5 Alice In Wonderland References In Twin Peaks: The Return

I’m too excited by certain Twin Peaks: The Return and Alice In Wonderland connections that I need to share these half-baked thoughts. Much more to come eventually. Here we go!

1. Dougie’s green-colored suit jacket (a very distinct lime green choice) can also be found on the Mad Hatter. Dougie is equally “mad,” exemplified by (among many things) his tie on his head. Additionally, the Mad Hatter’s pal, the March Hare, wears red (like Sonny Jim in the Dougie breakfast scene) while Janie-E (in blue jeans, like Alice’s blue) bops around the kitchen. The Dougie, Sonny Jim and Janie-E trifecta is comparable to the Mad Hatter, March Hare, Alice trifecta, at least visually and somewhat characteristically. Janie-E’s temper is very short with Dougie, like Alice gets with the Mad Hatter.

2. ALICE Tremond lives at the Palmer residence. ALICE! Guys… Alice. She also happens to be blonde. Of all the names to give a character who ends up in the final scene and has essentially replaced the Palmers, it’s Alice.

3. Shrunken Cooper gets sucked through an electrical socket / Shrunken Alice gets sucked through a keyhole.

4. Jack Rabbit’s Palace is a portal to the White Lodge. Alice falls down the White Rabbit’s hole and is transported to Wonderland.

5. Phillip Jeffries is a Teapot that spells things with smoke like the Caterpillar. And insomuch he, and his scenes, contain a hybrid of references from Alice In Wonderland. Mr. C demands of Jeffries, “WHO IS JUDY?” The Caterpillar demands of Alice, “WHO ARE YOU?”

There’s so much more (plus so many Wizard of Oz references as well, which is.. someone else’s destiny to blog about). I can’t wait to dig deeper.





Direct visual inspiration drawn from the Rider Waite Tarot deck.

thoughts/theories after ep 17 and 18 of twin peaks:

  • okay so i believe cooper really did save laura in that fwwm time jump. when she disappears in the woods I feel like that was either Judy tossing her into that alternate reality in Odessa at the end, or it was something trying to protect her from being delivered back to her judy possessed mother. 
  • also in saving laura, he has warped time and reality. the things that happened bc she died, i.e. the entire events of s1 and s2 aren’t the same anymore. i bet next season if they show the twin peaks characters, they’ll be totally different, because they didn’t learn anything from laura dying and that tragedy. ie. i think bobby will be totally different, shelly too.
  • laura seems to be the only one to be able to defeat judy’s evil, so it would be in judy’s interest to keep her far away, under a different name in another reality, so she doesn’t realize her potential and purpose. could be why she remembered sarah’s name but not leland’s. 
  • idk im thinking there was a time jump or something after the motel scene? this seems like some fake dream world that laura was banished to after coop saved her in 1989.
  • diane and coop turned into richard and linda at that motel. that’s why the sex scene was so bizarre, it wasn’t really them. I think Diane was replaced with Linda after she saw her other self outside the motel. she doesn’t know this coop, doesn’t like him, thus the covering of his face while they have sex? 
  • they have to become richard and linda in this timeline for it to make sense. i think she freaked out, not knowing who she was anymore and fled. then in the next scenes coop seems very unlike himself and robotic. he was talking like evil coop in the diner scene, didn’t give af about coffee anymore, etc. very different from the coop we saw returning to twin peaks to face off with mr. c. he knows he is not the same but is still trying to carry on with his task of saving laura/correcting the universe. i get the feeling he has already tried and failed many times before, could explain his demeanor. coop was creepy in that scene, like a combo of good coop and doppel coop.
  • when he wakes up, the motel is now 2 stories tall, not one. his car is totally different and modern too and parked in a different spot. notice his long glance at the motel with a look of confusion. the motel seems like a transitional space between dimensions/realities. ie. that motel where phillip jeffries is. 
  • the ending at the house is laura/carrie realizing who she really is, hearing her mother calling for her to get up in the pilot, then she screams. she wakes up from the dream, alive in her bed the morning she is meant to be dead and washing up on the shore. coop seems utterly confused because i’m not so sure he realizes what his role here is. he thought things would go back to normal but that is never the case. I think he had to lose who he is as a person to correct the universe with laura and judy. bc we know only laura can defeat her (ie. the fireman sending laura back, log lady saying laura is the one..)
  • also, the lady at the house had the last name tremond, like the grandmother and her grandson. said they bought the house from the chalfonts? that’s the owner of the trailer that chet disappears in in fwwm.. this confirms to me that this reality is something warped and conjured up by judy. 
  • phillip allowed cooper to go back in time to the night laura died, but we saw an infinity symbol right before this. is this symbolizing that no matter how he saves her or tries to correct the timeline, thing will be different and affected in an infinite amount of ways? i also don’t get why he was so hung up on what year it was? like time is irrelevant now imo..
  • overall this was a huge ass cliffhanger and i can’t see there not being a season 4 at this point. sure i will have some more thoughts on this later once i think a little more about it.

anonymous asked:

What are the benefits of having a ward, such as Jon Arryn did with Robert and Ned, or Hoster Tully with Baelish? I suppose it would be different with hostage wards, such as Theon, but Baelish being fostered at Riverrun was an honour for his family, so what does that honour entice? Are wardens ever consulted regarding marriage prospects of their wards? Do they arrange a possible squiring? I just don't see a point of having your children raised away if nothing comes out of it long term...

Thanks for the question, Anon.

Well, fostering can certainly lead to marriage alliances. Samwell Tarly was supposed to become a page to Lord Redwyne of the Arbor; young Sam did not impress the Redwynes enough to stay, but he is told later that if he had, he would have been betrothed to Lord Paxter’s daughter. That’s a pleasant arrangement for Lord Paxter: in taking Sam as his ward, he ensures that the next Lady Tarly will be a Redwyne, and the next Tarly heirs half-Redwyne - offspring who might then favor their cousins of the Arbor in alliances and other matters. Likewise, King Harmund II Hoare was fostered in his youth at Casterly Rock, and eventually wed his foster kin Princess Lelia Lannister; the marriage and fostering were part of King Harmund’s general program of peace and trade between the Iron Islands and the greenlands. Similarly, Myranda Royce presumed that Harry the Heir, fostered at Ironoaks, would eventually wed one of Lady Anya’s granddaughters, and while it’s not stated outright, I can imagine Lord Anders Yronwood took note of his daughter’s fondness for his foster son Quentyn Martell with the possible idea of betrothing them one day.

But beyond direct marriage alliances, there’s also the question of prestige. By taking in a ward - especially a ward from one’s liege family - a lordly House receives an invaluable sign of favor; that House is being singled out, trusted by the liege to raise its scion. In as personal a political system as feudalism is, these individual signs of favor involving the persons of the ruling House are so crucial to raising the status of one family over others. So, for example, the Crakehalls would be able to boast that they had been entrusted with then-heir to Casterly Rock Jaime Lannister, squire to Lord Sumner (even more important a boast in the Westerlands, where anything that gains a House closeness to House Lannister is eagerly seized). It’s the same story for the Dustins of Barrowton (who fostered then-heir Brandon Stark), the Gargalens of Salt Shore (who fostered Prince Doran), and the Qorgyles of Sandstone (who fostered Prince Oberyn); indeed, the Gargalens and Qorgyles are apparently still close to the Martells, as Lord Tremond Gargalen and Ser Arron Qorgyle accompany Prince Oberyn to the capital for Joffrey’s nuptials.

Sometimes, however, a ward is taken as a return of favor - obligation for obligation, so to speak. So, for example, in return for the fealty of House Frey to Robb’s cause, Catelyn agreed not only to betroth Robb and Arya to Freys, but to take in the two Walders Frey as Winterfell’s wards (a boon for House Frey, having two of its grandsons fostered at its new liege’s royal seat). Family ties also occasionally play into fostering choices. Merrett Frey, for one, squired for Lord Sumner Crakehall alongside Jaime, as Merrett’s mother Amerei was born a Crakehall. Cynthea Frey is currently a ward of Lady Anya Waynwood, as Cynthea’s mother, Carolei, was born a Waynwood (the same reason her brother Sandor is a squire to Ser Donnel Waynwood). Harry Hardyng was presumably made Lady Anya’s ward in no small part because his mother had been a Waynwood and Lady Anya’s first cousin (and his father was a Waynwood bannerman).

Ultimately, what any hosting family “gets” out of a fostering relationship is a form of kinship recognized among Westerosi. Even without the legal alliance of a marriage, foster kin are considered part of the family (hence why Theon is so scorned for seemingly killing his “brothers”, Bran and Rickon). A foster father or mother is put in a position of key influence over his or her ward in that ward’s formative years, with the ability to mold the ward’s views to match the fostering House’s. In the future, then, the fostering House can hope, and indeed expect, that its ward will remember his or her foster kin when making political decisions. We see this with Jon Arryn, with both Ned and Robert recognizing their foster father as a shrewd statesman and following his lessons (and Robert trusting him to be his first and nearly only Hand).

You mentioned Petyr Baelish; he is something of a unique case in fostering, as Hoster’s choice to bring him to Riverrun was purely personal. What honor his family would gain … well, House Baelish’s “Drearfort” is poor and politically isolated, with few opportunities for the Baelishes to mingle with their social betters and advance farther. By coming to Riverrun, young Petyr had the opportunity to live side by side with a Lord Paramount family, and to meet the sort of esteemed visitors Lord Hoster would entertain as a matter of course. Being the foster brother of the daughters Tully, Petyr may have expected as well that he would be made an officer of one of their households when they married the high-ranking nobleman Hoster arranged for their betrothals; it might have been natural for a Tully daughter - especially if she recognized Petyr’s early cleverness, as both seem to have done - to recommend to her lord husband that her foster brother serve their household (as indeed, Petyr had little to return home to in the Vale).

The Queen Regent (NFriel)


When I awoke
The moon still hung.
The night so black that the darkness hums.

I raised myself.
My legs were weak.
I prayed my mind be good to me.

An awful noise
Filled the air.
I heard a scream
In the woods somewhere.

A woman’s voice!
I quickly ran
Into the trees with empty hands.

Series of stills from Twin Peaks: Fire Walk With Me (David Lynch, 1992) inspired by the song In The Woods Somewhere by Hozier, featured on the fan-made album This is the Diary of Laura Palmer.

general thoughts/theories about episode 15 of twin peaks:

  • did anyone peep that the creepy demon with the mask morphed into sarah palmer’s face during that sequence? 
  • evil coop has already met judy, so who is she? im kind of leaning towards the lady who let him into the room to speak to ‘phillip jeffries’ 
  • time is confirmed to be non-linear. evil coop texted diane about las vegas in this episode. we already saw diane get that text in episode 12.
  • i think becky is dead. the whole woods scenes with steven and gersten doesn’t make sense to me otherwise. dialogue went like ‘i did do it’ ‘no, she did it’. like they’re arguing about who’s fault it is that she’s dead. then steven shoots himself, kind of common for abusive men to do after they kill their spouses..
  • i know time is messed up or something, but why has audrey been doing the same thing for the past few episodes? why can’t she get to the roadhouse?? i really think she never woke up from the coma.
  • the hotel evil coop goes to is the same exact one from fire walk with me. even looks like the same room laura, ronnette and teresa were in. 
  • confirmed that the place above the convenience store is the same one gordon got a glimpse into with that vortex a few episodes back, and is the same one from the painting mrs. tremond gave laura in fire walk with me.
  • log lady :( i’m so sad about this. i wonder if there will be a new log lady type character after this.
  • not a theory, but that creepy ass final shot in the credits gave me nightmares lol
  • richard is 100% audrey’s son, also got the shit kicked outta him by his doppelganger dad lol
  • what were those numbers floating around ‘phillip jeffries’ ??
  • funny that in episode 3 coop went through that outlet marked 3 instead of the one marked 15, then he electrocutes himself awake in s3e15
  • the woodsman who let evil coop into the room was drooling weird black stuff like that dude in the cell with chad and naido
  • really think james has a brain injury from his accident, only reason i can see him not understanding what he was doing/how he was coming across in to renee and her husband in that roadhouse scene
  • the lady at the end crawling and screaming. kind of summarized the feel of these last few episodes huh
  • im kind of thinking that the convenience store is like a safe haven for souls/demons or whatever that have escaped or are hiding from the black lodge

all i can think of for now, will reblog with more theories when i think of them! 

Twin Peaks is a work of art & is brilliant. I loved the ending. Lynch is an expressionistic film maker, he’s not here to make things logical for you. 

It hits very close to home when it’s come to my personal dream state, it had me in tears. 

Talking to my local gumshoe about the series we’ve come to conclusions:

“Through the darkness of future’s past
The magician longs to see
One cries out between two worlds
Fire, walk with me”

This is literally what the final episode is about. The magician is Cooper, he has ripped apart time and space to save Laura Palmer and wound up in the past relative to his original timeline (hence his ‘what year is it’ line). The person crying out is Laura, which is what all her screaming is about and the two worlds are either the two time lines or reality and the black lodge. Fire is used throughout Twin Peaks to represent the soul as a living thing. The line ‘fire, walk with me’ is in reference to Cooper leading Laura through the woods, holding her hand and so holding her soul.

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