Opening the Eye of Shiva

 Saturday, April 6, 2019  

Opening the Eye of Shiva

Opening the Eye of Shiva; Twin Peaks 2017




By Jack Heart & Orage
“Your memories. Implants, they’re all implants!” – Deckard to Rachel, in Blade Runner 
They are implants because this is a simulated reality, it's artificial; its gods are artificial, its past, present, and future are artificial and most of all its pretensions of ever being anything other than it is now are artificial. If you cannot come to grips with that one and only horrendous truth about the “life” you are leading, you are probably wasting both your “time” and money being here. No one’s going to listen to you in this place and nothing’s ever going to change in this place. I think it was that “nun eyed” Jesus, to paraphrase Nietzsche in his poem from Beyond Good and Evil, that first told you the Kingdom of Heaven is within you. That’s just about the only thing she ever got right. As we have already proved to you nine ways to Sunday, much to the consternation of the Djinn, you can see how we went on the burn just by looking at the comment section of our blog; Jesus was and is a woman, sentimental and emphatic to a flaw and utterly devoid of the testosterone necessary to actually take you there. Now I’ve made some mistakes, but that certainly wasn’t one of them, reexamine the evidence for yourself in Aleister Crowley, Loki’s Brood & the Fury of Hell, parts One and Two. 
The only one who has made no mistakes is David Lynch (and Orage) in Twin Peaks 2017, otherwise known as The Return for reasons that we have already explored. Twin Peaks 2017 is in actuality the “story of the little girl who lived down the lane...” The little girl is Audrey Horne and Twin Peaks 2017 takes place inside her head. Audrey, although one of the most prominent characters in Lynch's original Twin Peaks, which revolutionized television twenty-five years earlier, is not introduced till the twelfth of eighteen episodes in Twin Peaks 2017. 

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In a surrealistic scene, Audrey Horne argues with her husband Charlie. She wants to go to the Roadhouse to look for her lover Billy, who has been missing for two days, but Charlie complains that he is tired and he has too much paperwork to do. He tells her that Billy is out there somewhere, but he guarantees they won’t find him in the darkness of the new moon. Audrey scoffs at him, asking him if he saw that in his crystal ball. Charlie tells her that she knows he doesn’t have a crystal ball. But strangely enough, there is a crystal ball sitting right in front of him on his desk. Audrey then launches into a tirade, calling Charlie spineless and telling him that’s why she is fucking Billy. She demands that he sign the papers she gave him. Charlie tells her his lawyer has to look at them first. When she threatens to have Paul pay him a visit, Charlie says “don’t be like this. I’m your lawfully wedded husband. I have rights.” She tells him “you gave up those rights.” To which Charlie replies “what? You mean you’d go back on our contract? Renege on a contract?” She says “that’s what I will do. That’s what I’m doing.” 
Charlie then agrees to go with her, but suggests they call Tina first whom Audrey despises, but according to Chuck was the last person to see Billy. Audrey notes that she thinks Chuck is certifiable; corresponding to her son Richie, fathered by Cooper's evil Doppelgänger and certainly certifiable. Charlie calls Tina and receives some grave news, but blankly refuses to tell Audrey anything about the conversation. From Charlie’s conversation into the antiquated dial phone, we find out that Chuck had stolen Billy’s truck then brought it back, again corresponding to Richie taking a farmers truck with which he ran over and killed a little boy, then brought back. 1 
The substitution of Chuck for the name of one of the Twin Peaks 2017 arch villains, Richie, is what is known in the Norse sagas as a kenning. The scene between Audrey and Charlie, who is representative of the Artificial Intelligence of internet conspiratorial fame, directly precedes a scene in which Dr. Amp, a character who wears rags that are strategically arranged to look like the uniform of an officer in the Nazi’s dreaded SS and brandishes a cheap hammer which is an obvious allusion to the Hammer of Thor, makes a little speech in his pirate radio broadcast; where he has prior promised those he is haranguing “We're coming for you. Yeah, we're coming for you!” 2
This time, a slightly more composed Dr. Amp addresses his audience, the inhabitants of Twin Peaks:  “And the fucks are at it again! These giant multi-national corporations are filled with monstrous vermin, poisonous vile murderers. And they eat drink and shit money. They buy our politicians for a song then these fucking politicians sing as we gag and cough, sold down the river to die. Fuck you who betray the people you were elected to help, elected to work to help, to make life better for. Fuck you all in the ass you treasonous puppet’s. The ninth level of hell will welcome you...” 3




https://youtu.be/Gvs5iikeY3s



In the next scene featuring her, a near hysterical Audrey demands that Charlie tell her what Tina told him. He tells her to “stop it.” She then says “I feel like I’m somewhere else. Have you ever had that feeling Charlie?” He blandly replies “no” and she continues “like I’m somewhere else and like I’m somebody else. Have you ever felt that?” Again Charlie replies “no. I always feel like myself and it may not be the best feeling.” She says “well I’m not sure who I am, but I’m not me.” Charlie says “this is existentialism 101.” Losing her composure, she tells him “oh fuck you. I’m serious. Who am I supposed to trust but myself and I don’t even know who I am. So what the fuck am I supposed to do?” He answers “you’re supposed to go to the Roadhouse and see if Billy is there.” She replies “I guess. Is it far?” Exasperated, Charlie says “c’mon Audrey if I didn’t know better I would swear you were on drugs.” She answers “just where is it?” And he tells her “I’m gonna take you there. Now are you going to stop playing games or do I have to end your story too?” Shaking she says “what story is that Charlie? Is it the story of the little girl who lived down the lane? Is it?” Charlie looks at her stone-faced and says “you’re the one who wanted to go. Now you’re looking like you want to stay.” She says “I want to stay and I want to go. Which will it be Charlie? Hmm? Which one would you be? Charlie, help me. It’s like Ghostwood here.” Charlie just stares at her stoically as she starts to cry. 4 
“Is it the story of the little girl who lived down the lane” will be repeated again by a creature that calls itself Evolution of the Arm and acts as the narratives overlord, right before Cooper the god is reunited with Diane the goddess in the concluding episode. But Lynch has already answered the question earlier while playing the Deputy Director of the Federal Bureau of Investigation, Gordon Cole, when he recounts his Monica Bellucci dream to the other agents. 
Cole tells them “last night I had another Monica Bellucci dream. I was in Paris on a case. Monica called and asked me to meet her at a certain café. She said she had to talk to me. When we met at the café Cooper was there but I couldn’t see his face. Monica was very pleasant she had brought friends. We all had a coffee and then she said the ancient phrase… we are like the dreamer who dreams and then lives inside the dream. I told her I understood. And then she said but who is the dreamer? A very powerful uneasy feeling came over me. Monica looked past me and indicated to me to look back at something that was happening there. I turned and looked. I saw myself. I saw myself from long ago in the old Philadelphia offices listening to Cooper telling me he was worried about a dream he had and that was the day Phillip Jeffries appeared and didn’t appear and while Jeffries was apparently there he raised his arm and pointed it at Cooper and asked me “who do you think that is there?...” Dam I hadn’t remembered that, now this is something really interesting to think about.” Albert says “yes I’m beginning to remember that too.” 5 
Twin Peaks 2017 is a dream, the dream of Audrey Horne. In the original Twin Peaks twenty-five years earlier, Audrey Horne had been the overindulged child of privilege, smitten by Agent Cooper, but never able to actually possess him. At the ending of the early nineties show, she is caught in the bombing of a bank and presumably left in a coma, married forever to the artificial life support system that is keeping her alive. She is the alcheringa, the source of the projection. But she is no ancient of days, no omnificent and omnipresent deity that guides its creation according to a plan to evolve it into the sublime. She is a spoiled rotten and immature child, who has never been given the chance to grow up and perhaps never will be, much like Alessa who is the projector of Silent Hill, a product of the very same entities that brought the world Twin Peaks. This we more than proved in From Silent Hills (P.T.) to Twin Peaks (T.P.) “Fire walk…with me.”
Audrey dreams of the archetypes; Cooper as the messianic savior and the three Goddesses of the Eleusinian mysteries; Sarah Palmer as Demeter, Laura Palmer as Persephone and Diane as Hecate. There is much much more to the story of Twin Peaks 2017, but this is the framework that David Lynch –arguably the greatest artist who ever lived– has chosen to hang his masterpiece on, along with a thinly veiled threat of an impending invasion by an SS that was never defeated in WW II. 
Contrary to the empty prattling of the empires academic sycophants, Adolph Hitler walked away from WW II, as did the entire echelon of the top brass for the SS. The Nazi Bell, repeatedly featured throughout Twin Peaks 2017 and which the Germans were quite confident would win WW II for them, has never been found and the very same Jews, whom the Nazis were attempting to protect this world from, have been allowed to overrun it and tear it to pieces in an endless orgy of greed and avarice.




https://youtu.be/dU9Zwz1K9Xk

Audrey’s final appearance in Twin Peaks 2017 occurs at the end of episode 16, when Audrey and Charlie arrive at the Roadhouse and sit at the bar. The MC then introduces "Audrey's Dance" and the floor clears, as she sinuously performs the dance that is meant to open the Eye of Shiva, the Supreme Being of the Vedic pantheon. According to Vedic tradition, if the Eye of Shiva, the sleeping God, is ever opened and Shiva becomes aware of this world and all the injustices perpetrated in it, he shall destroy it. Suddenly a jealous man bursts across the floor and begins a fight with his rival which threatens to encompass the entire bar. Audrey stops dancing and runs to Charlie, asking him to get her out of there. There is the sound of electricity and she suddenly finds she is in an all white room, with no makeup in a white gown looking into a mirror. The scene then switches back to the Roadhouse which is now calm as the band continues to play, but in reverse... Thus begins the end of Twin Peaks 2017 and the beginning of the events which will span the next two episodes. 

   "The Goddess of Death is as old as the Ancient of Days. Xaljō, the root word of Hell, is a feminine noun. But the days of this timeline may be naught but the product of an Aleister Crowley spell. It was a spell that was cast on the Sleeping Beauty of Germanic folklore. In sleep, a sharp external noise can bring on the most elaborate of dreams, each phantasmagorical scenario built on the last phantasmagorical scenario, all in the seconds before the dreamer awakes. Time means nothing in a dream. There is only here and now, and it’s all retroactive. What’s done today and tomorrow becomes yesterday. It’s been said before: this is the Morning of the Magicians." - https://www.veteranstoday.com/2018/11/14/aleister-crowley-lokis-brood-the-fury-of-hell-pt2/

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