10 Things We Learned From Twin Peaks: The Return Part 8
1. In A Show In Which Parentage Is A Key Theme...
...Tikaeni Faircrest's character likely plays another mother.
She is credited, obliquely and directly in that inimitably Lynchian way, as 'Girl (1956)'. Her appearance might be tangential, but the final sequence, through its placement alone, seems too significant not to have any bearing on the plot going forward.
Girl and, sure enough, 'Boy (1956)' created a sense of dread with classically Lynchian stilted delivery undermining their wholesome dialogue, in an idealised version of 1950s Americana. After timidly accepting an innocent, closed-mouth kiss, Girl retreats to her upstairs bedroom, smiling to herself before relaxing into a dream. The insect/amphibian hybrid climbs her house and enters it through the upstairs window, echoing the presence of BOB/Leland Palmer in Fire Walk With Me.
Girl, unconsciously, opens her mouth and accepts the parasite.
This sequence is timestamped 1956. Subtracting that from 1989 leaves us with 33. Even if this is a sequence of conception (which jibes with the overarching theme of Part 8), the cosmology of this new Peaks could date Laura Palmer as any given material image. Is this a young Sarah Palmer? The smoking woodsman and the horse imagery of his poetry certainly created parallels with her. 33 was also roughly the age of a preternaturally gifted FBI agent in 1989.
This might just be a tangential slice of symbolism concerning the entrance of evil into the innocent - a capper visual for the theme of the hour - but the questions burrow into the subconscious with such a similar insidiousness that you cannot help but ask.