Speaker 1: This is Jaydiyer from Jay's Analysis dot com. Listen.
Speaker 2: I want you to check out my new book Esselty Hollywood, Sects,
Cults and Symbols and Film, which you can order from
trin Day Publishers at trinday dot com or at Amazon
dot com. And I think you'll enjoy if you like
this analysis that I do of Twin Peaks. It's based
on the essay that I wrote that is in the book.
It's one of the chapters, and it's selling like a
hot cake, like one single hotcake that has been broken
into miraculous loaves to give everyone hotcakes, miraculous hotcake loaves.
And again you're gonna like this. I'm re uploading this
analysis because YouTube kept slapping it with copyright infringement, so
I had to change some of the images and pictures.
And enjoy the Twin Peaks analysis. And if you would
get my book Esselty Hollywood, and I think I know you're
gonna like it.
Speaker 1: If you like movies. It's it's not just film analysis.
It's like Roger Ebert on Acid. You my guardian angel,
take my song.
Speaker 2: And you're listening to Esoteric Hollywood. I'm your host, Jay
Dyer Esoteric Hollywood is where I deconstruct the deeper messages, symbols,
and predictive programming subtexts that underlie modern film. In this show,
we will be interviewing artists, experts, and numerous people in
media fields, and this will all be based on my
years of research and compared to religion, propaganda, psychological warfare,
secret societies and espionage.
Speaker 1: Esoteric Hollywood decodes the biggest movies.
Speaker 2: In an unparalleled way, from the classics of the silver
screen to today's blockbusters. Learn to watch film with completely
new eyes as we enter Esoteric Hollywood.
Speaker 3: Welcome to Esoteric Hollywood. This is David Lynch. I want
to recommend the analysis of Jay Dyer, the only Twin
Peaks analysis that I can give the David Lynch Seal
of approval to.
Speaker 2: Way to go, Jay, Welcome, Welcome. You're listening to Esoteric
Hollywood tonight. The owls are not what they seem. And
as you heard in that introduction, David Lynch himself has
given Jay's analysis the official seal of approval for correctly
decoding the mysterious nineteen ninety ninety one drama Twin Peaks.
Twin Peaks soon to be rebooted in a perfect topic
for esoteric Hollywood serial drama, crime drama, mystery, psychological thriller, supernatural, horror, satire,
soap opera, spoof.
Speaker 1: Nothing like it if you don't know. Twin Peaks follows
the investigation headed by.
Speaker 2: FBI special agent Dale Cooper played by cal McLaughlin, looking
into the murder of Homecoming Queen Laura Palmer played.
Speaker 1: By Cheryl Lee.
Speaker 2: Pilot episode first broadcast April eighth, nineteen ninety on ABC.
Several more episodes were produced, and the series was renewed
for a second season that aired until nineteen ninety one.
The show's title comes from a small fictional Washington town
named twin Peaks. A TV Guide in nineteen ninety seven
ranked twin Peaks number twenty five on the twenty five
Greatest show excuse me, forty five on the Greatest Shows.
Speaker 1: Of all times.
Speaker 2: So quite a bit of a philosophical depth at work
in twin Peaks.
Speaker 1: So we are going to decode this in hardcore.
Speaker 2: I don't know how else to say it. You're not
going to get this kind of analysis anywhere else. I
found one other guy who did a pretty decent work
decoding a couple things that I missed when I went
through the series for I think the third time recently.
This time around, though this a few months ago. I
really think I got the big picture. I think of
pretty much nailed it. But I want you to give
me some feedback. If you think I'm wrong, if I guess,
if I miss something, if I got something wrong, please
do correct me. This is not a cult yet. I
will be opening my specialty cult in La only for supermodels,
a self help massage spa parlor with me as the
head hierarch of this cult. But it's females only, and
prefer preferences are given to supermodels. You're the only ones
that are gonna be saved. We're gonna call it dire netics,
and I'll be the head of the cult.
Speaker 1: Like l A. Round Hubbard, I learned just beneath the surface.
Actually I should do this in the David Lynch Boy
so it would make a lot more sense.
Speaker 3: I learned that just beneath the surface, there's another world,
and still different worlds as you dig deeper.
Speaker 1: That's a quote from an interview with David Lynch.
Speaker 2: Now, if you ever since the flimsy thin Veneer of
what parades itself as the good old us of A
and you felt a bit like you've been sold to fake.
Then David Lynch's Twin Peaks is a series.
Speaker 1: That you would love.
Speaker 2: More like an initiatory experience than a mirror television series.
I would argue that Twin Peaks kind of functions as
a hilariously terrifying vision of the real America, right that
lurks beneath the CD underworld of the facade of white
picket fences in a kind of surrealist nightmare fashion. If
you've ever seen Lynch's Blue Velvet, now, much like the
picturesque severed ear on the Beautiful Lawn in the nineteen
eighty six comedic horror Blue Velvet, Twin Peaks might even
prop be titled an esoteric, dark satirical soap opera. As
I said, so perfect for Jay's analysis.
Speaker 1: Now.
Speaker 2: There are countless reviews, essays, and analyzes of Lynch and
Twin Peaks, but almost all of them, in my view,
miss the complex system of symbology and hidden meanings that
relate directly to what I would say is pretty high
level occultism, synchronicity, surrealist philosophy, and especially with Lynch sort
of far eastern Zen notions. Now, before we go there,
I think we should discuss the setting. The set and
setting Twin Peaks is aptly described.
Speaker 1: As quintessential Lynch. Fans will often.
Speaker 2: Speak of scenes, even in movies outside of the Lynch corpus,
as being Lynchian. So David Lynch has actually been able
to kind of create his own dreamscape atmosphere, right that
you just recognize if you've watched a lot of David
Lynch and you see it elsewhere. I think of recent
films that I saw, like Nicholas Reffins, Oh what was
that God No Forgiveness or whatever? The one with Ryan
Casling or something or that. I didn't really enjoy that
film that much.
Speaker 1: But.
Speaker 2: It had quite a few David Lynchian scenes, for sure.
So No, what is the name of that moved God?
Only forget? Only God forgive?
Speaker 1: Something like that. Some bizarre or strange ideas. But and
and some good cinematography, but kind of lost in the
meaning of all that.
Speaker 2: But and I consider myself somewhat proficient at decoding films. Now,
nothing stands out with that epithet of being Lynchian than
this surrealist neo Noah melodrama that magically captures the spirit
of America itself. As I argue, and this differs from
later Lynch that's focused I think on Hollywood, or what
I call the Hollywood Trilogy, being Lost Highway, Maholland Drive
In inlann Empire Twin Peaks is more akin to his
nineteen ninety film based on the novel Wild at Heart.
Speaker 4: Sorry, Nicholas Cage, Right, Nicholas Cage and Laura du Laura
was great to work with, right, because I've worked with
every actor in the world. Because I'm Nicholas Cage and
I've been in every film in the world, I can't
can't resist to do a Nicholas Cage impersonation.
Speaker 2: Sorry, but if you've ever if you haven't seen Wilded Heart,
it's probably Lynch's funniest movie, hands down.
Speaker 1: It gets funnier with more viewings. In fact, there's a
sections jacket. It's a representation of my freedom and individuality.
Where Nick Cage does his Elvis impersonation. Well, this is
a snake's good jacket.
Speaker 2: In its presentation of America and miniature, Wild at Heart
is a satirical picture of Well, it's satirical picture of
America and the American dream. And you're gonna see a
similar idea here with Twin Peaks. Now, Twin Peaks does,
like later Lynch films, share deeper occult symbology, as I
mentioned Lost Highway, mahulland Drive and Inland Empire, And we
might touch on a little bit of those because they will,
they will relate depending on how time goes in this
episode of esoteric Hollywood. In this analysis, we will delve
deeper into a unique place though, which I think is
the subconscious dreamscape of Lynch, and there will decode the
scenes and images that may still mystify many twenty five
years later. Now worth mentioning before delving into the narrative
is also Lynch's preferred style. Part horror, part in neo noir,
part comedy, part melodrama, part soap opera. The Lynch Frost
collaboration collates a vast array of Hollywood classics, from the
Hitchcock Method of Doubling to Otto Preminger's nineteen forty four
noa classic Laura, the parallels between the Minor Bird from
Hitchcock's The Birds, the hard Hearted Detective, Grizzled loner who
finds himself taken with an apparently murdered Laura. Right, this
trope abounds in noa. Now, Lynch intentionally includes countless parallels
to sprinkle his work, deriving from the golden age of cinema.
Think of Sunset Boulevard, which I think pretty sure I've
read that Lynch sites in interviews as being heavily influential
on his style.
Speaker 1: Now, as we enter the world of Twin Peaks.
Speaker 2: It's protagonist, Agent Dale Cooper played by cal McLaughlin, who
arrives to investigate these in an enigmatic murder, and later
we find multiple murders of popular high school blonde babe
Laura Palmer.
Speaker 1: Now, Laura Palmer is intended.
Speaker 2: To sort of be the high school perfect girl, and
you know, sort of the good girl that everyone thinks
is a good girl. And this is in fact based
on an unsolved murder from Now, this is in fact
based on an unsolved murder from Mark Frost, one of
the co creators and co directors with Lynch, mark Frost's hometown.
So Laura will function as the focal point of the
show's entire arc. Now, however, it's Agent Dale Cooper who
unravels the actual story of Laura's demise. The truth involves
a much wider conspiracy than is originally conceived. With his
unorthodox divination methods of solving crime, Cooper astounds local law
enforcement with the concept of utilizing synchronicity to associate similar
themes with inanimate objects in a game of rock toss.
This odd practice will configure Cooper as both a classic
pulp detective.
Speaker 1: I think we could say.
Speaker 2: Kind of Bogie Casablanca Multie Falcon, and I think also
we could.
Speaker 1: Look at other other influence, Sam Spade.
Speaker 2: I guess we could say, right, Sam Spade, but also
we could grant him a kind of mystical side from
which you will draw from in order to peer into
the psychosphere.
Speaker 1: Welcome back.
Speaker 2: You're listening to Esoteric Hollywood. I'm your host Jay Dyer
of Jay's Analysis, and you're listening on talknetwork dot com,
the best place for independent talk radio. I want to
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Speaker 1: It's also about standing up to the elements.
Speaker 2: Most disasters that humans will encounter in their life are
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Speaker 1: Now we're talking about twin peaks.
Speaker 2: And as I commented before we were looking at the
Shamanic journey, I quoted Markia Eliade and Yowan Kolanu now
in previous analyzes. At Jay's analysis, I talked about Lynch
through Cooper drawing on a highly complex and deeply rooted
Eastern notion of formal and essentialist associations that extend beyond
the immediate space and time of objects. Now what do
I mean by that, Well, what I mean is that
the objects as we tend to think of them in
the world. We think of them as discreete right, independent
objects that have no relation or connection to some other object.
So if there's a chair in one room, then there's
a chair in another room. We just think of them
as separate chairs. We don't think of them as sharing
any sort of essential chairness.
Speaker 1: Or quality or special quality.
Speaker 2: That's metaphysically out there in the world that makes them chairs.
Speaker 1: But as we moved eastern and back.
Speaker 2: Into medieval and ancient thought, it's still and was the
norm to think of these things as having an essentialist connection.
This is what Plato would call the realm of the forms,
and that essence that all of these objects might share. Right,
You and I would share these as humanity. We share
human nature, and this essence or special property that makes
that thing that thing and no other thing is something
that extends beyond the immediate phenomena of spatial and temporal relations.
Speaker 1: So cherness is shared. Right, even if.
Speaker 2: We move those two chairs one thousand miles apart, they're
still sharing the property of cherness. And even if we
say burn one of those chairs and destroy it, well,
it's still the case that at one time they both
shared the property of cheerness.
Speaker 1: Right.
Speaker 2: And now this is important because this is kind of
I believe the basis for how there could be something
like synchronicity and synchronicity is what's going to be the
means by which Cooper will actually do a kind of
divination throughout the series in order to try to solve
these heinous, mysterious crimes that we will learn actually tend
to line up with ritual murder, and in fact that
will be the case. So it's not just the murder
of girls or human trafficking. Much more is going on here,
and this sets the stage for Cooper to be much
more than merely a clever detective, but rather we see
the emergence of his role as another world traveling shaman.
Speaker 1: Right, He's able to go beyond. He goes into the ether,
the astral.
Speaker 2: Realm, the realm of the spirits, the other side, the
very thing.
Speaker 1: That David Lynch talked about in the quote.
Speaker 2: At the beginning, and later in the series, it's Cooper's
spiritual gifts that are noted by Native American Deputy Hawk
as well as by General Briggs, where Cooper is eventually
revealed to be the one who can travel too and
call between the worlds.
Speaker 1: Right, this fulfills the.
Speaker 2: Role of the magician or the shaman from the series
is famous tagline which reads fire walk with me.
Speaker 1: Now, this is the soul. This is the role of
the shaman I described in my thesis on Lost Highway.
I have an extensive analysis of the out there bizarre
psychical film that has mystified many out there known as
Lost Highway, the other David Lynch film that I believe
kind of.
Speaker 2: Is kind of a part one in his loosely titled
Hollywood Trilogy.
Speaker 1: Citing author Peter Lavenda, I noted in Twin Peaks, it
is the light of the morgue over the place where
the body of Laura Palmer has been kept in which
then visited by Mike, the one armed man who recites
the famous poem through the darkness of futures pass, the
magician longs to see.
Speaker 2: One chance out between two worlds. Fire walk with me.
They're in a little strange little verse. Levinda writes. We
have the key to unlocking the mystery not only of
Twin Peaks, but virtually all of Lynch's films. The suspension
of normal laws of time, futures past, and the idea
that the magician lives between two worlds, the suspension of
normal linear narrative event in the favor of, in fact,
a dream like hallucinatory set of images that are taking
place all over the fourth dimension. This is part of
Lynch's appeal as a director and part of what makes
his film so frustrating to the average filmgoer. His realization
is that there are two worlds and a place to
stand between them, and this is what contributes to his
aura as a modern twenty first century initiate.
Speaker 1: Of the mysteries.
Speaker 2: That's what a mystery film is, right. It elucidates the
core mystery behind reality itself, and this forms the solution
to Lost Highway as well. The shamanic and magical elements
are here in full force, as Fred as a character
trapped in a different psychical world that seems to unfold
and invelop other psyches as well. Now, when we interpret
Twin Peaks, I think accuracy involves understanding the notion of
twilight language or sanda bayasa, which I've mentioned many times
in talks, and it's my contention that Twin Peaks should
be read in this way if the series itself were
perhaps a kind of yogic text. Sanda bayasa is the
notion of synchronicity or events being written like a text,
like a story, but in a higher way, and this
is natural I think, given Lynch and agent Cooper in
the stories preference for Eastern Meditation. I'll quote Indian scholar
vij Mishra who comments on the ambiguous semiotic discourse involved
in Twilight. As follows, Tantric texts are often composed of
an intentional language. Sandabayasa a dark, secret, ambiguous language in
which a state of consciousness is expressed by an erotic
term and the vocabulary of mythology or cosmology is then
charged with a hatha, yogic or sexual meaning. According to Iliada,
it is translated enigmatic language. Max Muller called it a
hidden language. All the works of Sahayanya and Sandabayasa are
written in light and darkness, partly light and partly dark.
Some parts can be understood while other parts cannot, and
this is from the book Oceanal Poetics and the Indian Sublime. Now,
Cooper's methodology is really about reading omens, dreams, visions, and divination,
and this gives us an insight into the metaphysics of
Twin Peaks, which are very much in line with the
presentation here at Jay's analysis. If you go read my site,
you'll find many, many pieces there that line up with
how that kind of a worldview is possible from the
film twin Peaks, the film version fire Walk.
Speaker 1: With Me, which is the name of the movie that
came out after season one.
Speaker 2: We're giving the impression here that Laura's spirit has actually
summoned Cooper from the FBI to come and investigate from
the spirit world. So it's actually Laura who's brought Cooper there,
not Cooper who has chosen to come there. Consistently through
the series, Cooper receives messages and clues from this spirit
realm or what might accurately accurately be called, as I said,
the eighth or astral realm, the psychosphere. Now, as he sleeps,
it's Cooper's higher self that enters into this realm and
communicates with this assorted cast of Mottley characters and shades,
arranging from Laura Palmer to a young version of what
looks like David Lynch himself, to a midget known as
the Man from Another Place and it played by Michael J. Anderson,
and then a giant. So here we have the Ananaki,
the notion of the nephelem, even coming into the mythology
of Lynch's Twin Peaks channeling these entities. Then Cooper gradually
sort of unravels the Twilight Language script and he decodes
it right behind this wooded Washington City, and we the viewers,
embark on the same initiatic journey of decoding the script
with Cooper. So thus from reading the simulacra, within the simulacra,
it's Cooper who begins to discover the secret of Twin
Peaks involving the black market, not just one black market,
all of them. And this is where town tycoon Ben
Horn organizes and controls local prostitution, local gambling, drug running,
and much more through his private club One Eyed Jacks.
Speaker 1: We're talking One Eyed Jacks in reference to Twin Peaks.
Speaker 2: You're listening to esotery, Hollywood. I'm your host, Jay Dyer
of Jayson Elses dot com.
Speaker 1: And One Eyed Jack's is the back door secret prostitution
lodge that's across some sort of lake that you have
to get to at night. It's kind of unclear, but
it's a private club.
Speaker 2: And what's interesting is that when we hear we see
this one eye imagery in this case, it's relevant. It's
useful to point out because one eye will come up
more than once. The town oddball character Nadine has only
one functioning eye, and she later dissociates to a younger
version of herself. Curiously, so what she abused is she
just insane? We don't really know. Was she part of
this network at one point? And she possesses apparently excessive strength,
she has some sort of demonic connection apparently right so,
but it just in the narrative though. Nadine functions as
the comic foil to the more dramatic situation with Laura.
But her initial psychosis and association to a different persona
is the key to Laura Palmer as well as we
will see.
Speaker 1: And One Eyed.
Speaker 2: Jacks is the locale of where Ben Horn controls vice
because he has connections, as we see, to larger criminal
networks and mafia organizations that are personified in the characters
of the Renault brothers. Horn's network includes legitimate face and
shell companies that are several businesses throughout the town, from
the Great Northern Hotel to Horn's department store, and there's
secretly nearby casino and then the Cat House.
Speaker 1: Now, while not.
Speaker 2: Directly involved in the occult, it's Ben Horne, who is
the sort of archetypal eighties yuppie businessman who has no
direct involvement we discover eventually in the murder of Laura.
Speaker 1: Though he's an initial suspect.
Speaker 2: While briefly accused, the reality surrounding Laura and Ben Horn
is actually far deeper. Now Cooper discovers through the eventual
disclosure of Laura's secret diary that she had been raped
since she was twelve by her father Leland, played by
Ray Wise, and a spirit who possesses Leland named Bob.
Bob we learned as a former killer who has become
a demon in the afterlife, and he possesses individuals such
as Leland and then later Wyndham Earl to commit crimes
such as pedophilia and sacrificial murder. Now, I've detailed the
reality of this frightening process in a piece that I
called the Fractured Psyche in the Noose, and you can
find that at jays Analysis as well, And there's a
comprehensive treatment of understanding what has happened to Laura and.
Speaker 1: In that essay.
Speaker 2: But I think that that I essay is not just
applicable to the fictional case of Laura and Leland, but
applies to the real world. This is, I think what
we really see with people now concerning alters in the
split psyche. In that piece I wrote, when we consider
specifically the fragmentation of the psyche, the extreme versions appear
in the diagnoses of cases of MPD or DID disassociative
identity disorder, schizophrenia, and then the unifying factor between these
being severe trauma.
Speaker 1: Often in childhood.
Speaker 2: Actually now the trauma in later life appears in what's
often called post traumatic stress disorder, with the same patterns
of dissociation, fragmentation, and psychosis appearing frequently.
Speaker 1: Now.
Speaker 2: What is most never discussed, though though it's evidence of
this surface is daily in particular to former military or
pop star circles, is the reality of ritual abuse.
Speaker 1: And having read several works on.
Speaker 2: That topic, you a ritual abuse appears frequently in relationship
to these kinds of circles, but it goes unmentioned often
in the mainstream until we get to things like.
Speaker 1: The Sable case. Right Jimmy Savile in the UK.
Speaker 2: This tide appears to be turning with Sable, but you know,
even the mainstream media.
Speaker 1: Is still forced to report.
Speaker 2: On this avalanche of officials involved in these kinds of
occulting and ritual abuse scenarios. You know, the subject of
fragmentation of the psyche, right, It's a topic that I said,
is it's very profuse in alternative media, and I don't
think that a lot of people know exactly what they're
talking about. But the general idea is kind of out
there and somewhat I think accurate, and the cases in
nature and extent of it are still somewhat shrouded in mystery,
though modern medicine and psychology have quite a bit actually
to say about the matter. One of the reasons that
this disorder is controversial is that it doesn't fit very
well with the dominant materialist biological reductionism upon which most
science in mass science is built. Mass science modern science
scientism is more so a slave to the corporate state
as an ideology and as a propaganda platform, with people
like Bill Nye, Daniel Dennett, Hitchens, Dawkins, Neil de Grassey
Tyson Right. And given the presupposition of modern science that
the psyche is entirely equated with the brain matter itself,
the assumptions are thus that any possible solution to a
mental problem should and could only be remedied through the
suppression of and rearrangement of various molecular compounds aka drugs,
big pharma. That's why big pharma is the solution to everything,
at least ideologically, is because of the subposition of Darwinism.
And this is why pharmaceuticals are recommended for any kind
of problem across the board. And it may provide some
temporary relief for the subduing of certain manic tendencies or
something like this, but it fails to address the spiritual
dimension of man. And this excludes from the outset that
the psyche might be more than just a series of
firing neurons. But the monetary and propagandist power of these corporations,
you know, combined with the power to dictate results through
funding of so called objective studies that vindicate the latest
happy pill, it disavows from the outset any other approach
and any other models, any other therapeutic applications are just
dismissed out out of hand.
Speaker 1: Now.
Speaker 2: Despite the deep interconnectedness of the pharmaceutical industry with the
intelligence agencies in the psychological and biological warfare industries, few
and far between are those who are really willing to
question this approach as a whole. And I think this
is due again to the almost universal indoctrination of this reductionistic,
neo Darwinian materialistic perspective. In this preconditions, then all approaches
to therapeutic psychology, biology, medicine, et cetera, et cetera. Now,
one example of the dilemma of a proponent of the
modern approach that has to be graffled with is what
I've hided highlighted before that even the DSMV Diagnostics and
Statistics Manual Version five that the psych industry utilizes for
its so called diagnoses, it still references articles about mind
controlled alters. So you know, if my controlled alters don't exist,
it's and if it's the raving fix of conspiracy lunatics.
And I apologize that my allergies are going crazy. I
can't help it for all the sniffing and so forth tonight.
Speaker 1: But you know then it.
Speaker 2: Needs to be revised, right, I mean, all this needs
to be thrown out now if if you even give
this book that much credence anyway, you know, most of
these disorders so called are just made up. They're just
titled these disorders, and it's subject to change quite frequently.
Transgenderism was a mental disorder back in the seventies and eighties, and.
Speaker 1: Now it's not. So you know, it's just make it
up as you go. I guess.
Speaker 2: The circular nature, right of this existing psychological establishment vindicates
ultimately the pharmaceutical establishment. That's why it works the way
it does. That's why it continues to operate unchallenged and
just pumping out pills to put us in this brave
new world situation. And this in turn provides funding to
vindicate the psychological establishment. So the circular establishment then becomes
the de facto final court of appeal. So even as
its theories and revisions are constantly overturning with each decade,
it just the cycle itself continues. Now this is important
because this relates to everything that we're looking at in
terms of Twin Peaks, Because the central characters in Twin
Peaks have this problem of dissociating spiritual possession and so forth,
and they don't know what to do and they've been traumatized. Right,
their psyche is split, and it's not just a psyche
but also an invading.
Speaker 1: Spirit is involved in the case of both.
Speaker 2: Laura and Leland. In Laura's case, there's good Laura and
Bad Laura. There's Laura who's sort of gives it to
her dark side and becomes this evil Laura, which is
in a way kind of making fun of soap operas
in the eighties and nineties. And then there's good Laura,
who's the front face right of this persona of the
good girl homecoming queen. Now it's important too that it's
not just the black market of prostitution and drugs. It's
actually the alluring of young girls into porn. And there's
a cult that exists amongst the Twin Peaks elite that
formerly met in secret.
Speaker 1: We discover for ritual magic ceremonies.
Speaker 2: As a thread unravels, it's the spirit of Bob that
serves as the foot soldier for this mysterious midget character
called the Man from Another Place. The Man from Another
Place organizes the occult marriage ceremony for the girls who
were offered to Leland and other cult participants. So it
starts with drugs and porn, and then the girls are
allured into prostitution, and then we even get hints of
snuff films that are that involve this ritual magic cult.
And it's not always explicit, but this is my interpretation
of what's going on with the those involving the wearing
the ring that they're part of this cult. You're listening
to Esoltary Hollywood and we're breaking down Twin Peaks, and
when we come back, we're going to talk more about
this cult network that appears to be in the background,
behind the front of Ben Horn. Ben Horn's not actually
in the cult. He's just a self involved, hedonistic, pragmatic businessman.
You're listening to Esotericcollywood on talknetwork dot com.
Speaker 1: Welcome back. You're listening to Esoteric Hollywood. We're talking about Twin.
Speaker 2: Peaks, and we've gotten to the point where there's a
lot more going on under the surface of this idyllic
yet bizarre small town of Twin Peaks population fifty five
thousand and something or other. Not only is there a
black market, not as prostitution and drugs gambling, it's actually
the luring of young girls into porn and prostitution, high
school girls. And then beyond that there's a layer of dark,
dark darkness, and that is a cult that seems to
be centered around a group of strange spirits headed up
by the man from another place, some sort of interdimensional
ALIENI ish midget demon.
Speaker 1: And I want my garmin Bosia. Now what's the garment Bosia?
Speaker 2: Well, you're gonna find out if you remember that bizarre scene.
Now as the thread unravels, right, it's the spirit of
Bob that serves as the foot soldier or the man
from another place who organizes the occult marriages, as we said.
Speaker 1: And so it starts with.
Speaker 2: Drugs and porn, leads into prostitution and human sacrifice. So
behind the real dark power in Twin Peaks is this
black Lodge. And it's curious that it's called the black
Lodge in between worlds. A black lodge bears a striking
resemblance to what some call irregular forms of Masonry, secret
societies and cults say Tanant cults right known as black
lodges where dark arts are performed. Black Lodge is also
mentioned in Crowley's novel Moonchild and the Reports of Lynch. Actually,
there are reports of Lynch rumors. I don't know if
that's true, but rumors at least of Lynch asking his
actors and crew to speak and walk in reverse for
the filming of the astral scenes in the lodge, and
this may have a Crowleian sort of undertone. I don't
know if it's true, but that's at least what some
have said. Now, all of this is told in striking
detail in twin Peaks, as Cooper's visions demonstrate this human
sacrifice component. In other words, Bob is a demonic force
that's subservient to the man from another place who's lust
for fun seems to involve rape, pedophilia, and murder. And
it's a consistent narrative where these old men have their
way with young girls. And then that's what kind of
hearkens to, this pedophilia. And then we think of the
one armed man Garrard slash Mike, who displays the magical
ring that sort of identifies him as a part of
this cult now in possessing individuals for the purpose of
carrying out these acts. It's Bob that captures the pain
and misery stored in the blood of his victims, and
he pours him out as a sacrificial offering to this
man from another place. That's the garment Bosia. If you
think of the as I said, that bizarre scene in
the meals for wheels old woman's house right where Bob says,
I want my garment bosia, or excuse me, the man
for another place says, I want my garment bosia his
cream corn and what he means is his food. And
his food is signified as the pain and misery of
the energy, the blood of the sacrificial victim. It's contained
now in almost perennial demonology. This concept has many precedents
that moleficent spirits actually feed on the pain and misery
of victims in this parasitic fashion. Now, I did come
across a good analysis at a sound in site magazine
that it's now become pop optic, and I contributed a
piece or two for them some months ago.
Speaker 1: And there was another girl who wrote for them. Her
name is Justine Smith, and.
Speaker 2: She wrote quote, then of course we have Bob. For
those unaware of the town of Twin Peaks is similarly
populated by a spiritual lodge that travels or is somehow
engaged by electricity. And this is important when you watch
the movie. One of its members, perhaps its leader, is Bob,
who menaces Laura throughout her life. She claims to have
been raped since she was twelve and is similarly islan.
In this scene, he is not only in stark contrast
to the pink, childlike bedroom. That is, when Bob shows
up raping Laura, he is in search for her hidden diary.
The fact that he mirrors her reactions is another mode
of doubling commonly found in surrealist work as well as Hitchcock,
as I mentioned, and it suggests a deep connection between them, however, unwilling.
Finally we have the end of the scene where Laura's
father exits the house, and having already entered the space,
we are fairly certain that he wasn't there before. So
Laura and Bob are one and the same. Excuse me,
Laura's father, Leland and Bob. This girl asked this question,
and it's obvious, Yes, they're the same. They're the same
because Bob's possessing Leland now the garment Bosia cream corn.
All right, And if you go to Jay's analysis, you'll
see my more in depth analysis of twin Peaks, and
you'll see the imagery that I include in my article
where I show you the scene where he's talking about
this and the man from another place, the little midget
demon identifies the garment Bosia. There as the pain and
the sorrow, the pain and misery of the ritual sacrifice
becomes the food of the demon. So the answer to
Justine Smith's question is yes. Specifically, in the case of Laura,
we find her youthful trauma from Bob Leland to have
caused her psyche to split into altars, and this is
revealed in the show explicitly and more clearly in the
film where Laura demonstrates a duplicity of good girl bad girl,
detailing in her diary the trauma she was unable to
cope with from her father's own personality split. So Leland
himself right had these same issues. Leland, just like Laura,
was subject to a dual personality, and eventually Leland giving
into his dark side led.
Speaker 1: To this possession by Bob. Now.
Speaker 2: This is also strikingly revealed in the driving scene in
the feature film Twin Peaks fire Walk with Me, where
Leland encounters Girard slash Mike, because Gerrard has a spirit
that possesses him as well, where he wears the cult ring,
and the ring functions as a trigger for Laura and
Leland to dissociate. So not only was Laura allured into
the exploitative field of prostitution. She had been subject to
ritual abuse, and in this regard, the symbology of the
rings suggests both the goat and the demonic. If you
look at the shape of the ring, and it's not
just that, it's also two mountains and a portal between
two mountains, as we'll see it here in a bit. Now,
the ring suggests the goat and the inverted horns. In
another sense, it's a group or a cabal, a ring, right,
a ring of people. It also displays different planes of existence,
as I said, and the portal between the two worlds.
The two peaks, the twin peaks signify the two worlds
and in a three tiered sense, the white Lodge Earth
and the Black Lodge. Now you have to see my analysis,
said Jay's analysis, because it's difficult to give an imagery
of this over audio. But if you look, you'll see
I point out in the scenes, there's actually included in
the background real ritual magic sigils.
Speaker 1: So if you know the sigil next to.
Speaker 2: Cooper hanging on the chalkboard in my analysis, you'll see
what I'm talking about and what almost all researchers have
missed who try to deal with Lynch, and this film
is the crucial imagery that we see at the police station.
We're in the background, Cooper and Sheriff Harry Truman have
pieced together these ritual magic sigils, but they're not explicitly
referred to in the screenplay. It's only in the background
that we see this now presumably connected to the crime
scenes in the former FBI agent turned psychopath Wyndham Earl,
it's the ritual magic sigils that are explained in a
video of Earl right where Earl Wyndham Earl, who's a
former FBI guy turned evil turned psychopath, he describes tapping
into the left hand power of the dark Side through
the Black Lodge. And so the sigils in Twin Peaks
are in fact sigils from the Goetia or the Lesser
Key of Solomon, which specifically relate to the invocation of demons.
Another weird feature that comes up in Twin Peaks that's
worth mentioning is the scorched engine oil throughout the series,
and now this is a reference to the oil sludge
that is found in the woods at what they call
Glastonbury Grove the site of the forest Portal, which inclcludes
a reference to Arturian mythology. So out in the woods
is where the entrance way, the portal to the Black
Lodges that Cooper eventually discovers, and it's the areas the
circle of trees that they call Glastonbury Grove.
Speaker 1: Now this makes one immediately think of.
Speaker 2: Ancient British occultism. Again Sable the elites in the UK
perhaps Bohemian Grove, and the idea of the grove goes
back far beyond the history of England. We read the
Old Testament, you can read in books like Kings Chronicles,
and there'll be mentions of the high places in the groves, and.
Speaker 1: The anti.
Speaker 2: Monotheistic cults of the surrounding area of Israel would worship
their deities on top of these mountains. Right, So when
God appears at Mount Sinai in Exodus, conversely, the other
gods of the nations would demand that their followers meet
them on the high places, the groves at the top
of the mountain. And so that's why Glastonbury Grove is
significant here in twin Peaks. Now Earl arrives on the
scene in season two to capitalize on the dark forces
in Twin Peaks, and he's seeking this portal to the
Lodge in the woods. Now, hovering over this black viscous.
Speaker 1: Oil is the portal to.
Speaker 2: The portal site, in other words, is actually the site
of ancient ritual practice, we learn, and this is where
gods and demi gods are invoked. And Lynch seems to
be saying here that actually America itself is perhaps a
land of primeval fallen forces that rule our present reality
from behind the veil. You're listening to Esoteric Hollywood and
we're breaking down Twin Peaks with Jadi or your host,
and you're listening on talknetwork dot com, the best place
for non corporate free talk radio.
Speaker 1: Welcome back. You're listening to Esoteric Hollywood.
Speaker 2: I'm your host, Jadier of Jaysonalysis dot com. We're breaking
down twin Peaks and we're talking about Wyndham Earl, the
FBI agent turned dark.
Speaker 1: Side turned psychopath.
Speaker 2: And we talked about how Earl arrives in season two
to capitalize in the dark Forces in Twin Peaks, seeking
the portal to the Lodge in the Woods. And as
we said, hovering over this pool of black viscous scorched oil.
Is this portal to a site of ancient ritual practice
where gods and demi gods are actually invoked, And Lynch
seems to be saying, as I said that America is
this location Twin Peaks is kind of America in miniature. Now,
this is significant in terms of the consistent red veil
imagery that we see throughout the series, and this accompanies
any entrance into the Black Lodge. You see the big
red veil and then the zigzag pattern floor, and the
planetary and astrological conjunctions are mentioned right that determine the
opening of the portal to the next world. Fear, Cooper says,
opens the door to the Black Lodge, and Love opens
the doorway to the White Now. Also revealed in this
association of dubious characters is the somewhat goofy figure of
Major Briggs, the military mystic who believes in the supernatural,
and this leads to classified connections to Project Blue Book.
He mentions the military's UFO research. Now, in reality, Project
blue Book was a cover story for Advanced Technology of
Testing Aircraft in my view, but even here it's a
curious association right as Major Briggs's classified work in the series,
it actually involves a cult research and so what Briggs
seems to be is a maybe an approximation of the
kind of real programs that John Ronson writes about and
his Men Who Stare at Gohos or if you've seen
the George Clooney George Clooney film, I think Jeff Bridges
in the Two Men Who Star At Goats, you'll know
what I'm talking about.
Speaker 1: Now. This is based on reality.
Speaker 2: Where there was a high level military Special Forces Soldier
Brigade battalion that participated in these kinds of remote viewing,
occult activities, sensory extra sensory perception Stanford Research Institute type stuff,
and they were called the First Earth Battalion. That's actually
a real thing, and you can look this up. I'm
not making it up. Yeah again, you know there's a movie.
Speaker 1: And a book on it.
Speaker 2: Yeah, just looking at the Wikipedia here. It even says
according to the book Men Who Sterre At Goats by
journalist Sean Ronson, mister Shawnan spent time in the seventies
with many of the people in California credited with starting
the Human Potential movement and subsequently he wrote an operations
manual for the First Earth Battalion. It's one hundred and
twenty five age mix of drawings, graphs, maps, political essays,
point by point Readi's signs, and he imagined a new
battlefield uniform that would include pouches for gensng divination tools.
Speaker 1: So it's like these.
Speaker 2: Magic warriors that they're going to turn the Special Ops
guys into.
Speaker 1: And the movie came out in two thousand and nine.
Right in the movie, they're called the New Earth Army. Oh,
it's all kind of a ridiculous thing, but modeled after
this notion of the warrior monk I guess with special
powers or something, but a real thing regardless.
Speaker 2: And this is kind of who this character of a
major Briggs, you know, this is what he seems to
embody is this kind of a character. Now also relevant
our recent stories about high level ritual occultism and satanism
involving the PRESIDI and US military elite, and with the
associations of high level military ceremonial magic ceremonies being conducted
on the West Coast and Wooded Grove's Bohemian Grove comes
to mind. So as the owls are not what they appear,
and Lynch seems to be saying that the real power
structure in the soap opera charade that is America is
actually subservient to dark forces beyond our plane of existence.
Subservient to the demonic is the hypocritical face that the
establishment puts forward to cover up the nefarious mirrors that
the dual level of reality in the world of Twin
Peaks show, right, the spirit world of the Black Lodge
and what undergirds it now Wyndham Earl attempts to concoct
his own ritual by sacrificing Cooper's later love interest Annie
played by Heather Graham. Earl specifies that it must be
done in the grove, in the magic circle, and entering
the circle leads to the ether where events can transpire
through magical intentions in this life, right, this is the
whole point of it now, so symbolically, the death of
the Queen, we're told, will fulfill Earl's simulacrum pre planning
that he's used through playing cards. Earl as a serial
killer who's been putting a you know, like a deck
of playing cards, joker Ace Queen King at the sight
of different murder scenes. Now, the playing cards also harken
back though to one Eyed Jacks, where the logo of
one Eyed Jacks is the plane card. The Jack and
Fortune and Fate are then thus personified in the series
as elemental spiritual forces of nature, and I think this
focus on the elemental spirits is the reason for log Lady. Now,
log Lady is the sort of fool character if we
were to think of suck a tarot deck or.
Speaker 1: The fool, and.
Speaker 2: The log Lady plays this sort of sphinx like sage
character who if you watch the intros that are on
the DVD series to the show, the log Lady intros
provide consistent clues to the actual overall narrative of the story,
which I think is pretty fascinating.
Speaker 1: A lot of people just skip.
Speaker 2: Over the log Lady, but if you actually watch the
log Lady, she tells you pretty much what's going on
in the series as a whole. Now, the log Lady
plays this minor role, but her comments are actually about synchronicity,
They're about symbolism, and they're about clues that point to
the forces of nature.
Speaker 5: Right, logs are wood and this is why we have
the association with the wood that makes up the hotel
in the forest, the wooded area where the portal and
Glastonbury Grove are.
Speaker 1: In the background to twin peaks.
Speaker 2: We have a mix then of these elements of the
ancient world air, earth, fire, water, and ether.
Speaker 1: Yes, you will see me talk about these.
Speaker 2: Things quite a bit at jays analysis the classical five
modes of matter or elements in the ancient world. And
this elemental focus I think explains why Josie in that
strange scene is trapped inside the wood of the hotel
when she dies. A lot of people were sort of
mystified at this bizarre scene, but that's why now others
meet their demise in direct association, for example, with fire
or burning exhaust or oil, Laura's death, etc.
Speaker 1: And in the ancient world, and equally true of the
ancient Far East, I think.
Speaker 2: Is the point that nature was not a collection of
just random chaotic atoms bouncing around that we think in
terms of modern reductionism and scientism. But it was a
vivid landscape right populated by countless spirits, angels, demons, and
thus all of the folklore that we have passed down.
If I think it's that kind of world that Lynch
wants to be the real backdrop for Twin Peaks. And
if you go to Jason Analysis, you'll see also in
my peace on Twin Peaks, you'll see the image of
the White Lodge, the Black Lodge, and the two peaks
and then the portal between them.
Speaker 1: And it's somebody made this graphic.
Speaker 2: I don't know who, but it's laid out perfectly, and
I think you could call this mystical toponomy. If you've
read Michael Hoffman's classic books Secret Societies and Psychological Warfare,
he'll talk about this notion of mystical toponomy, that the
geographic locales of Earth have specific places that will have
a deeper significance. So this might tie into synchronicity with
the location of bomb testing sites, a Trinity site, New
Mexico or something like this, or Devil's Tower in the
movie Close Encounters of the Third Kind, right, so Route
sixty six Devil's Highway or something like that, and then
it might have a significant There might be a significance
in some case too.
Speaker 1: A day, a calendar.
Speaker 2: Day, the Dia de las Sombertos in specter recently, or
these could be instances of mystical toponymy to use Hoffmann's term,
and I believe this comes ultimately from the books of
James Shelby Downard, King Kill thirty three or Carnivals of
Life and Death. We'll find references there too, mystical top
on Now, I think this is real. I do think
there's something too. As they said before, synchronous city, Sundabiyasa,
Twilight language, mystical toponomy. I think these are all real,
real things, and the mystical toponomy of Twin Peaks is
a great insight, a great example of this, because we
have all of that laid out in this two series
fictional presentation with one movie. Now, the ultimate climax of
the show was going.
Speaker 1: To feature a Cooper who has lost his way through fear. Right,
It's what Cooper said a minute ago that.
Speaker 2: Fear leads to the Black Lodge, right, and then with
the real Cooper trapped in the Black Lodge, it's Bob.
We figure out who's going to possess Cooper's body. Now,
Cooper's curiosity and desire for the knowledge of the beyond,
and in particular he develops the fascination for the dark side.
This is what's going to lead to his demise in
a way much similar to other Lynch works, as we'll
see here in a moment. You're listening to Esoltera Hollywood.
I'm your host, Jaydier of Jaysonisios dot com. Remember to
get your supplements and survival gear at Talkja dot Talknetwork
dot com. We'll be back in just a moment. Welcome back.
You're listening to Escolta Hollywood. We're talking about twins. Have
been breaking it down and we got to the point
where the climax, of course, features Cooper bashing his head
against the mirror as he's possessed by the spirit Bob.
Now Bob then is directed by the man from another place.
Speaker 1: It seems to.
Speaker 2: Go after Cooper because Cooper's gone down this path of
looking too deep into the dark side, and this provides
the opening the doorway for Bob to possess Coop. And
this desire for knowledge of the beyond in the dark side,
I think is a welcomed warning because we see this
pattern in other Lynch films like Lost Highway, and in
Lost Highway, I described that there's.
Speaker 1: Well, there's this.
Speaker 2: This series began right with the possession of an initially
good man and the series ends with Cooper as a
vessel of evil. And then what I describe of Fred
Madison played by Bill Pullman and Lost Highway is then
relevant to Agent Cooper as well.
Speaker 1: Right, So, in Lost.
Speaker 2: Highway there's this nonlinear neon nowa occult psychodrama that looks
at the dark side of Hollywood and the underground underworld
where the mafia, porn, crime, and the occult coalesce into
an interweb and web. A story about one man's psychic
journey down a lost highway of his own stream of subconscious, conscious,
unconsciousness and thought as the viewer trevails the fields of
madness with Fred Madison. Right, the name itself tells you
what's going on down his road. We are brought back
to the very point where the film Lost Highway began,
right where the movie scene opens and ends in the
same scene. And this is the cycle that Fred has
imprisoned himself in. Right now, Packed with dualism, illusion and mystery,
Lost Highway is about life and the dark side of
our own emner underworld, the subconscious which Lynch mystically will link.
Speaker 1: To other people's subconscious. No, No, I find this fascinating.
Speaker 2: It's almost like the dream world, the dream state, the subconscious,
collective unconscious is kind of connected between everybody. And perhaps
that's some insight into what happens in possession. Right, If
there's a spirit that possesses someone, this is a spirit
in that realm stepping into the doorway of another person's
conscious consciousness. To use the Dark Tower analogy of Stephen King.
Speaker 1: Now, if we failed.
Speaker 2: To realize the reality of these evils such as possession
and the mysteries of the subconscious, are we liable to
be trapped like Fred or agent Cooper in our own
imprisoned mental madness? As I said, his name Madison is
a clue symbolizing his descent into madness. And Alice, who
is Renee's alter in the Lost Highway, will bring to
mind Alice in Munderland, And we think of alternate worlds,
fictional worlds, mental worlds, and alternate personalities.
Speaker 1: Now, was Alice a victim of my control like Fred
in Lost Highway? Or are they both willing accomplices and evil?
Perhaps both of those things are true.
Speaker 2: Now, will the obsession with Hollywood and the celluloid videodrome
and its cousin the now omnipresence surveillance society. Will it
bring us truth or more likely a descent into madness, depersonalization,
and dissociation like Fred Given the fact that Lost Highway
is about surveillance and the surveillance video society, that's what
partly what that film is about, and Hollywood's rolling that now.
Either way, I think Lynch is forcing us to examine
that at base reality and the psyches are.
Speaker 1: Still mysteries to be decoded. They're not easily solved.
Speaker 2: And in the series the finales strange ending sequence with
Cooper being possessed, Cooper discovers in fact that Bob has
possessed Earl and Laura's dad, Leland, and that that's who's
organized their last round of murders. It's not really Leland,
and it's not really Wyndham Earle. It's Bob possessing these people.
And that's why the pattern emerges, the synchronicities emerge, because
it's a spiritual force behind these people who are possessed.
And we think here of books like Maury Terry's book
Ultimate Evil, where we see these kinds of patterns possibly
popping up in murder crimes that could be coincidences, but
they also might go beyond just coincidence and suggest spiritual forces.
Speaker 1: And there's actually quite a few X Files episodes that
hint at this as well. And I think it's worth
pointing out too that there seems I'm not positive this,
This is just a thesis I kind of toyed with.
Speaker 2: And I saw one guy online hint at this too.
And you see this with like Disney Pixar movies, right,
So some people make these interesting arguments, and I wondered
this in the past, but I never really focused on
doing a piece on it because it's it's just so speculative.
But you know, some people will argue that the Pixar
movies are all taking place in the same universe, and
so you'll have cross references in those those fictional kids
movies right between I don't know, the Incredibles. You know,
this is taking place maybe at a different time, but
it's the same world of you know, finding Nemo or something.
I think that Lynch does this, and there's a few
examples of this now. For example, in Wild at Heart,
the character Cheryl I always get Cheryl Lee and sheryln Finn.
Cheryl Lee is her that actress's character seems to be
in Wild at Heart, where Nicholas Cage and Laura Nern's
character are Leland and Lula are driving down a highway
and it's a kind of lost highway and they bump
into a car.
Speaker 1: There there's a car rack out in.
Speaker 2: The middle of the desert at night, and they find
a wandering Charylyn Finn type character who's on our way
to Hollywood. We get the impression maybe and she's got
a severe head wound, she's been killed and she kind
of pops into this this this fictional world and then
out of that fictional world. Now is Lynch saying that
the character that Sheriylyn Finn plays in Sherylyn Flynn plays
in Twin Peaks is that the fictional character who ends
up in Lost Highway possibly possibly, And my thesis makes
sense when you think about Inlinn Empire, because in Inland
Empire you have Laura Dern who's also in Lost Highway.
Speaker 1: Excuse me.
Speaker 2: In The Wilded Heart, it's all about meta, right, So
it's like meta meta meta. There's like three levels removed
of meta in ill An Empire, and we get possibly
the impression that with the rabbits, right, the famous rabbit
bunny scene from ill An Empire. That we're talking about
entering and walking out of people's psyches, this is what
Laura Dern seems to do. She kind of seems to
tap into the psyche of different horrors from like, you know,
fifty or sixty years prior to her in Poland. So
time and space are out of the way, and there's
this walking into other people's dreams and mindscapes, dreamscapes and
subconscious stepping through the ether down halls and doorways, and
we see this. Fred does this and Lost Highway where
he seems to step into the psyche of Balthazar Getty's
character Pete in the second half of Lost Highway. So
cross fictional worlds melding and mixing, right, the same sort
of thesis that is Stephen King's notion in the Dark
Tower series. Right, So if you know what happens in
the Dark Tower series, that Tower is just kind of
like in the middle of the alternate worlds, and you
walk through different doors in the Tower and you can
step into different people's psyche, and not just different people's psyches,
but into fictional worlds. And that's why the clown from
Stephen King's It will show up in.
Speaker 1: In the Dark.
Speaker 2: Tower series, And I'm just using it as an example
of this of the mixing and fictional worlds, and maybe
there's a deeper metaphysical possibility. Here is something I've wondered
and speculated on just on my own, Like, what if
that's actually kind of true?
Speaker 1: What do you mean that's crazy?
Speaker 2: Well, it's true in the sense that if the astral
realm is real, if their psychosphere is real, the ether,
and if that's where we go like when we sleep
and dream, then maybe when we you know, die, you know,
who knows where we go, what we step into in
terms of, you know, before meeting our final deserts of
judgment y or whatever. You know, maybe we spend a
period of time in that realm. I don't know, but
definitely possible. You know, this is what happens to people
in out of body experiences or you know, intense drug
hallucinogen trips, and you know, you maybe, you know, maybe
it is possible to step into fictional worlds, because what
are fictional worlds but simply manifestations of another person's subconscious
put into art. Interesting, right, that's my own personal thesis.
All right, it can't prove that, but just something I've
been speculating on. You're listening to Esoteric Hollywood and I'm
your host, Jay Dyer of Jasonelsis dot com. I want
to remind you to to check out Michigan Mushrooms dot
net where you have the best selection of organic mushrooms
picked directly out of the forest, no GMO, no crap
from corporations. Michigan Mushrooms dot net. Will they go out
and do their own harvesting and then they take shaga
mushrooms and send them to you. Welcome back. You're listening
to Esoltary Hollywood. I want to remind you that that
interest song that you hear for Esoltaire Hollywood is dream
Agent and this is by Aerial Electron, Holy Spies and
Terry Goatee, and you can find that online if you
type in the core A COSMU album k O R
E k O U wait k O R E k
O S m o U and the song is dream
Agent and you can find that to download or to
purchase the CD, which I think is really good.
Speaker 1: Ariel's music is.
Speaker 2: Excellent now, so dream Agent is appropriate here because we've
been talking about my philosophy of the dream world, the
dream realm, the spiritual realm, the ether, and how it
relates to these curious surrealist presentations from David Lynch, and
I likened it to things like the Dark Tower series
with Stephen King, and we've been talking about Bob and
the spirit Bob that possesses people to commit murders under
the auspices of the higher demon, the man from another place, right,
and you know, this astral realm, this realm of the imagine, imagination,
the imaginal. This comes up quite a bit in David
Lynch's philosophy because David Lynch runs the Transcendental Meditation Foundation, well,
he runs the Lynch Foundation, which is tied into Transcendental Meditation,
I should say, And if you watch interviews with David Lynch,
he talks about this, and he discusses the inner world,
of the psyche, of the subconscious and so forth as
these this wellspring from which artists can draw creativity. And
then you know, you get into the history of TM
and this going back to the Beatles, and this going.
Speaker 1: Back to Maharishi Mahishiogi and.
Speaker 2: These different practices and techniques of self improvement through meditation
and so forth, and the Eastern Zenish influence upon Lynch
and in his film works, which you know, when I
was eighteen or nineteen, you know, I would go and
watch David lynch movies in the theater and I was like,
what the heck is going on. I don't get any
of this. None of this makes sense. This is just
completely crazy. And as I got older and you know,
really delved into philosophy, esoterica, theology and so forth, it
started making a lot more sense. I started, really, I think,
getting a better handle on David Lynch's movies and and artwork.
And this is what it is, right, I mean, this
is what he says in interviews. This is you know,
you can watch his interview with the Lipton that whatever
that guy, Bruce Lipton or whatever his name is, that
does all the sit downs with actors and directors, and
you can watch that on YouTube, and Lynch will talk
about what I'm talking about. So it's not just me
speculating here, him trying to try to get an impression
of this from David Lynch's mind himself, to see what
he says about his films, and this is essentially what
he says and so in that final sequence, you know
why is Cooper possessed? Well, as we said, he went
too far into the dark side, but Cooper ends up trapped.
We discover his spirit, right he confronts his unconscious shade
self as well as facing up to his responsibility for
past deaths. And Cooper ends up trapped with Annie and
Laura in the Black Lodge. It's kind of a prison
as a demonic Bob slash Cooper will we get the
impression again wreaking habits. So now Cooper is going to
be the possessed agent here. It's also worth noting that
here in this feature film, Laura's initial journey in the
film all Right Twin Peaks far a Walk with Me,
The initial journeys into the dreamscape slash astral Realm result
in an encounter with Annie, Cooper's girlfriend in season two,
and she says in the movie that she is with
Laura and Coop right now. This is interesting because it
came out prior to the conclusion of season two where
we find out what happened to Annie. Right So, and
as is the case in Lynch's Muholland Drive, it's electrical phenomena.
As we said in static charges that tend to accompany
the manifestation of these other worldly spirits, so they seem
to have some sort of ability to travel through electricity.
Speaker 1: Now the Black Lodge.
Speaker 2: Members can do this, it seems, and then manifest in
some sort of physical form like the Cowboy character in
Mholland Drive. Anyone who's seen Mholland Drive you know about
the Cowboy. So in conclusion, I think what we're going
to see in the return of Twin Peaks has this
eerie connection to what Laura predicted in the original series.
So I don't know how this I get. I mean
it was planned apparently, because in the original series, I
think it's episode three where we first see Laura in
the Black Lodge Spirit Realm, and Laura says, you know,
in the Spirit Realm, I'll see you in twenty five
years in reverse, in reverse but.
Speaker 1: Put into forward anyway, which you can see this clip.
Speaker 2: I'll play this clip here the show here in a minute.
But yeah, so it's like in the show twenty five
years ago, Laura says I'll see you in twenty five years,
and then Twin Peaks is being rebooted twenty five years later.
It's pretty pretty mind blowing, talk about synchronicity, talk about planning.
Speaker 1: Wow.
Speaker 2: All right, So Laura says to an old Coop in
the Black Lodge where there's this in this scene back
in nineteen ninety one, there's an old cal McLaughlin wearing makeup,
I'll see you again in twenty five years, hinting that
this would return, And then twenty five years later it's returning.
So with a recent announcement then of the show Showtime
picking up the reboot within the last year, I think
we can expect an even deeper foray into the unconscious
of both Laura and Agent Cooper. And even if for
some reason the show doesn't return, you know, the original
series and the feature film have an amazingly precise wind
into the real America, a land haunted by I believe,
primal elemental spirits of the past Native American deities, controlled
by a cult that adheres.
Speaker 1: To these kinds of ancient beliefs. Right, the real so
called illuminati, the.
Speaker 2: American power elite, are like kind of ben Horn. But
ben Horn right that the money power, I guess you
could say, but the ben Horn money power is subservient
to the preternatural forces that they can't control that would
be behind this veil of obscurity that lies in a
cult elite whose power seems to derive from a black lodge. Now,
a bit of reflection here on what we're seeing in this.
Speaker 1: What does all this mean?
Speaker 2: Well, as we said, it's it's partly satire, but it's
it's dark satire. And I've seen interesting presentations that many
of the characters match up to.
Speaker 1: The archetypes of the Tarot deck.
Speaker 2: But then again, I mean the archetypes of the Tarot
deck are just based on archetypes anyway, So I don't.
Speaker 1: Know about all that.
Speaker 2: But you know, there's no question that the film is
about synchronicity, that the series about synchronicity. It's about the
Eastern version and notion of these things, which when you
go further back into far Eastern alchemy and lore, what
you find is that it bears all these same similarities
to Western esoterica and their medicism in alchemy. So that
to me suggests some perennial, primordial source of whatever we
call the perennial tradition. Now that is hinted at right
in the goeshia and the sigils that are in the
background of the crime scene when Cooper and the officers
are investigating, and you know, we pretty much find like
the totality of conspiracy presented here. I mean, there's not
really any element. I don't think that's left out. I
mean we have like all the black markets are covered
through being run by ben Horn who's had tied into
this different mafia groups. And then we have the occult
background that's behind that that's even more nefarious, that's run
by this kind of hierarchy of demons that will you know,
once you die if you're a murderer, like Bob and Gerard.
Bob and Garrard are spirits who are put under the
service of the demon, the man from another place. And
it also ties in interestingly to Native American theology and
spirituality and lore because that's the indigenous you know, religion
prior to the arrival of Christianity in North America. So
you know, it's kind of like the old old time religion,
that old time religion, right, but the old old time religion,
which is I guess Native American spirituality, which would involve
the worship of you know, forms of animism and spiritism
and so forth. But underlying that animism and spiritism in
Native Americanism would be, at least according to the perennial view,
a similar pattern, a similar perennial philosophy. And that seems
to be what's going on here because that ties in
directly to the that that ties directly into the far
Eastern approach that Lynch seems to favor. Now, the Black
Lodge is interesting because it features things like Saturn. It's
this imprisoning section. It seems to be somewhat box like,
but it has Saturnalian image and imagery in it. Because
you know, when Laura's there, she's sitting next to this
big lamp. That's this the planet Saturn. Uh.
Speaker 1: And you know, in.
Speaker 2: Esoteric thought much of it, at least in the West, Saturn.
Speaker 1: Is likened to the cube, the box, you know, six.
Speaker 2: Sides and so forth. And Saturn purportedly has this hexagonal.
Speaker 1: Storm.
Speaker 2: There's some sort of hexagonal imagery to the storm that's
on Saturn.
Speaker 1: If we can believe what we're told about Saturn.
Speaker 2: You know, who knows if that's even if NASA is
not just faking all those images, I don't know. But
regardless that, you know, Saturn has connected to human sacrifice historically,
and that's what's happening in Twin Peaks, and that's why
we see Laura next to the image of Saturn. You're
listening to Esoteric Hollywood and I'm your host. Jadiyer of
jays Analysis dot Com stayed two.
Speaker 1: Final segment.
Speaker 2: You're at Jay's Analysis and we're talking about Lost Highway,
We're talking about Twin Peaks, We're talking about David Lynch.
Speaker 3: David Lynch, you have to listen to Jadeyer at Jay's Analysis,
the best breakdown of Twin Peaks and Mulholland Drive on
the Internet.
Speaker 1: All Right, that's my David Lynch. I'm done.
Speaker 2: I won't subject to anymore David Lynch impersonations, I promise,
or I might be lying.
Speaker 1: I may do it for the rest of the show. Okay, but.
Speaker 2: Remember as we started out, you know, Lynch said, I
learned just beneath the surface, there's another world and still
different worlds as you dig deeper. Right, what was the
poem to go along with Twin Peaks? Through the darkness
the futures passed, the magician longs to see one chance
out between two worlds.
Speaker 1: Fire walk with me, and that is.
Speaker 2: A shamanic firewalking type of poetry, right, at least that's
what's it's intended to invoke. I mean, it's obviously it's fictional,
but that's what it's about, and we're supposed to understand
from that that Cooper is a shaman. And this even
comes up in the show right now. The reason that's
one of the main reasons that I am quite confident
that my analysis of Twin Peaks is completely spot on,
because as I cite in in my analysis Yoan Kuliano's
book Out of This World, it's all about the shamanic
journey and from different religious traditions, perennial philosophy, and then
the treatment of you know, the spiritual worlds, the spiritual realm,
something like you'd read in Carlos Costanata.
Speaker 1: Right of the journey of the shaman into the spiritual
world or the different other worlds. And you know, that's
exactly what Twin Peaks is about. And when we look
at the architecture of that world, that philosophy, shamanism, ancient traditions,
so forth, we tend to see these patterns. Right.
Speaker 2: So when I talk about perennial philosophy or traditionalist philosophy.
Speaker 1: What I'm talking.
Speaker 2: About is this kind of movement or school in last
century one hundred and fifty years. This would be people like
frietof schu On. This would be people like Merkia Iliad
or Joan Kulianu or rene Gannon, Rama Kumaraswami or excuse me,
Ananda kumar Swami. Actually his son Rama kumer Swanmi ended
up a set of a concious traditional Catholic oddly enough.
But the other characters that we've mentioned would fall roughly
in the perennial tradition. And one might even include Aldus
Huxley in this tradition, because Huxley has a book called
The Perennial Philosophy which I've read, and there what you
get is basically this idea of well, all the religions
are saying the same thing. It's ultimately it's kind of syncretistic.
So I'm not a huge fan of perennial philosophy, but
I think that there's a lot of insights in those
writers because they're looking to ancient traditions, which can be
insightful at times against the ultimate evil juggernaut of modernity
and atheism.
Speaker 1: So even though I wouldn't.
Speaker 2: Advocate, you know, like Hinduism or something at least talks
about spiritual realm and so forth, right, which you know,
atheism is intended to induct everyone into this materialistic, meaningless,
nihilistic view, and then that's actually ultimately intended to take
people further into Luciferianism. Which this is why the Secret
societies actually talk about, is the implementation of atheism as
a stage as a process of moving humanity supposedly into Luciferianism, right,
which is kind of a bunch of nonsense in my view,
because Luciferianism is not really in my view, doesn't make
much sense. But you know, that's why I was citing
these tantric texts, not to promote tantrism, but to point
out what I think Twin Peaks is talking about. In
Twin Peaks is talking about that intentional language of Sendabayas.
If you think about the funny scene it's episode two
or three, where Cooper gathers all the local law enforcement
and through association and through intentionality, he's going to throw
rocks at different objects that represent different people, and then
he's writing stuff on a chalkboard based on where the
rocks Land, and that scene is actually pretty funny because
Cooper says, Oh, I'm actually going to use a Buddhist
technique to do this, and then everybody else just kind
of thinks he's crazy.
Speaker 1: They don't know what that's going on, and ironically the
divination technique of Cooper ends up being right. But I
think it's great too that. You know, I don't know
what Lynch's motivations are for this, but you know, Cooper.
Speaker 2: Delves deeper into the dark side and he ends up possessed,
and you know, that's a that's a positive warning. You know,
whether David Lynch intends that to be the positive.
Speaker 1: Warning or not, I don't. I don't know, but.
Speaker 2: That's at least what happens in the storyline of the show,
and we see that in Lost Highway too. In Lost Highway,
you know, Fred kind of gives into his dark side
and he turns into this demonic kind of creature who's
more or less possessed by I guess Robert Blake, who's
like the double character in that film, the Man in
Black in that film, right, So we have the man
from another place, the Man in Black, evoking this government agent,
but like government agent of the double kind of thing.
The man from another place is this midget, little double character,
the joker trickster. But he's a trickster who demands ritual sacrifice.
And you know, I think ritual sacrifice does happen. It's
happened in human history, and it probably still goes on.
And then, you know, if you have this occultic view
that many of the elites seem to have, then what
you believe about human sacrifices that you're actually off bring
the energy of humanity as a transference of power into
the spiritual realm, where you're directing that power towards some intention. Right,
So you want to further your goals or the idea
is well, I can placate spirits perhaps or just you know,
push this spiritual energy out by intentionally, you know, sacrificing people. Now,
how might that may Well, it might be done through war.
You might send a whole bunch of people to war,
you know, to fight and battle as a kind of
big human sacrifice. You might implement things like abortion as
a human sacrifice, with the offering of the first born
of a good portion of American citizens. Right, the abortion
clinics that are everywhere, and then we see these videos
coming out of planned parenthood where they're giggling and laughing
about it. Assuming you know, all those videos are what
they're presented as.
Speaker 1: I'm not saying that they're fake.
Speaker 2: I'm just saying assuming that, you know, who knows what's
going on with videos these days? There's so much trickery,
hoaxery and fakery out there that you have to be
kind of skeptical, is all I'm saying. But yeah, you know,
there's certainly people who are that sick where they're like
joking about baby parts and.
Speaker 1: To put you know, just just mind blowing stuff. You know,
it makes more sense as a sacrifice.
Speaker 2: You know, even if every one of those individuals involved
in a planned parenthood locale doesn't intentionally talk about it
being a human sacrifice or know that or believe that
from the monetary powers and influence far above them, it
could very well be that. And you know, you may
think that sounds crazy, But then when you see things
come out in the news like Savile and so forth,
where there appear to be people who believe these things,
you know they're probably going.
Speaker 1: To act on it.
Speaker 2: You know, I don't know for sure, I'm just saying
this is this could be the case. And you know,
I did a recent interview with Greg Moffatt of Legalized
Freedom and we talked about this there where we got
into the subject of Shaman's Demons in Hollywood. So you
can listen to that interview and I actually have I
played that a couple of shows back. The majority of
that interview here on Esolteraire Hollywood, where.
Speaker 1: We got into the connection between these things.
Speaker 2: You might think, well, what would there be connection, Why
would there be a connection between Shaman's Demons in Hollywood? Well,
there could be, and I make that argument there.
Speaker 1: And if we.
Speaker 2: Want to get a real picture, I think of, you know,
of the conspiracy put into film. You know a lot
of people talk about is White Shut and I've you know,
I've dealt extensively with I White Shut or the Ninth
Gate with Johnny Depp, which you know we'll eventually do
an episode of Esoteric Hollywood on that show. But another
example would be Twin Peaks, and I can't think of,
as I said, I can't think of an element of
the so called conspiracy that is left out of that film.
And in my view of the so called conspiracy only
makes sense when you have a spiritual realm.
Speaker 1: Right, It's not just human beings, you know.
Speaker 2: Coordinating a large scale global human destruction.
Speaker 1: An enslavement.
Speaker 2: It's directed by spiritual evil. Right now, I don't believe
that spiritual evil is you know, has total control or power.
But this is what we see, you know, in Matthew
Matthew four, where the devil says to Jesus, you know,
let me take you up on a mountain. I'll show
you the kingdoms of the world. These have been given
to me for a time, right, He offers the kingdoms
of the world, and we get the impression that, you know,
this is for some period of time. But you know,
ultimately in the biblical presentation, at least you know that's
that's not the.
Speaker 1: Final end of the story. It's not ultimately the devil
that wins.
Speaker 2: Although people who buy into the dark Side and gnosticism
and all these different alternative religious views and occultism and
not so much satanism that's kind of just hedonism, but
the presentations of you know, people that people that really
believe in like real, real Luciferian spiritual you know, things
like that they think that you know, the dark side
has the upper hand.
Speaker 1: I don't. I don't think so, you know, I think
that the Bible has a better.
Speaker 2: A better explanation, is a better model of categorizing and
explaining what the conspiracy really is. It's not ultimately a
conspiracy of just rich guys, you know, because rich, rich
guys are still humans, They're still finite, they're still limited.
But we have evil existing from the dawn of time
afflicting humanity, right, not just rich to get rich guys.
So a lot of people, you know, aren't willing to
go beyond the material realm, or the physical realm, or
the human realm of understanding the so called conspiracy. And ironically,
the Bible all along has described the so called conspiracy,
and it's a conspiracy of the devil to destroy man
and to wipe out the image of God and man.
You're listening to Esolterary, Hollywood, thank you for staying with me,
and we were listening. We were deconstructing Twin Peaks.