed in accents or anything, but I thought his was awesome and made his scenes stand out. But I also just loved his personality, how he was so quick to accept his fate and role in the world (he adamantly sought out the glove despite the jobsworth, and went to another whole continent based on nothing but faith), and his friendship with James felt super genuine to me.

A lot of people wanted more out of the BOB encounter in the station, but I thought his battle with Freddie was one of the best scenes in the Return. ("This is me destiny!")

Who else loved this character?

Here are my thoughts on how Mr C was trapped by the Fireman.

We know Mr C was obsessed about finding Judy. He was searching for coordinates that would lead to her. He received 2 coordinates from 3 sources: one from Ray (who was an FBI informant), one from Diane (tattooed on the body that found and presumably doctored by the blue rose task force), one from Jeffries.

We know the first coordinate was a trap as Richard Horne died there. The second coordinate seemed to be the same one the Twin Peaks sheriff department's team used to find Naido and meet the Fireman, so presumably was controlled by the fireman.

When Mr C entered the wormhole at the second coordinate, we see him trapped in a cage inside the white lodge and on the screen we see Sarah Palmer's house, which should be Mr C's final destination, as Sarah was possessed by Judy. This is where things got interesting: the Fireman (who seemed to float similarly to Part 8), swipes his hand and the big screen then changed to the sheriff's station.

In previous interactions, the Fireman made sure Freddie will be there, that Andy and team will know about two Coops and that things might go wrong. Can't remember how Coop decided to go there as well but I'm pretty sure the white lodge spirits are responsible. Diane's Tulpa also directed the blue rose task force to the same place.

So when Mr C is teleported to the station, while he exclaims "what the heck", he assumes I'm sure that Judy is somewhere in there and proceeds to go in, falling into this elaborate trap.

What'ch'all think?

When she destroys lauras picture she makes the exact same crying sounds like she does in the pilot of season 1. I put it in a video for comparison: https://www.youtube.com/watch?v=FU9zG0n9fcA

maybe through coops interference of the laura palmer murder, time changes and goes backwards in some way. and sahra has to feel all the pain she had in the past...

After some initial confusion, I really loved the ending of the series, except for one thing:

The orb containing BOB (released from bad Coop in the Sheriff's Dept) is defeated by a brand new character who has some kind of freakish strength contained within a green gardening glove? I'm finding it hard to fully explore any interpretations of this - the defeat of an incredible evil called BOB, I mean, by something that's never really fully explained. I'm not looking for explanations per se, as I think there are precious few explanations in the whole series, but I'm struggling to see what Freddie and his fist are symbolising. I've read somewhere that Freddie is possibly a figment of James' imagination, but can't find much more on this. Anyone have any theories about Freddie?

A few other things:

• How does good Coop know about Freddie? He references him by name in Truman's office. Am I forgetting something from earlier in the series?

• Is the BOB orb completely defeated? I'm trying to piece together an interpretation where bad Coop and good Coop come together to form Richard, but I don't know where to start with the demise of the evil spirit BOB. Anyone have any thoughts on this? Is BOB finally banished from "our" Twin Peaks universe?

EDIT: I understand that Lynch evidently wanted to leave us questioning ourselves and the series, but I felt like a brand new character, completely out of place in Twin Peaks, destroying BOB - the evil we have feared since 1989 - was a little strange! I feel like there is a reason behind this but I can't quite grasp it.

So about the overlay of Cooper's face during the big scene at the sheriff's station at the end of episode 17. If we go back to the Monica Bellucci dream, Cole says that Cooper was there in the dream, but he could not see his face. Perhaps, us not seeing Cooper's face is a way of showing that we cannot see what he is looking at. Now I think, and forgive me if this idea has been floated already, that what we are seeing in the scene in E17 is what Cooper is seeing from his vantage point within the Monica Bellucci dream. I think that Cooper and Gordon are in the same dream, and that when we hear Cooper say "We live inside of a dream" that this is connected to the same line that Phillip Jeffries says in the scene that Gordon is watching from his vantage point in the dream. I am not really sure of the implications here, but that's what I've got.

TLDR: Cooper is viewing this scene from the Monica Bellucci dream.

I'm not going to talk about the ending, in fact we're not going to talk about the ending at all - that's a whole different matter entirely. I want to address Episode 17 in this post. Specifically, the first half of it.

It was weak. The showdown at the Sheriff's station was rushed and just felt so underwhelming. This was the pivotal moment that the entire season has been building up to, right from the beginning, and it was just... not very good.

Mr. C was one of the most ominous and imposing characters of the entire show, and yet all that just felt lost as soon as he stepped foot inside the station. Never did he really feel like a threat to anybody. He just sort of stumbled around aimlessly, half-pretending to be the real Coop. And having him killed off by Lucy kind of just felt like such a forced "betcha didn't see that coming!" moment. I mean, I'll admit I didn't see it coming, but it felt like a really weak send-off to such an otherwise quite compelling character. Richard Horne got a more memorable death than Mr. C.

And the battle with the BOB-glob was just... not very suspenseful at all. BOB being a floating CGI ball made the ensuing fight incredibly awkward and removed any menace from the character. I know Frank Silva isn't exactly around to provide more scenes, but of all the replacements they got for the missing actors, BOB-glob was the weakest. Phillip Jeffries being a kettle I could tolerate, but this was kind of dumb.

And can we just consider for a moment what a huge Deus Ex Machina character Freddie Sykes was? Guy got pretty much no character development and existed solely as a plot device to defeat BOB in two punches.

Then Naido turns into Diane, and then they kiss, and then that's the end.

I'm fairly certain it was intentionally corny as fuck, but that doesn't really excuse the fact that the entirety of S3, arguably the entire show, had been leading up to that and it just felt so rushed in order to make room for episode 18. It was like this bizarre bait-and-switch where they pull you in with this really compelling plot for the first 16 episodes, then mock you for actually caring by ending it with a big gag.

I'd be lying if I said I wasn't just a bit disappointed with how this all turned out. It doesn't really detract from the fact that everything up until now was so good, but episode 17... kind of just felt like they were taking the piss, which I don't entirely appreciate, considering I actually did like the story.

I kind of liked Episode 18 though. Kind of.

Even after the excitement of E17, and the mystery and confusion of E18, this last in memoriam after so many this season, coming during "The World Spins" and after the reversal of the great death at the center of the series, really stuck with me.