By Jay Dyer | Jay’s Analysis
The return of Twin Peaks is turning out to mystify audiences even more than the original series or Fire Walk With Me. In a recent article, I detailed how Fire Walk With Me was the key to decoding the new series, but now we have new layers of esoterica piled on, all ripe for decoding. As the series has progressed through 8 new episodes, instead of clarifications, we are seeing more abstractions; instead of answers, more questions. However, for those aware of my analyses of other Lynch films and the arcane arcana of what we often discuss at JaysAnalysis, the 8 new installments can be decoded.
Most fans are aware of Lynch’s interests in eastern thought and meditation, but as I have noted, the series blends several mythologies and religious motifs, including shamanic traditions, Native American mythology, biblical demonology and apocalyptics, Tibetan Buddhism, Masonic philosophy and the more arcane aspects of Crowleyanism and theosophy. In the midst of this menagerie, a vivid kaleidoscope of surrealism, film noir, absurdism and classic Hollywood Americana all make their presence felt. Once again, I will seek to merge all of these influences into a coherent picture that also incorporates images and inspirations from many of Lynch’s other films (if this is new to you, see the extremely popular original analysis here).
25 years later, Agent Cooper – the real Cooper – is still trapped inside the Lodge or waiting room. In his place, the maniacal Bob has possessed his body and presumably engaged in a hellfire rampage for two plus decades. As we saw with Fire Walk With Me, Bob is a dugpa or demonic trickster who serves a higher demon, who appears under various guises as “The Man From Another Place” and “The Arm,” now “evolved” into a leafless (dead) tree (with a giant wad of demon brain bubblegum stuck on top). The new form of the Arm is interesting, as it now resembles the Sycamore Trees that surround Glastonbury Grove, the original portal to the waiting room/black lodge. The insightful article at Above the Convenience Store elucidates:
“Speaking to the British newspaper, The Independent, Frost explained that Dion Fortune’s Psychic Self-Defense was “exactly where I got the Black Lodge from. The whole mythological side of Twin Peaks was really down to me, and I’ve always known about the Theosophical writers and that whole group around the Order of the Golden Dawn in the late nineteenth and early twentieth century—William Butler Yeats, Madame Blavatsky, and a woman called Alice Bailey, a very interesting writer.”
Agent Cooper is given three clues by our enigmatic friend The Giant, which will function as the new series’ key mysteries. The clues are as follows: 1. 430, 2. Richard and Linda, and 3. Two birds, one stone. These clues are yet to be revealed by episode 8 (at the time of my writing), but various patterns are emerging that can lead us in a general direction of interpretation, as we will see. In episode 1, what we learn is there is another portal besides Glastonbury Grove, this time situated in New York atop a billionaire’s high-rise. This portal is encased within a glass box and is surrounded by cameras to record any apparitions that might appear. A sultry young woman who is interested in investigating the box seduces her way into the secret chamber, and sex soon ensues.
In the midst of their action, a baphomet-looking demonic entity appears and subsequently gorges on the young lovers, suggesting the sexual action itself may have triggered the attacks. In other words the scene suggests sex magick and the association or ritual intercourse with the opening of a spiritual portal or gateway. For certain occultists, this notion is associated with the ancient pagan practice or worshipping the generative principle, and conversely directing these forces into some magical purpose or effect. As we will see, in both Mark Frost’s The Secret History of Twin Peaks and in the new series, this is an important subtle subtext to the narrative.
We saw earlier in my original Twin Peaks analysis, Laura’s father Leland was loosely involved in the cult trafficking of girls and visiting the brothel services of Theresa Banks. Later becoming fully possessed by Bob, Leland found out there was much more at work than a mere prostitution ring – there is a full-blown, apocalyptic demonic cult seeking to open various portals and gateways to hell. I first wrote this two years ago and Frost’s recent book confirmed this analysis. However, while the opening of portals and gateways to the Underworld, netherworld and other unexplored realms of the spirit, might seem unrelated to ritual sex cults, the reality is they are intimately connected in many esoteric traditions.
Indeed, for both alchemy and various modern esotericists who followed Crowley, the supposed spiritual process of the individual practitioner is not separate or distinct from the exterior process of the “scientist” (or alchemist) in his lab with his alembic, bubbling vials and colored tubes. The “process” is viewed holistically, as well as the “evolution” of the consciousness of the mass mind – all are related and connected and reflected (so the view goes). At this point it is helpful to understand the character of Jack Parsons and his relation to the Twin Peaks narrative (according to Frost). I wrote in my book Esoteric Hollywood: Sex, Cults & Symbols in Film on pages 120-121, as follows, noting the ritual aspect of “Trinity Site,” and the dividing of the atom and the dark energy that might be released:
“From Bertrand Russell to Dr. Edward Teller, the plan that is blossoming in our day is showing itself to be a unified one – a plan that spans the last century in particular as the century of the “final revolution” (in Russell’s words), where scientific process would reveal the secrets to technological imperialism. Teller himself, as I have written, was not only a key figure in the development of the hydrogen bomb and the Manhattan Project, but also the father of aerosol spraying and atmospheric geoengineering. This period is thus concurrent with the alchemical atomic and nuclear tests done igniting bombs in the atmosphere, beginning at the Trinity Site in New Mexico. The history site ABomb1 explains:
“From 1945 to 1963 the U.S.A. conducted an extensive campaign of atmospheric nuclear tests, grouped into roughly 20 test “series.” After 1963 when the Limited Test Ban Treaty was signed testing for the U.S., Soviet Union, and Great Britain moved underground. France continued atmospheric testing until 1974 and China did so until 1980. This page focuses mainly on U.S. testing because those documents are most readily available.”
Researcher Michael A. Hoffman opines on the alchemical significance of these tests at the “Trinity” site and its scientistic underpinnings:
“The reason science is a bad master and a dangerous servant and ought not to be worshipped, is that science is not objective. Science is fundamentally about the uses of measurement. What does not fit the yardstick of the scientist is discarded. Scientific determinism has repeatedly excluded some data from its measurement and fudged other data, such as Piltdown Man, in order to support the self-fulfilling nature of its own agenda be it Darwinism, or “cut, burn and poison” methods of cancer “treatment….
This process is observed in the Renaissance, which was informed by a secret gnosis whose core dogma was momentous change in man’s attitude toward nature: the alleged “perfection’ of a “flawed” Creation by the invention of the “omnipotent” human brain. Thus it was the Renaissance magical tradition that gave birth to the monstrous world of machines, industrial pollution, ugliness and the modern way of death we have come to term the “rat race.” (Secret Societies and Psychological Warfare, pg. 49)
And in regard to the esoteric significance of the site itself as a “rite” to mock the Trinity:
“The creation and destruction of primordial matter [prima materia in Aristotelianism -Jay] at the White Head (Ancient of Days) at White Sands, New Mexico, at the Trinity Site. The Trinity Site itself is located at the beginning of an ancient western road known in Old Mexico as the jornada del muerto (The Journey of Death)….Fabled alchemy had at least three goals to accomplish before the complete decay of matter, the total breakdown we are witnessing today, was fulfilled. These are:
1. Creation and Destruction of Primordial Matter
2. The Killing of the Divine King
3. The Bringing of Prima Materia to Prima Terra”
The connection here to the overall stratagems of the technocratic transhumanists and the Manhattan Project can now be elucidated, and for those skeptical of the connection of ritual magicians and occultists to modern science, consider the person of Jack Parsons, the father of the jet propulsion engine, who was an avid follower of Crowley’s OTO. The ouroboros signified here is the cycle of temporal and material existence being transcended to achieve apotheosis through techne. For this great work to be achieved, much experimentation was needed – from the human psyche, to the depths of subatomic particles. I wrote about the splitting of the atom as a kind of ritual sacrifice in my “Knowledge Without Wisdom” essay as follows:
The false faith in man’s reason and scientific methodology must also be accompanied by a false faith in man and his own progress. This is not to say that man cannot use his reason to probe the atom or control the electromagnetic spectrum: He can and does. But why does he do this? In a universe desacralized and emptied of any divine telos, the only logical conclusion is the destruction of what is, and thus man’s quest to dethrone God erupts into an orgiastic fanaticism to annihilate prima materia.
The universe is mirrored in the atom, and so the atom must be divided, because the universe must be destroyed, and this is because man follows Satan, who is the adversary that divides. Satan is the thief that comes to steal, kill and destroy (John 10:10). To divide is to conquer, and man’s quest to ritually sacrifice the atom like Abraham divided the carcasses (Gen. 15:10) is also much like Phaethon. Phaethon is the mortal son of Apollo who tried to drive his chariot into the sun. It is a myth modern man should consider. In Plato’s esoteric masterpiece The Timaeus, Solon speaks of Phaethon:
“There have been, and will be again, many destructions of mankind arising out of many causes; the greatest have been brought about by the agencies of fire and water, and other lesser ones by innumerable other causes. There is a story that even you [Greeks] have preserved, that once upon a time, Phaethon, the son of Helios, having yoked the steeds in his father’s chariot, because he was not able to drive them in the path of his father, burnt up all that was upon the earth, and was himself destroyed by a thunderbolt. Now this has the form of a myth, but really signifies a declination of the bodies moving in the heavens around the earth, and a great conflagration of things upon the earth, which recurs after long intervals.”
Fast forward to the scandal of the SV 40 vaccine and Dr. Jonas Salk and Dr. Maurice Hilleman, and we have an “accident” in which the simian virus in the inoculations resulted in cancer. According to Edward T. Haslam in his Dr. Mary’s Monkey, the totality of the Manhattan project was largely concerned with radiation, with the technology of inoculation having intimate connections to the military industrial establishment.”
This dark energy is released in the alchemical process involved in the creation of a supposed “super weapon” – a new Big Bang, reminiscent of the modern scientism mythology of a “Big Bang” billions of years ago. In certain esoteric traditions, the notion of yugas or aeons ruled over by a specific god-form or archon comes to an end when a new god or magus “speaks a new word,” initiating the new era. Man taking on this supposed role of Shiva-like destroyer of worlds (purportedly) means Promethean man has attained both the divine powers of creating and destroying.
Scientism is thus a new religious mythology cloaked under a long dead guises of rationalism and empiricism that masks an invisible college of alchemical adepts. This is why former consort of Crowley and Parsons, Mr. L. Ron Hubbard himself, attempted to give his cult the appearance of both science and a metaphysical cosmology working in unison. In the narrative of Twin Peaks, characters like Major Briggs, Windom Earle and Jack Parsons are directly involved in the deep state, cryptocratic military industrial complex’s attempt to tap into these other planes and metaphysical forces. Earle stated what we are seeing in White Sands:
“Now this, this ardent purity allows them to access a secret place where the cultivation of evil proceeds in exponential fashion, and with it, the furtherance of evil’s resulting power! This place of power is tangible and as such it can be found, entered, and perhaps utilized in, in some fashion. The dugpas have, have, many names for it, but chief among them is the, uh, is the Black Lodge.”
AUM – LAM – BOB
In fact, Frost’s book highlights Parsons’ attempt to continue the Crowleyan “Babalon Working” ritual, initiating the “end of days,” opening a portal to the infernal plane and bringing about the birth of the Antichrist. In fact, Parsons’ supposed “revelation” text Liber 49 relates directly to the symbolic imagery in Twin Peaks and Frost even writes “Parsons summoned a fire demon” through his mystical rocket fuel elemental evocation explosion experiments (which is precisely how he died – consumed by an explosion) – fire demon walk with me:
“A note on the underlying philosophy. The present age is under the influence of the force called, in magical terminology, Horus. This force relates to fire, Mars, and the sun, that is, to power, violence, and energy. It also relates to a child, being innocent (i.e. undifferentiated). Its manifestations may be noted in the destruction of old institutions and ideas, the discovery and liberation of new energies, and the trend towards power governments, war, homosexuality, infantilism, and schizophrenia.”
Note Parsons is seeking a hell gate in the images from Frost’s book – a portal to the underworld through the tapping of those forces in bomb experiments. Indeed, it gets even crazier, as the next few pages detail the creation of a Moonchild and the continuation of these covert bomb explosion experiments at White Sands. In the book, this is also connected to the UFO phenomenon and Roswell (through Parsons and Major Briggs), which are equated in Twin Peaks‘ mythology with these spiritual forces (not extraterrestrials, per se). In fact, Frost’s book even blends the image of the “owls” (the spirits, and in particular Bob, with the Neo-Con cult at Bohemian Grove’s owl, and the image of an “alien.” Thus, the detonation of the A-bomb, the opening of the void to allow infernal forces to enter our plane of existence, as well as relating to the institution of the Apocalypse with the pale/white horse imagery – the pale horse is the bringer of death (Apocalypse 6:8):
“I looked, and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.”
As we will see, this “alien” imagery will become important when we understand the Crowleyan conception of “Lam,” the inter dimensional entity he purportedly contacted (that resembles the owl image). Many were mystified by the “purple world” where Agent Cooper seemed to float to when he was unable to exit the Lodge at the appointed time (due to Bob being unwilling to return). Similarly, in the latest episode (8), we witnessed the same baphomet-looking entity emerge from the atomic void and vomit forth a profane word of ectoplasm, that gave birth to a new child, Bob – amidst a bunch of moonchild eggs. This confusing imagery could likely come from the works of Kenneth Grant, the most relevant of which is Beyond the Mauve Zone, which describes this realm of the astral plane. Grant explains that “LAM” is the equivalent of the eastern chant of “AUM” – and dare we say it might here be BOB:
“Set is the seat or throne of Isis. he is sometimes represented as the forepart of the goddess Typhon who hold before her the Ankh of existence. Set is also the projection or child of Typhon, the “Crowned and Conquering Child typified by Lam. Liber Al prophesies the advent on earth…Lam is pictured with a crown or headdress…the dwarf deity...He is the god of the new aeon, the god in Amenta (the house of the hidden god), the headless god of the gnostics… also equivalent to Sammael. We have then the name of LAM, which applies to man’s total awareness, which appears divided in three stages:
L – dreaming
A – Awake
M – Deep sleep
Anyone who has successfully used the formula will know the Egg of Lam serves as a space capsule which conveys the traveller to the desired plane or dimension.” (Beyond the Mauve Zone, pgs. 6-7)
There is your dwarf god – the midget Man From Another Place. Grant proceeds to connect these ideas to the entry into the “Mauve Zone,” which matches up closely to the presentation of the “purple world” of Twin Peaks, as well as his speculations on the nature of the creation of the ‘homunculus’ of the Parsons type. This also may explain the references to crowns in season 2, when Windom Earle is trying to murder the “queen” of Miss Twin Peaks, as well as Laura being crowned prom queen before being sacrificed.
He writes: “The Occult Typhonian Order is concerned, in its higher degrees, with effecting transmissions and communications from this “planet” for the purpose of opening gateways to this trans-yuggothian power zone.” pgs. 8-9 (planets beyond the domain of Saturn, namely Uranus, Neptune and Pluto). This is the explanation of the “signals” Major Briggs received from space that relayed “fire walk with me.”
It is also worth nothing these entities are described as “tentacles” of the Tree of Life, which we may liken to the Arm, the Sycamore Tree. In my analysis, the demon vomited forth Bob in the form of an egg from the Abyss, as a result of the bomb opening a gate at White Sands. The Abyss is the same black space of non-existence we saw Cooper “flushed” into early on, while the smoke of the furnace matches up to the mushroom cloud imagery of episode 8. The demon-egg hatched and a frog-locust emerged, blending imagery from the Apocalypse of St. John, Chapter 9:
“The fifth angel sounded his trumpet, and I saw a star that had fallen from the sky to the earth. The star was given the key to the shaft of the Abyss. 2 When he opened the Abyss, smoke rose from it like the smoke from a gigantic furnace. The sun and sky were darkened by the smoke from the Abyss. 3 And out of the smoke locusts came down on the earth and were given power like that of scorpions of the earth. 4 They were told not to harm the grass of the earth or any plant or tree, but only those people who did not have the seal of God on their foreheads. 5 They were not allowed to kill them but only to torture them for five months. And the agony they suffered was like that of the sting of a scorpion when it strikes. 6 During those days people will seek death but will not find it; they will long to die, but death will elude them….They had tails with stingers, like scorpions, and in their tails they had power to torment people for five months. 11 They had as king over them the angel of the Abyss, whose name in Hebrew is Abaddon and in Greek is Apollyon (that is, Destroyer).”
Bowie’s Poltergeist Peaks
Another element many have overlooked that is a clue to interpreting the film are the many homages to other films. In episode 8, we saw a lengthy sequence where the camera entered the atomic explosion, seemingly traveling across planes and the Abyss to the realm of the demon, to the Mauve Zone and the Giant. In Fire Walk With Me, we were given many clues to the association of the spirits of the lodge with electricity, as I explained. The beginning of the film also showed the static of a blank television, as well as showing it again when Agent Jeffries (David Bowie) describes the meeting of the Black Lodge he attended “above a convenience store.” In Poltergeist, the static television is the means by which the spirits communicate with our world – and not only that, they demand the sacrifice of the young girl, just as Bob and the Arm demand Laura’s sacrifice. Where this gets really wild is the David Bowie element, who was for some time a fan of the writings of the Order of the Golden Dawn, which Frost mentioned as related.
In my analysis of Poltergeist, I wrote (which applies directly to Twin Peaks):
“As an odd side note, Hooper’s view of the television as a portal to evil is curious, given William Crookes, one of the pioneers of the cathode ray tube (Crooke’s tube), which would be instrumental in the development of television, was a member of the Hermetic Order of the Golden Dawn. Crooke was an avid spiritualist, keenly interested in contacting the other side, and even became the president of The Society for Psychical Research in the 1890s. The SPR would pioneer the notion of “ghost hunting,” much like Poltergeist paved the way for pop culture “ghost hunting” shows.
As the spirits begin to cause manifestations and disturbances, the first “portal” seems to be some pathway from the television to the wall above the bed in the master bedroom. Admittedly speculation, but I wonder if this scene doesn’t suggest the heart of the marital relationship itself is what would come under attack – it is the bedroom which produced Carol Ane, and as we discover there are not only benevolent spirits visiting the Freelings, the opening of the portal in the bedroom suggests the demonic, the malevolent spirit (identified as “The Beast” in the sequel, who will seek the offspring of this sexual union as a sacrifice. In other words, read symbolically, the television, like a kind of portal of evil, will destroy the marital relationship and the offspring, the youth, will be the sacrifice – offered to “The Beast,” hearkening both to Crowley and biblical apocalypticism (as well as through the toxic culture the system promotes).”
Here, Bowie sketches pathways of the sephiroth from the cabala, which denote spiritual planes or gateways to other worlds or dimensions. These are the same gateways or dimensions being accessed in the world of Twin Peaks, which, curiously Bowie seems to teleport through in Fire Walk With Me:
And in Fire Walk With Me, the static television imagery, with Agent Jeffries (Bowie) teleporting in to describe the Black Lodge:
Fire Walk With Me opens with a smashed television screen and the scream from prostitute Theresa Banks, as she’s abducted from the Fat Trout Trailer Park and dumped in a nearby river. A stunned FBI Agent Gordon Cole (Lynch) summons Agent Chet Desmond (Chris Isaak) to crack the initial murder, which sets off a chain of events leading to the murder, and the gruesome details, of how Laura Palmer (Sheryl Lee) was killed by her father, Leland (while possessed by BOB). What is relevant about the TV screen is the static image, which will appear later in the film whenever spirits from the lodge are interrupting our frequency or wavelength.
This principle is crucial for understanding the architecture of the spiritual world in the series and the new episodes, as spirits appear from the higher and lower planes through electrical wires, outlets and transformers. This will also be relevant to the deep state themes mentioned, as much of the signals intelligence and frequency research Major Briggs and Windom Earl appear to have teamed up on were connected to these types of phenomenon – portals and teleportation to and from spiritual worlds and other planes.
“Jeffries goes on to describe a meeting place for the spirits “above a convenience store,” where we see all the lodge spirits, aside from the giant. This is the convenience store where serial rapist and killer Bob and Mike lived, prior to their deaths. Notice as well the static TV screen imagery appears as Jeffries tells his experience of being at “one of their meetings,” meaning presumably the black lodge.
As mentioned, the Philadelphia field office is significant for the association with the name, the ‘Philadelphia Experiment,’ which purportedly involved naval experiments into teleportation. It is also in this scene the Demon retorts, “With this ring, I thee wed!” showing the “marriage” is one of ritual union and eventually, human sacrifice. Thus, those who wear the ring have that arm go dead, an omen for their coming sacrificial offering to The Arm, the Demon. We can now understand the reticence and warning on the part of Cooper towards Laura in her dream, “don’t take the ring!”
The burnt hobo woodsmen demons are explained by reference to the Convenience Store where, presumably as a result of the opening of the abyss, a host of spirits accompanied the birth of Bob. Burnt, because of they are the “fire demons” we spoke of, hobos because they are dank ass hobos who just need a light, and woodsmen because they are the spirits we’ve seen many times now, especially in Fire Walk With Me. While the “woodsmen” might seem odd, they are eerily reminiscent of Crowley as a “mountain man,’ with burnt face, after attempting to climb K2.
This is the same spiritual presence in the jail in episode 1, where William Hastings was framed for the murder of Ruth Davenport (at the behest of Mr. C/Evil Coop/Bob).
The Universal Musical Tape
The next mystifying aspect is once again from episode 8, where the Giant appears to imagine or think Laura’s spirit or soul into existence. Functioning as a counter-balance to the dark force of Bob, the good spirit of Laura is in some way related to the Giant, which is likely why both Laura and her mom are able to see visions, spirits and the dead (as do a few other characters in Twin Peaks, like Agent Cooper, the Log Lady, Major Briggs and Carl Rodd).
The theater in the palace itself is a kind of giant phonograph with pipes, and when the male and female aspects come together, Laura is “sung” or “played” into existence in the vein of the Pythagorean and Renaissance Neoplatonic conception of the Musica Universalis. In this system, the celestial planetary spheres correspond to various musical notes, and “sing” at various pitches. Various esoteric philosophers have at times constructed models to exemplify this, such as Robert Fludd’s Temple of Music.
What is interesting about this sequence is how the scene in the theater is 3D, and when Laura is brought into being, she is deposited onto a 2D screen “playing a tape.” This is a direct reference to Mulholland Drive, where the dissociative Betty attends the bizarre Club Silence in a theater very reminiscent of this cosmic theater. In Mulholland Drive, the performance emphasized the fact that the performance was all a tape – and that there was no tape.
It was an illusory performance, in the same way the phenomenal world in eastern thought is not real, but is in a sense “played” in front of all of our senses like a cosmic movie reel. Laura is birthed from this cosmic higher dimension to function as the counterbalance to the infernal Bob – but the imagery is also borrowing from Lynch’s Dune, where the Spacing Guild travel and fold space through thought.