Judging from the reaction we've received re-
garding Wrapped in Plastic II l . our first issue was
a hiti Fans have written to express their exciie-
menl about the magazine and their good wishes
for further success. The worlds of 'l‘win Peaks and
David Lynch provide much to talk about and
explore. WewanteveryissueofWrappedlnPlasiic
to be a fonim of debate, discusion. analysis, and
news.
lt has become clear that many of our raiders
are serious fans of Twin Peaks. Some could even
be considered students of the show. Those people.
like us. watch Twin Peaks not only because it is
entertaining. stylish. and just plain fun. but be-
cause it represents television at its finest. To
many. Twin Peaks is high art. On the surface the
story may be simple melodrama li.e. soap opera).
but undemeath there is much more. Twin Peaks
provides. among other things. fascinating charac-
ter studies. innovative story-telling techniqum.
orlgnal visuals. unusual references to obscure
works. an unprecedentedly demanding story nar-
rative. and metaphors of modern society. All of
this ix-in be studied in depth. Sound farfetched?
Maybe to some. but there are scholars and aea-
demies who take it all quite seriously.
As The New York Times (5/5/91) said in an
article about the brief history of Twin Peaks. “the
show will make satisfying fodder for the academic
trough.“ We're beginning to see ample evidence
that this prediction is indeed coming true. Here
are just a few examples that we've encountered in
the academic world (not to mention those quoted
in the Times article): An article in Critical Studies
in Mass Communications. entitled “Difficult View-
ing: The Pleasure of Complex Narratives." ana-
lyzes the structure of. and audience reaction to.
the Twin Peaks storyline. The Western Speech
Communication Association contained a presen-
tation by T.S. Jones entitled “Women's Roles and
Romantic Relationships in "Davin Peaks." The Las
Vegas Review Journal printed an analysis of the
show's phenomenon in an essay called “Editors
Unlock Twin Peaks Secrets.‘ In TV critic David
Bianculli's new book. Teleiiteraey: Taking Teieui-
sion Seriously. he devotes a number ofpages to the
import land impact) of Twin Peaks. saying that
“never before. in the history of television- [has] a
progam inspired so many millions of people to
debateand analyze itsodeeplyand excitedly forso
prolonged a period." (Even one of the journalists
who interviewed Lynch at Cannes said he was
writing his thesis about Twin Peaks!)
Since academic journals usually take be-
tween one and two yrs to publish articles. we're
certain to see more written about Twin Peaks in
these forums soon. After ail. the show has only
been gone from television for eighteen months.
and the movie has only just left theaters. Twin
Peaks made such an impact on its audience and
on pop culture that it's impossible for it to fade
away quickly. if at all. And that's why we think
Wrapped in Plastic has been so well received.
Bea-iuse even if there is no follow-up to Fire Walk
With Me. Twin Peaks will live on in these pages (as
well as in college libraries across the country).
We've had some responses from readers
interested in writing for WIP. and we thought
we'd takea moment here to providesome ground
rules. All articles must be typed. We'd recom-
mend that you send a query letter (including
self-addressed. stamped envelope) first. since
we're alrdy at work on articles that won't be
printed for several months. This will save you
lots of work writing about something we've al-
ready com pleted. Just to give you an idea. as we
wr1te this editorial. WIP 2 probably won't hit the
stands for another month. yet we've already got
cighteen to twenty of the twenty-four WIP 3
pages accounted for. We're trying to keep ahead
of the game so that we'll stay on schedule.
Don't be afraid to drop us a line. though. if
you have an idea for an article. And we do pay
for those articles. [Not a lot. of course. You won't
be able to quit your day job solely to write for us.
But it will be something.) 1f you want your
submissions back, include SASE.
Also. we're always interested in receiving
letters from readers—leiters not only aboutTwin
Peaks butabout Wrapped in Plastic. too. Whether
they be commendations or condemnations. we
want to know your thoughts about our mag.
Find our address on the letters page.
One final land slightly related) note. When
we began WIP. we thought that maybe, if we
stretched it. we might barely be able to come up
with enough material to fill two twenty-four page
issues. But we have since discovered that the
more we write. and the more we research. the
more ideas we have for other ariici. ft was with
some difficulty that we managed to squeae
everything into this issue. even though the
added cover gave us four additional pages eve:
our previous issue. The Checklist kept gowing
and growing. and we thought about completing
it next issue but decided to keep our promise
. and finish it here come hell or high water. Also.
the Joe Bob Briggs interview went slightly longer
than mtpeeted. We're not com plaining-we were
ecstatic that he gave us as much time as he did.
But those two things did tend to push out a few
things we'd intended to get to this issue. But
don't fret. Another issue's coming tn just two
months.
You will be here. right?
Craig Miller
John Thomc
P.S.: lf you're having trouble finding WIP in
your area. pester your lol comic shop. Or.
we're now accepting U.S. subscriptions. three
issues for $10.50 postpaid. Be sure to tell us
which issue to start with. Also. if you're inter-
ested in advertising in WIP, write for our ad
rates. They're extremely reasonable. We don't
have classified ads set up yet. but we're working
on them. lfyou just havesomecool.obseure'l‘P
stuff you want to sell, maybe we at WIP would
want it. Tell us what you havel
 (l/l/za/2/254! in f/Dfaatia
Produced by vol. 1 #2

CRAIG MILLER 2 Fire Walk With Me In the Crossfire!

and WIP's editors respond to the national crit-
JQHN THQRNE ics of 'I‘win Peaks: Fire Walk With Me.
Co_Ed1tors 4 Single Peek: An Out-of-Towner's View
A pro-FWWM review from someone who
has never seen an episode of Twin Peaks!
/.
/
5 Letters Page
The readers respond to ourrst issue!
6 Joe Bob Briggs, David Lynch, and Other

J
Manly Men!
WIP interviews the nation's foremostlm
,1 critic!
341 1 1 The Interconnected World of Twin Peaks

/Ii!7

T‘
i -.
. =
The ultimate character chart!
14 Checklist of Magazine Articles, Part 2
The conclusion Qf our guide for collectors
e

ll
'
_ I
4:‘?
=r,.lL
5'
and archivistsi
'
,5; 18 Twin Peaks Trading Cards!
, 4,“; A review of the card set, plus a look at the
'1"
’
,
//
/ ‘
E /I 1

/
, T
rare autographed editions!
20 The Twin Peaks Library
,

WIP reviews every TP book ever pub-

lished!
; 23 The World Spins
News about TP video and laserdisc re-
leases and a new David Lynch series
coming to HBO!
\

4 I
WRAPPED IN PLASTIC. VOL 1 I3. lkcellber, IDDQ. Published by Wln-Mlll Productions. l9l 2 El Tirnberv-iew Lane. Arlington. TX 7GOl4. Phone (Bl7) 274-
7l 25. CraigMlller, Publisher. Copyright O I992 Win-Mill Productions. all rights reserved. Price 82.95 per copy In the United States, Subscription! (U.S.) S l 0.50
postpald for three issu. Published bl-monlhiy. Cover and inlcrlor iiiualration by Craig Miller. Win-Mill Productions L! not llccnacd by nor ailialed with
Twin Peaks Productions inc.. Lynch/Frost Productions inc.. Capital Cities/ABC inc. Telcvlslun NelworkGroup. Propaganda Films. Woridviaion [Enterprises
lnc .. or New Linc Cinema . Wropp edln Plasllc B aschol ariywor k o lr c vi c W an d commen la ryo nl y.an d noa ti empl is ma d eors h o uld b c ln ierrediolnir in geupon
the copyrights or |i'BdCI|'il’lL! oi the above companies. Twin Poalu O Lynch/Frost Productions and Twin Peaks Productions. Magazine covcra on pages M-
i7 O their rmpcciive copyright holders. Special thnnka lo New Line Cinema. Nick iiyman and Jerry Shea. Printed at Brenner Printing. San Anionlo. TX.
‘Wml-J in 93!-rm ' 1
 Fire Wall: With Me
In the Crossfire!
By now we all know that the film Twin Peaks: Fire Walk
With Me was anything but a critical success. As we
reported last issue. the movie was either panned or snubbed
by most of the national film criiiw: tn either case. it did not
deserve the reaction it received. instead of analysis. much
of the criticism turned into vitriol. So much so. we felt it
only tting to respond to a sample of film reviews from
around the country to show how FWWM was unfairly
portrayed to the public.
lt would have been foolish to expect unanimous praise
for FWWM. it's true we feel the movie is a stunning piece
of work. but we recognize that are those who do not share
our opinion. Dissenting views are welcome and valuable
as long as they re substantive critiques; but almost all the
critical reaction to FWWM was empty. and it is this type of
criticism with which we take issue.
First. let's take a quick look at those critics who
avoided reviewing the film. Most notable was David Anscn
from Newsweek. a critic who has always been kind to
Lynch films. Ansen liked Dune when it was being univer-
sally assailed. calling tt "richer and stronger than just
about anything commercial cinema has to offer.“ and
strongly praised Blue Velvet ("lt's one of those uniquely
unnerving vtsions...which will be argued about and cher-
ished for years to come"). yet he said nothing about FWWM.
Richard Corliss ofTlme also ignored the film. even though
he has devoted ample space to reviewing Lynch's work in
the past. [Time's lackofmcntion ofFWWMisexceptionally
surprising considering that Lynch was featured on the
coverofthemagaztne only twoyrs agoi) Playboy's Bruce
Williamson may not have liked Blue Velvet lit “lapses into
gratuitous violence and vulgarity....Lynch went overboard
while testing how far a maverick movie maker can go“) or
WlldAt Heart (“an enticing butdisturbing follow-up to Blue
Velvet“). but Playboy featured articles on both Lynch and
Sherilyn Fenn and ran pictorial references to WAH and TP
in their 1990 cinema summary. And finally. Gene Siskel
called Wild At Heart. ‘a great. rowdy. passionate love
story." but was mute when it came to FWWM. Although
thme critics chose to ignore the film altogether. many
others did not shy away from blasting it when they got the
Chance.
One of the country's most influential film critim. Roger
Ebert, has never cared for Lynch‘s work. He claimed to be
“underwhelmcd" by the Twin Peaks pilot and instigated
the booing that greeted Lynch when he accepted the Palme
d'Or at Cannes in 1990 for Wild At Heart. While we don't
know of any official review of FWWM in his column or on At
The Moules. Mr. Ebert did write a mini-review of the illm
after seeing the premiere at Cannes. Ebert quickly con-
demncd it as “shockingly bad...simpleminded and scorn-
ful of its audience.” He was the first reviewer to claim
FWWM didn't know its audience. a sentiment echoed by
other critics in later reviews. Ebert went on to claim the
Deer Meadow sequence was "meaningless" and the audi-
_ence “essentially has to start all over at the half-hour
2 (Wt-Mud In Wfnm
mark." We disagree. Sure. the basics of the Teresa Banks
plotline were already known to fans of the show. but Lynch
introduced additional details and integrated them into the
rest of the film. The mysterious Owl Cave ring. Laura's
relationship with Teresa and Ronette. Leland's relation
ship with Teresa and shocking discovery about Laura (or
Fleshworldi -
was it? After all, Leland may have seen her photo in
all of these elements meshed beautifully
with established facts from the series. if anything. the
Deer Meadow sequence revealed new insight into an old
story. So while Mr. Ebert is free to like or dislike this part
of the film. to call it "meaningia>s" shows his lack of
understanding about both the film and the television
series.
Jay Boyar of the Orlando Sentinel was not as negative
in his review as Ebert. but he. too. had an odd perspective
on the Deer Mdow prologue. calling it a "deliberately at
half hour." What a strange choice of words. Would David
Lynch purposefully make the prologue uninteresting?
impossible. Perhaps Mr. Boyar echoed the same criticism
we at Wrapped in Plastic have put forth: that the Deer
Meadow scenes were slow or “slightly dragging.“ Perhaps.
But “slow” doa not mwn “flat” by any means. The events
in Deer Meadow were engrossing. perplexing. and haunt-
ing.
Boyar goes on to decry the lack of humor in the film.
stating that the “funny frills" of the series were gone: that
Cooper's character was used only "seriously:" and that
even the Log Lady made a “non-comedic" appearance. We
recognize that the series had some extremely humorous
moments. of which both Cooper and the Log Lady shared.
but these characters had far more depth to them than
simple comic relief. Besides. Lynch's vision of Laura —as
a tonnented victim of incest land the supernatural) —
would have suffered from the addition of humor. in
FWWM. Lynch shed much of his trademark quirky humor
to instead focus on the awful plight of Laura. His decision
to mtclude this potential comic relief was deliberate and
wise in light of the harrowing narrative.
Jay Carr of the Boston Globe also notes that the lm
contains “no comedy." but goes on to say it has "nothing
surreal. just wave after wave of titillation.“ Nothing sur-
real? Perhaps Mr. Carr only popped into a screening of the
film while reviewing another movie. for he must have
missed Philip Jeffries‘ recount of his visit to the conve-
nienm store meeting. or Laura's mesmerizing dream. or
Ronette's desperate prayers being answered. But Mr.
Carr's criticism doesn't end there. He claims that the film
“proceeds from no artistic conviction.“ and that it “shows
how quickly a creative impulse can be exhausted - from
quirky originality . . to dispiritcd quasi-pom.“ While it's
.
tme that Lynch has often focused on the scamier aspect of
life. to eallFWWMquasi-porn is completely unfair. Thesex
and "iitillation" in the film served a specific purpose.
showing Laura's tightrope walk between good and bad.
And Mr. Carr‘s claim that Lynch made the movie only for
'
 money t"a cynical desire to squeeze a few more bucks from suggests a bias going in —only idiots watched the show to
the already over-worked cor pseo f Laura P a l mer " )is" totally the end. so only idiots would be interested in the lm.
unfounded. Surely Lynch was capable enough to crank Never mind that this throw-awayaside providm no insight
outatired retread oftheseries for the big sereen.complcte into the movie . lt does . . howeve r. pro vid e i nsig h ts into
wtthall the humor and quirkiness he could fit into tt. (You Gliatto as a critic. Even if he hated FWWM (which he
know. the kind of lm Mr. Carr would like to see.) But obviously did) readers deserve more than cute and over-
Lynch chose not simply to remake Twin Peaks for lm: he blown rction . like the above q uotm , w hi c h t e ll us more
went offinto other directions with a storyline that was land about him as a lm—rcv|ewer than it does about the lm.
is) ripe with potential. Lynch has stated that he likes this Other criticism . may not have been as vicious , but wa S
place called Twin Peaks and its residents. Perhaps he did just out-and-out strange! Even though Michael Snyder of
it on ly for th e money. perhaps not. We don ' tknow. and we the San Francisco Chronicle was somewhat kind to the
doubt Mr. Carr knows. either. Only David Lynch knows. lm. he contends that casting Moira Kell y as D onna t as
And regardless. it s irrelevant in an analysis of the lm. replacement of Lara Flynn Boyle) “seriously undennines
S peaki ng o i’ bad reviews. there was probably little the coherence of Lynch's world.“ But what was Lynch's
Lynch could do to evoke any praise from NewOrleans critic altemative? There had to be a Donna in th e l m, an d La ra
David Baron of the Times Picayune. Baron gets personal Flynn Boyle refused to participate. Surely a more serious
with h is attack. calling Lynch a “ repellent director " and
~ ' undermining of coherence" would have been to have
FWWM “a lurid monstrosity.“ From the opening lines of his Laura's best friend mysteriously absenti
reviewt"l‘alent in thcwronghandscan bewasteful. . .")Mr. Many critics. while taking pains to explain how an
B aron s h ows h is extreme dislike for Lynch. Baron ' con- audience would respond to the lm. didn't realize who the
cedes that the movie could have had a “workable premise" film's core audience actual] y was . Wh i l e FWW M had the
if [Laura] Palmer seemed intriguing enough for the potentialto please those who had never seen the showisee
au di cnce to care about her fate.‘ He can't be serious. On the review on page 4). it was actually a film designed for a
the series Laura appeared only as a corpse, in ashbacks. specic audience: th ose o f us. w h o were ensnared by
and in a dream. yet she was perhaps the most intriguing Lynch's powerful story back in April of 1990 and who
c h aractcr of all. Why else would "Who killed Laura followed it through to the end. Michael Wilmington 0fThe
Palmer?‘ become a question that sparked such intense Los Angeles Times was one of the few critics who recog-
curiosity and deb a t e across . th e country for weeks? This ntzed this fact. In one of the better-written reviews of the
only happens to characters audiences care aboutl The film [which was mixed). Wilmington stated “IFWWMI is the
intrigue of her ‘many secrets" arising from her dual real last act of the Twin Peaks saga....lt caps offa pop
natutre an; idenftlity 5li'0VldCt5 depth and crltural larijdmark." :cnddL1'V uirde acdknowledged
mys cry. vena er c mur er . ' t ris. oo. w en it rai nc " or ta n one ast
was solved there remained un- ,,“ ‘°“p\\°“$;:&;::hw\\--- [rip to Twin Peak: for trueybclievers.” g
answered questions about her. 5-" Willi mm “ed? All<in-all most of the reviews were hmvy-handed
PWWM answered many of those ymr'l\°“‘°:_““ and unfair. and from reading them it seems that
questlunsand furlhgr dened her ,,.-i-,...--- ums\°\a\'5\ almost every critic had prepared to eviscerate the
character. showingaspcetsof her _,‘wmu\e_N°‘§°:‘u,-§,\l\I‘°d film going in. Movie-making is a challenging and
personality only alluded to on the or ;q¢¢1\'\'\'¢-‘ powerful forum. and movie critics share in that
gzgzctglleulglngrvas. inp part. a '5 Ml:.“m‘__,,,.-u-' power. for they can either evaluate a lm to gve
y aura a merin ss--* ul the public a better understandin of it. or they
her nal week . (And viewed from .-“pmgetli "‘m;tu| "°m‘m|:\o\‘Ill"*s can merely pass judgment on whether g it is good
the perspective of the series. the “gm \0 §‘\".'m nmy|u:\\'4 or bad. As authors Leah Vande Berg and
1-Bu"! Of FWWM- Whll remaining \rn\1‘““:{;?a\n\- Lawrence Wenner say in their book Television
enlgmatic. becomm both victim and C°ws‘°\lll§thl€\Il\ Criticism:
victor — nding peace in the end by ~"""' hm“(q1e¢°
_ '
transcending the dual nature with ..“1;1\¢,\i\\§\5“; om)‘

“‘
“Criticism differentiates itself from
which she struggled.) But Mr Baron - \\5ee\\\5““““mm w=¢"““ mere opinion or descriptive review and
reveals hisdistaste for Ly nch u p fron t .
and this distaste colors hisjudgmcnt
' ‘M “ue rder
invites the or viewer to undertake
amqginilw new cval ua ti ons or to reexamine past
of the lm smain character. There is no H-uttlnnunni
judgmems m ugh; ofsysmm.
question that Laura was intri gu i ng — /In:-“ """ 0'.“ “gr atie. substantive. stylistic criteria."
even those who never watched the tele-
..‘ no“M v\0'$\'““ht-"
_

"l5l°" 5h°“' @911 56¢ lhl5- T00 bad MY» ‘:\;\;;l\\ustst‘¢_':‘:,,..\\-tr Few of the national lm critics made
Baron missed the boat. dmos‘
_.,,..\ =..-. -“ any effort to review the lm in a systematic
While David Baron's scathing review PM ;r'\§“\“““ or su b stantive way. This is a shame. and
was limited only to the New Orleans viein- \“_" “_m_,,,\ a bit surprising. for while we never ex-
ity. People Weekly went nationwide with m_‘_,,,,,.-in» pected reviewers to embrace FWWM, we
criticism that insulted lm . director . and
audience. Tom Gliatto proclaimed FWWM
/ ' ¢_‘MW;|\\ did expcetan
- infomrcd evaluation. Only
1 ‘ xv, must‘ til in a few rare instances did critics at-
a “nauseating bucket of slop" appealing
only to those fans“willfully perversecnough“
to watch all thirty cpisodesofthe series. This ' X
‘ /‘f
'
ma 1"“
. Mill _,
'“‘\s"___
tempt to examine the lm's merits and
faults in a meaningul manner. Twin
Peaks: Fire Walk With Me was not for
W‘ ‘ - ‘ "';:\\\“"‘... everyone . but it wasa po werfu l mo vie
At right: Entertainment Weekly's ‘honest ‘
nonetheless. It didn't deserve the
newspaper ad‘ for FWWM. 1'W__ Inn“ treatment it received.
.
,
"Wt-Hull LII Q-‘fruit; 3
 Single Peek
An Out-oi-Towner Sneaks m to TP
by Caroline Groeo
Occasionally I look through old calendars. l was
lwfingthrough“ I990“ the other dayand noticed that I had
scribbled on Sunday. April 8. "Twin Peaks/David Lynch.“
A fellow movie maven who was hip to Lynch had told me
about the upcoming television series. I thought that it
sounded interesting but couldn't muster the energ! to sit
and watch it.
Oddly. over the next year or so. some of the most
unlikely people (a fellow aerobics instructor. the city
planner who lived upstairs. a total bimbo friend of mine
whoworkedinaclothingstoreiaswellasmyfriendswhom
I‘d mtpect it from (an unemployed mime/student. an
unemployed geophysicist-turned-artist. an unemployed
movie flenddifferentfrom the other onelmentioned) would
make comments about “that Twin Peaks show.‘ While I
had to shrlnkingly admit that I hadn't seen the show (you
know. bemuse I don't watch TV). l always made sure they
knew that I knew about it. I even toyed with the idea of
turning the TV on once. I must admit I felt like I was
missing something.
ldo go to the movies. despite my TV-phobia. When I
was recently invited to an advance screening of Twin
Peaks: Fire Walk With Me. ljumped at the opportunity to
redeem myself. One of the (other) reasons I hadn't both-
ered with the TV show earlier is because I'm a purist. I
didn't want to pick it up in the middle. I figured FWWM was
my best chance at finding out in a minimum period oftime
what the big deal really was.
I'm neither a Lynch aflicionado nor neophyte. I never
sawEraserhead. but I sawBlue Velvet more than once and
had the good sense to laugh during Wild at Heart. But
when Ishowed up at the Twin Peaks screening. I rlly felt
that 1‘d missed the bus (which I'm still not sure I wanted to
get on anyway) when I received a packet that contained
baseball cards about Laura Palmer and other characters.
There were lots of things in I-‘WWM that I didn't and
don't get. My premise is that we're not supposed to "get"
them. Lynch clearly savors the film medium and uses this
"mystery" idea as a forum for showing off his lmmaking
sauoirjalre. The “mystery” to me is. why bother sweating
what everydetail means? Ireally like Lynch's commentary
about life (which I'll get to in a minute). and I think we mn
either pursue all those paths he shows us the beginning of.
or not. I-le presents them to us. but you really don't have
to “get” every one of them to "get" the movie. At least I
didn't. l love the creativity/opportunity this gives the
audience. But is the TV-bound American public prepared
to sieze this opportunity? Hell no. Not only that. I believe
that Lynch's general life-commentary is difficult for the
Dances With Wolves crowd to swallow.
Like many filmmakers. Lynch repeatedly confronts us
with life's ubiquitous duality. Unlike most. he makes clear
the mutual possession of both sides ("good" and “evil” both
contain the other). In the first twenty minutes. before I
arrived at all these enlightened conclusions. I immediately
4 (Wuppd La 53!-ma
C
wantedtoclassifysomethingslsawas"holy."butcouldn't
That ring. for example. is just how l'd imagine the Pope's
ring to look. That glowing trailer looked like a sort 0 f
sanctuary tn hell (the trailer park). I made mental notes
when I saw them. but then thought. naw. this is too
obvious to really mean anything. He's poking fun here.
The whole movie is like that. and not just visually.
Lynch's other movies give an in-your»face view of twisted
and dangerous characters who area millimeter away from
being totally. inaccessibly unrealistic. Lynch knows when
to stop with the ricature and show enough of the
character to keepyou from thinking that this is surrealis
tic. allegorical. or just plain fantasy.
FWWM is a richer. more comprehensive. and more
saturated manifestation of that filmmaking technique.
with the intent of presenting a microcosm of human
experience. Lynch shows us characters. their community.
and their psyches.
None of these entities. in real life. is ever simple. This
is not a simple movie. It is a mystery in more than one
sense. as is—let's face it—lifc. To begin with. there is the
obvious question posed: ‘Who Killed Teresa Banks?"
Okay. even after never havingseen Twin Peaks: Watch
TV With Me. I knew there was the ‘Who Killed Laura
Palmer?‘ mystery. Don't get me wrong: that level o f
mystery is fun and all. but if you get stuck on that aspec t
of this film. you'll be frustrated beyond belief.
Back to duality (heaven/hell. black/white. yin /yang.
good/bad. angel/devil. TV/books whoops). What's funny
(and scary) is the human tendency to shut out the “other
side" that always exists regardless of whether or not we
. have the mechanism for copingwith it. to shut out the fac t
that neither side can e:dst without the other. What's even
funnier (and scarier) is that. even as the "rmlly nasty side"
grows increasingly undeniable. we still try to shut it out
We mn't. though. It will appear to us. if not by our
conscious choice. then through our subconscious. Lynch
gives tmtture and life and physical form to the psychologi
ml realities we create for ourselves to deal with the
unspmkable and un-acknowledgable parts of our reality
A young woman who has been molested by her father for
years. who “appears” to be a happy and bright high-schoo
student but who also clearly “appears” to be a hopeless
desperate. dmg-addicted prostitute. is bound to develop
some bizarre coping mechanisms for her reality. I mean
it'snotlikeshecan turn to heralso-drug-addicted mother
who has an abusive husband to deal with. (Wasn't tha t
horse in the bedroom hilarious?) So “BOB” takes the heat
Yes. yes. I know that characters like “BOB” and tha t
little guy who talks funny in the psychedelic fun-house are
Is the possibility that Lynch presents. that we n
“real” to more than one person in the iilm. This ls a movie
interac t
not only with each other in the ways we know. but also "in"
our dreams. psychoses. and other coping mechanisms
(See SINGLE PEEK on page 10 3
'
 /*
LE3 llzitzo to us at:
Wrapped in Plastic
1912 E. Tirnberview Lane
Arlington, TX 7601.4
Kg Q) (Letters may be edited for
space and/or clarity)

know he was
Lodge i'or twenty-live years. Leland did not
Dear Wrapped in Plastic. BOB.
is a
First oil. let me say how happy l am that there How about having a fan exchange list in your
mag? l
l have
regular Twin Pmks magazine being published. am missing a couple of shows on video and
would love a
but also
several questions. which I'm not only asking you. copy oi these.
l have heard that an attended version
your readers. First.
will be released on video. Does anybody know
of FWWM
anything about this? Or about when the nut seven Thanks ior WIP.
what about Kelly Rucci
episodes are going to come out on video? And Gumee. IL
the other two proposed Twin Peaks movies that Frank
Fangoria article?
Silva (Killer BOB] mentioned in a recent
And thank you, Kelly. We'd like to print aiistoj the
exstlng
to ask all Peaks fans lrom the Los
Lastly. l would like Twin Peaks clubs if they will let us know who and where
Angelesl Orange County area to write me if they are
of exchange or classied
stage produc- they are. We will start some kind
interested in auditioning ior a Twin Peaks room to
episodes column as soon as we have time to work it out and
tion that lam planning. My plan is to project the work it in! (Even ihough this issue isjourpagesiongerthan
on a movie theater screen. with a live cast performing
what's on the screen [just like The Rocky Horror
Picture ill, we're still scrambling for rooml)
mrly stages. but l already have
Show). This is still in the
members signed. ll you are interested in Craig & John.
several cast
I enjoyed your Wrapped in Plastic. Like you
land
signing up. write me at the address below. You must be
Peaks and buy
have to many). I just can't get enough oi Twin
from the L.A. orOrange County area. butyou don't anything l can find on it. l really enjoyed the TP Calendar.
acting ability. because in all likelihood. we
have any great
getting much lt was the highlight of the issue. l can't wait for issue 02.
Will be lip-synching. We probably won't be
l have enclosed a boxing trading card oi the late Cus
money. either. We want this to be a ian's way
of keeping Mike the
for a long time and in the process D'Amato. He was MikeTyson‘s mentorwho made
Twin Peaks around Champ. Note the photo on the back oi the card. Doesn't
create new fans. just like whatyou would think that Leland Palmer
Thanks for a great iirst issue. and remember: “it is
this look
to reach that age?i? My
would look like if he had lived
happening again." friends and l think so.
On your WlP UP SOME CONTROVERSY: I think
that
Eric Diaz of the Black Lodge. not
a Doppelganger oi Cooper came out
3191 Ruth Elaine Dr. busted his head on the mirror in
Cooper. and that's who
Los Alamitos. CA 90720 of the series. i really hope Lynch gives us
the final scene
a movie or something that takes up at that
point.
and
Thanks. Eric. Seeour “World Spins‘ pagefor uideoiape After reading the Diary ojLaura. and then even more
iaserdlsc news. Your project sounds interesting. but re-
ii BOB
might need to get so after seeing the movie TP:FWWM. l now wonder
member that y you charge admission. you
her mind to place the
isn't a person that Laura made up in
permission (probably from either ABC TeleuLsion or Twin since she was unable to cope
or blameon for her sacualabuse
Peaks Productions) to show the television episodes
production. with its being her father. But l do know that the seri.
perform a ‘Darin Peaks stage are
books. and movie all leave it up in the air. and there
many things that happen that make this theory untrue.
Dear Wrapped in Plastic.
l'm still not sure if BOB is a possessing spirit of someone
Thank you for creating this magazine. lam a devoted
Laura made up to take the blame for all the ‘bad stuil
in
ianl l waited eagerly for someone to start a magazine or
her life.‘
club for Twin Peaks. The show was the most brilliant work Here's my biggest question. Who was with Leo John-
to air on television. The movie also was incredible. l have
son in the woods that night when he met Bobby and Mike
to say the scene of Laura's walking in the bar was a
for the drug buy?
stunning piece of lilm.
l was disappointed with the movie but will still buy it
Last year I had the opportunity to meet Wendy Robie the
when it comes out on home video. l hope l will like
ataconvention. She is rmlly sweet in person. lalso wrote
movie better next time l see it.
the entire cast and received autographs from MacLachlan.
Fenn. Lipton. and my idol David Lynch.
As for your questions on page 23. l have some ideas.
Thanx
Bruce Yarbor
Ym. Cooper did i'ail his mission because he never came out
Yukon. OK
of the Black Lodge. his Doppelganger did. The evil Cooper.
created by BOB. was released. not our beloved Cooper. look
Thanks for the card. Bruce. The photo certainly does
BOB simply used Cooper's image to continue the killing. theory seems to
He possessed Leland. but not Cooper. who did rescue
like Leland! So far. the dappeiganger
predominate.
Annie in return for himself. Cooper is trapped in the Black
l'W\¢HnJ Ll Qfllul 5
 JOE BOB BRIGGS,
DAVID LYNCH,
AND OTHER
MAN].-Y MEN!
John Bloom. an award-winning journalist and co-au-
thor of Evidence of Love (which became an Emmy-winning
CBS movie “A Killing in a Small Tovm"). worked in the early
eighties as the lm critic for the Dallas Times Herald.
Although his movie reviews were excellent. what he is
remembered for most is introducing Joe Bob Briggs to the
world on January l5. i982. Joe Bob was (and is) the
world's rst drive-in movie crltlc. The column ran for over
three years. generating bothpralse and outrage. But when
he wrote a parody of the benefit song "We Are the World"
(called. appropriately enough. “We Are the Weird"), local
black leaders were outraged. Despitefront page apologies
by the newspaper. they wanted more: they wanted JoeBob
gonel The hlgh shers at the “Slimcs Herald“ caved in and
cancelled thefeature. (Rumor is that hundreds of Joe Bob's
fans then cancelled their newspaper subscriptions. in
what has turned out to be poetic _/ustlce. Dallas's second-
largest paper ceased publication December 8. l99i.)
Joe Bob. however. lives on. His column ls nationally
syndicated. andflve qfhis books have beenpubilshed: Joe
Bob Goes to the Drive-in (Delacorte Press. i987). A Guide
to Westem Civilization. or My Story (Delacorte Press.
I988). Joe Bob Goes Back to the Drive-In (Delac0rte Press,
i990). The Cosmic Wisdom of Joe Bob Briggs (Random
House. i990), and his new tome. iron Joe Bob (Atlantic
Monthly Press. i992). We highly recommend all of them.
Joe Bob can also be seen every Saturday night on The
Movie Channel. We also suggest that you check out his
video. Joe Bob Dead in Concert (United Home Video. i985).
it's hilarious. Finally. his bl-weekly newsletter. We Are the
Weird. ls available by writing to the address at the end qf
the interview. Give it a shot!
Although wedidn'tgetachance touskwhetherJoeBob
Briggs is a distant relative qf Twin Peaks troubiemaker
Bobby Briggs. we wouldn't rule it out. (Surely there's more
thansimpleeoincidence at workherei) But wedid talk with
him on November l0 during the Dallas leg of his current
booktour. The interview was conducted and transcribed by
Craig.
WIP: For those readers who may not know who you are. tell
us the origin of Joe Bob Briggs.
JB: it started in 1982. The idea was to be the first honest
Amerin film critic. because as a group they tcnd to be the
most self-serious and obnoxious people on the planet. And
so the idm was. what ifone of these pompous lilm critics
like Vincent Canby or Pauline Kael woke up one morning.
and their brains had been scrambled in the middle of the
night. and instead of liking Ghandi. they now liked Doctor
Butcher. M.D. Would they lose their jobs at the New York
Times. because you've got to stand by your critic. right?
You've got to support your critic. no matter how unortho-
8 ' (Wm/ipd 1-Qfaitu
i l
I
a
dox their opinions. So the idea was to be a movie critic who
likes what ninety percent of the American public likes but
is routinely slammed by all the lm criti in America. and
to point out the difference between the movies people
watch and the movies that are considered legitimate
movies. And also. I genuinely like these movies. l
genuinely like the field of B-movies. That was the idea.
When you start championing movies like that. you end
up championing a lot of other things. ioo. As the weeks
went on. l would write less and less about the movie. and
more and more about other things: relationships. world
polities. economics—cvcrything you could imagine sort of
crept into the column and started taking over the movie
- review. so that some weeks l would almost forget to review
the movie. and then do it at the end.
Also. pretty early on in the process, the column gener-
ated a lot of mail. it was weird mail. And it was personal
mail. lt was mail that you don't normally get at newspa-
pers. and l found the mail to be very interesting. To this
day people think that l make it up. I never made up a single
letter. lt‘s just that once people saw how weird Joe Bob
was. and how free and irreverent. it freed up the letter
writers to be just as strange.
i
So the format of the column evolved pretty easily into
three parts: Joe Bob on life. Joe Bob on movies. and letters
from the readers. In recent years. l was encouraged to do
a second column that didn't have anything to do with
movies so that those papers that were too cowardly to print
the drive-in column would be able to print the other
column.
WIP: Some papers actually print the “Joe Bob's America‘
column. but they don't print the movie column?
J8: Right. A lot of the more conservative papers. Even
then they put it on the op ed page. They identify it as
opinion that they don't necessarily want to be identified
with.
I
WIP: Butdoes it makeany sense to those readers whodon‘t
have the hLstory ofdoe Bob as lm critic?
JB: They respond to it in a different way._|ust like people
that only know me from television respond to me in a
different way than people that know the whole nine yards.
l have many different audiencm. l have two different
audiences that read the column. l have audiences that
identify with the column, and I have an audlenee—kind of
an intellectual audiencc—that thinks it's totailyasatirical
invention. in fact. it's a combination of both. And it shifts
back and forth between one and the other. But the people
who read it literally think it's all literal, and the people who
read it as a satirical invention think it's all a satirical
invention. lt's actually neither. lt's both. lt's just like
professional wrestling. You can't tell where the fiction
lmves oif and the fact begins. That's the whole fun of it.
You can't tell where the real punch leaves off and the
fake stuff in wrestling takes over. You
know enough of it is real—they
get cut upand beat upand
everything. But you also
know that a lot of it is not
real. And so Joe Bob is the
same way. But human na-
ture being what it is. every-
one wants it to be one thing or
the other.
WIP: I'm relieved to know that.
because at times i 'ue wondered
Lynch a drive-in kind qf guy?
JB: Well. he's definitely a drive-in kind of guy. He's like
many recent directors—another notable one being
Jonathan Demme-—who have drive-in roots. They kind of
do what l do. l consider myself not the foremost expert on
B-movi. but lam the lsaac Asimov ofthem. l popularize
this knowledge about B-movim for the general public.
while in the sameway Jonathan Demmeand David Lynch
and a number of other recent directors who have just
recently come into fame take their original drive-in roots
and popularize it in a way that a mass audience can deal
with it. So that many people who would not go and see The
Big Doll House would go see Silence of the Lambs.
The drive-in is entering the mainstream. Drive-in
movies. B-movies. exploitation movies. all that stuff. are
becoming mainstream. Which means it's time for a whole
new set of trends. because those have been taken over by
studios. And David Lynch is sort of on the edge of that.
He's not as mainstream as Jonathan Demme, actually. but
he's one of those guys who has taken ways of looking at the
world that have been around for a while in the mrploitation
world and made it accesible to people. made it hip. lt's
»»\.._ like one thing when you're watching it in
'
N
X \\ V grindhouses in downtown
Cleveland. But
when you watch it
at the Film Forum in
’ Greenwich Village.
”'/~.,,,_',h then it's hip. So it's all

\
’
whether my sense of the shill- ~ ’“ A” amatterof eka .

ing back and forth was my lack J°°B°l>s,,-9 Z 1'/{ff' \ / wm Wc»."§;Ly§§'.i

of percepttvity as to what was
/W31W,’ movies most epitomizes

\
' ,,/

going on. or whether there actu- a drive-in attitude?

ally was a bit ofpiaying around
with the whoiejormat.
JB: l found early in the game it was ' g i I /
-'
,
M
;_
~
‘ix 1.»
JB: Oh. 1 think Witd at
.

Heart definitely When

'

they showed that at the first

a very effective thing to do. to say I went to four ‘pf’: as screening in Hollywood. a

i
*
If
.;*

/"3
'

“
cities. and name the four cities l went to. and two /' ‘ " »' lot of the old Hollywood guys
of them are real places. and two of them are not. /" really got offended and got
Q
Y

Then it confuses people. because they know that / ‘"1 ii sick and walked out. Because
these two Places really exist. and they assume
from that the other two must mdst as well.
g1," . 3' .

i.
h -

-$
, 1

. ‘ it was something "ew in the

' ,' -'4 * world of old Hollywood. But it
,

That's part of the fun of being Joe Bob. r . wasn't like there were images or
Everythingabout Joe Bob is mischievous. it ."' . ,‘_, ‘ tr‘ V, ideas in the movie—it was a great
starts out from just the things you do when you're fourteen ,' movie. don't get me wrong—but it
buse
years old you want to piss people off. That's the
first impulse of Joe Bob.
The first column was a movie mlled The Grim Reaper. an watched.
'
j / wouldn't have shocked anybody
that's watched all the movim I've

ltallan cannibal classic about this mutant that lives on an
island in Greece and eats tourists. The great—-what's the
name of the director—he has many different names. His
real name is something like Aristides Mastakeshi-keshi-
kahi. this name with about forty letters in it. But when the
movies are released in America. it says something like.
“Directed by Joe Smith." They change it to some generic
Amerimn name so that you won't know—they think you
won't k11ow—that it was made in Europe.
lt's just like those movies by Lucio Fulci. He's an ltallan
horror director. And his idea of making his movie commer-
cial in America would be to have all these ltallan actors in
an ltalian setting. and he would put on a table at breakfast
a box of Kellogg's Corn Flakes. thinking that would con-
vtnce people that it would be set in America.
WIP: The question that's been foremost in our readers‘
mindsfor. oh. at least the iastjew minutes. is: is David
WIP: You're on every Saturday night on The Movie Chan-
nei, where you show two B-movies every week.
JB: Uncut.
WIP: Do you think that network teieuison will ever attain
drive-in standards?
JB: No. ldon't think so. lthink they would like to. but they
have such a thing in America about nudity. l don't think
theyll ever have nudity—reai nudity—on t.he networks.
And it's amazing. because in Europe they already do. in
Europe you can have nudity. but you can't have violence.
In America it's the opposite—you can have violence but
you can't have nudity. if you could ever have both. the
networks could clean up.
Again, it's all howyou packageit. Because peoplewatch
these movies on my show. and they say. “They're full of sot
and violence. We would never show those shows.“ But if
you have a different kind of movie with the same stuffin it.
‘Wmppd tn Qilutu '7
 or you have a diiTerent
attitude towards it. or
you just like the movie.
you can say. "it's full of
romance and aduen-
ture." Same thing. it's
just that one is a judg-
mental. negative way of
looking at it. and the
other one is a positive
wayoflookingat it. But
it's the same thing.
WIP: Some people
thought that the Twin
Peaks show pushed
things as jar as could
be pushed in network
television. where they
had everythingfrom in-
cest to extreme violence
t 0
what-
EUCT.
JB: Well. ldon't think the subject matter
was what bothered people. l don't think
the subject matter was what caused Twin
Peaks not to make it. it was the format.
with people feeling that if they watched
this week they might have missed out on
something because they didn't watch the
last time. ldon't think that fonnat can last
long the way TV is done now. especially
when people are not even at home at the
same time every week anymore. lt's very
dillicult to establish any continuity in a
show. The only kind of show that works on
the networks is a show that is pretty much
the same show every time. lt starts. it has
a middle. and it ends. And no matter
which week you watch it. you have just as
much information as everyone else.
WIP: Shows where you can watch them in
any order. and it doesn't matter.
JB: Twin Peaks should have been on cable. I'm surpsed.
l think it would still be running if it were on cable. There's
a lot of stuff that should be on cable. Gary Shandlings
show is perfect for mble—his new show. the Larry Sanders
Show. Certain types of movim should be on ble. They
work better on cable.
Another of my pet peeves is when they buy movies for
the basic cable system like USA Network that have nudity
and violence in them. and they cut out the nudity and
violence. What is the purpose of watching Nightmare
Sisters if nobody takes their clothes ofl? What are you
watching it for? The story of the nightmare sisters? But
they do that all the time on the USA Netvmrk. That's like
R-rated sot films. Who watches those? Why do they still
make those? But they do. iey make those all the time.
They'reon the channel herein the hotel. That's gotta be the
most fnistrating thing in the world. If you're gonna make
a sex film. make a goldurn sex film.
WIP: You mentioned earlier that your columns quickly
began to expand beyond the basic movie reviews and get
into social commentary and political satire and the like.
Your new book. lron Joe Bob. is a manyesto for men's
8 ‘Wu-Hal 1- 9°!-us
rights. What got you interested in the movement?
JB: Well. the thing l've written about more than any other
single thing over the years has been the relationships
between what l call the “assorted sexes." You know. male-
female. male-male. female-female. and all the other com-
binations t.hat we won't go into now. And the inability of
anyone to have any kind of satisfaction in any kind of
sexual relationship—it's like. marriage is a good idea. but
not for this century. lt'sa rich vein ofmaterial because the
rules change all the time. l discovered two years ago-
actually earlier than that. I think about four years ago—l
wrote my first column on the fact that it had become hip to
be lesbian. Like somebody woke up one day and decided.
“I'll be a lmbian today." And you had people deciding to
“turn lesbian“: “No. l becamea lesbian.“ And you had this
thing out in California called the Lmbian Baby Boom.
which lwrlte about in the book. where lesbians were going
down to the sperm bank and saying. “Give me some of that
icky stuff that males make so that we can take it home and
have a child together." And l thought . this is going to cause
all kinds of problems. because some kid is
going to grow up in a line lesbian house-
hold. only one day he's going to look
around. and he's going to say. “Mommy.
there seem to be more pairs of pantyhose
in our house than other housa.“ The kid
is going to know something is not quite
right.
What l did is l took all this material and
gathered it together in iron Joe Bob. And
also. l thought Bobby "Tom-Tom‘ Bly was
ripe for satire.
WIP: The book is dedicated to him. Who Ls
Bobby Bly?
JB: He wrote a book about two years ago
called iron John. which was the Bibieof the
Wild Man movement. or the men's move-
ment. or whatever. where business men
go out in the woods. and cavort around.
nekkid. wearing jock straps. to prove that
they're not wimps. The book is structured
exactly the way his is around a fairy tale.
His whole book is based on a fairy tale.
which he says re-
veals the processes
of manhood. And
so my book is based
on a fairy tale of the
Krankaway lndians
of West Tatas. And
l go through all the
various phases of
manhood. And
womanhood.
WP: Before we get
into those phases.
one of the state-
menis ofthe bookis
that all men are
weenies and there
can be nohope until
we come out and
admit to that. So
why are aii men
weenies?
JB: Why are they Weenies?
WIP: Haue they always been weenies—
JB: No. no.
WP: —0r is this a recent development?
JB: It happened about 1978. Ever since then—you have

\
to think of ii this way. Men are America. and women are
Japan. Something happened in the eightim. and we just
lost all control. We weren't mrpecting it to come from that
direction. but it did. and it surpassed us. and now we're
number two. and there's nothing we can do about it. '2;
.
.
You see it in TV shows. In the 1950s. the father in the

Al
show was the source of wisdom. S0 ifa kid said. "Dad. I
have a problem ." we would wait to hear what Dad said. In
the nineties. in a TV show. if a kid says. "Dad. I have a
problem .' we know it's a set-up for a joke. Because Dad is
not ever going to have anything decent to say. or anything
remotely intelligent to say. and his basic purpose in the
series is to sit in the back room and rattle newspapers and
walk around looking stupid.
So something has happened not only to the general
image Of men. but men's self-image. in the eighties and
nineties. to where we assume that we're wrong. On
everything. You tell us that we're sexually harrassing I20
million women a year. and we go. "Yeah. God. igoltaftx
that. i gotta stop doing that. I'm sure i was harrasslng a
womanjust this morning." And we believe all this stuff.
anything you say about men: “They're all closet rapists."
“Oh. God. they caught meon that one!“ You knov/P "They've
run our government into the ground. Ifwc had had women
in those positions—" Everything is like. "It'syour fault. it's
your fault. it's your fault. " And we've come to where wejust
say. "Yeah. you're right." Usually. “Yeah. you're right.
honey."
WIP: in thebook. once weadmit that we'reweenies, there's
gélggsiep iron Joe Bob process that can get us out of this M R R0BE B LY.
g8: mu .d$n;| h;1'vtE:to‘b;aBwett:‘r'ii;. The gve
wea g en ryn can ona
sytrages
om om.an
Ripping Your Shirt Off Even if it's Expensive. And the
purpose of this is to get back to youraricient caveman self.
Because you have to ask yourself the question. “What did
the caveman have that I don't have?" And the answer is a
i°ng_ rigid speai-_ And so whafs missing is your aiicicni
0N J0E B0B
A !
The real ioundar oi the Men's Movement is Joe Bob
spear. Maybe missing is not quite the right word. Maybe Briggs. famous drive-in iIi0iIi8 IBVIBWET illil TEXZIS sage.
y<>""'¢ Just broken your 5P°al'- or "'5 B lilll S°"- 0' "'5 who now publishes his take-no-prisoners spool oi the
sagging in the middle. or you just don't know how to use
movement. The result oi years oi male encounter
. Th thi . ' ba k . .
it your
with C important
spear. So I ng ls you
teach to gm
you Va to gm
touch C m touch
your spear. After groups held in various Texas topless bars,
men go through this program. most of them want to touch /""7 J99 BM will leave You |3“Uhl"§ '97 hours-
their spars all the time.
Not only that. but when I first went through the pro-
gram. I felt so manly after getting through it that I didn't
want to bathe for two years. Normally I want to bathe every
two weeks. So it'll change you that much.
WIP: Tying this in with your movie reuiews—are there any
the maniyjiimmakers and actors that can guide us in this
direction?
JB: Well. uh. Arnold the Barbarian. Actually. lwould have
said Arnold the Barbarian. but. ifyou'li notice. even he has
been affected by weentedom. because in his latest movie.
Terminator 2. Linda Hamilton becomes more of a Termina-
tor than the Terminator! She's the one who greases up her
body and starts firing the machine gun!
I used to get these letters all the time saying that all the
movies I celebrated were demeaning to women. because
(WIIPFIJ Ln £P[-rm 9
the women were just two-dimensional cardboard charac- trying to figure out another way to have her back on the
ters that were used to make the men look good. So what show. and I did figure it out. We're going to have an
do we have novl/P Thelma and Loubei A movie in which all Emmanuelle month nextyear where we're going to show as
the men are two-dimensional cardboard characters to many Emmanuelle movies as we um in one month. And
make the women look good! So everything has turned she was Emmanuelle 5.
around. WIP: Any famous last words to impart?
Still hanging in there is Charles Bronson. He doesn't JB: I‘m going to be doing a Iot more stuif on Showtime as
make that many movies any more. but he makes maybe well in the coming ymr. There are places in the country
one every two yrs.
Getting up there in age. but he can where you am‘! get The Movie Channel. and so I'll bedoing
still do it. some of this same kind of programming on Showtime.
WIP: Igured maybe John Boorman or John Milius. Oh. and go buy the book!
JB: John Milius...that‘s true. John Milius is the ultimate
man's director. Big Wednesday to me is the Bible of male To discuss the meaning of life. or to receive a free sample
filmmaking. That was Gary Busey and William Katt and copy of Joe Bob's great newsletter We are the Weird. write
Jan-MichaelVinoentin the ultimate——it's about Viet Nam. to him at P.O. Box 2002. Dallas. TX. 75221. Tell ‘em
surfing. and coming of age in the Viet Nam war era. And Wrapped in Plastic sent ya 'i
it's like one of the greatest movies ever made. So ya. I love
John Milius.
WP: ldon't want to get too mystical here. but in the book
there is theKran.kaway Indian legend Qfthe young boy who
is aided by lron Joe Bob. Do we each have tond our own
personal lron Joe Bob. or is there only one lron Joe Bob?
JB: The answer is. there are two answers. There are many
answers to that question. We find our own personal Joe
Bob first who leads us to the real Iron Joe Bob. For
example. my personal lron Joe Bob was my father. and we
should listen to the wisdom of our fathers more. Because
my father said somethin to me that I'll never for et. He
said. “In or out. in or out.gWe can't air condition thi whole D
world." And it's true: we can't air condition the whole
world. And if we would listen to more of this wisdom from 81
our fathers. we would t farther towards becomin real
men and not being weegrfies all of our livm. g
WlP- Is it possible to become manly by skipping the lron Joe
Boblprocess and just watching. over and ouer and over.
movies like the rst Conan film. Mad Max. and Blade
Runner?
JB: Yeah. or you (an just do what we used to do at the
Kamikaze Swill<and-Spill Weekend at Ole Miss. which is FOR FREE Us-r’ SEND A SELFADDRESSEDI
just drink thirty-six beers. That’Il have the same eilect. STAMP NVE P To.
WP: When does the movie version of Iron Joe Bob come ED E Lo E '
out. and will Monique Gabrielle

;;‘,;2Y,;,§§°"” 46702 CAMELIA

JB: We got more mail
than for anyone we've ever
had on the show.
I am working on a movic.
It's not an lron Joe Bob
m°v|e_ but jg gs in dud, [SINGLE PEEK continued from page 4]
any lesm realistic than what we saw in Pretty Woman? I

;
opment at Columbia/Tri-
Star. and I should be well
along on it by the spring
and hopefully. within a
‘I year. do it.
i
WIP: So it's in the
screenwritingstage now?
M50.” ~<"‘_i’ JB: Yeah. I'm stillwriting
‘~* Q - to ~*fm._,,.q.'\“-f"' '_ the script. but it isa firm
deal. And I would love to
\ 0 doanythingwith Monique
Gabrielle. She wants to
K
don't think so.
Nothing Lynch presents is all that far from the reality
we live in. He just lets the characters‘ psyches (including
ours) become intertwined. which. to me. is geat fun. and
great use of the film medium. I wouldn't have needed to be
reminded of life's darkness. or of "good" things containing
“bad” and vice versa. on a weekly basis. But if Lynch
presented a fraction of these ideas in the TV show. I'm
shocked that it lasted as long as it did.
FWWM showed me what some of the hype may have
been about and certainly reinforced by ever-strengthening

" " ,

l come back on my show conviction that life isa mystery: frightening. fun.inconcIu-
A/Ar<A/ , as many times—I've been sive. and full ofopportunities to “read it" however we want.
10 (Wmpp|J in {Pl-an
 The Twin Peaks Character Chart
After the pilot episode of Twin Penis had ended.
viewers found themselves confronted with a myriad cast of
characters. many of whom were overtly or covertly con-
nected to one another. No one could predict. however. that
this initial introduction to the denizens of Twin Parks was
just the tip of the iceberg. What followed in the ensuing
weeks was a continuing build-up of characters. relation-
ships. and plots; all of which crowded and complicated the
landscape.
David Lynch. Mark Frost. and the other writers obvi-
ously delighted in expanding and convoluting their plots.
for new characters and relationships were revealed every
week. sometimes at a breakneck pace. Lynch and Frost
were emulating as well as sattrtzing a full spectrum of
genres. not least of which was the soap opera. (invitation
To Love - the show within a show - served as more than just
comic relief: it was also a metaphor for all that was
happening on and oil the real TV screen.) Consequently.
soap-like relationships and the dirty dealings that came
with them were prevalent throughout the run ofthe series. ‘ Peaks universe (i.e. immediately following the last epi-
To see just how complex this eruption of characters
became. we prment a character-relationship chart on the
following two pages. it shows all the major 'l\nrin Peaks
characters and how they are related. This chart was rst
developed in response to charts that appeared in People
Weekly (5/ 14/90) and Newsweek (5/7/90). Because the
charts that appeared in these magazines were incomplete
and inadequate to handle the changing Twin Peaks Uni-
verse. we were determined to create a better one. The
creation of the chart we present here was dynamic; it
changed from week-to-week as new episodes of Twin
Peaks aired. The result of our effort is a "snapshot" of every
major diameter from the town 0f'l\|vin Peaks and beyondi
There's no question that the chart appears over-
whelming at first. But it plainly shows the multitude of
plotsand characters in 'l\vin Peaks! The chart has evolved
as the series progressed. After each episode. new charac-
iers were added and their status wasupdated(i.e. whether
or not they had died - or in the unique mse of Andrew
Packard. come back to lifei). New relationship lines were
also added and old ones were changed as needed. The
chart was updated this year to show new situations and
characters introduced in the film. Fire Walk With Me.
Many people saw the chart as it progressed through
the second smason of Twin Peaks. Most had questions
about its logic and layout. specifically about why certain
characters were (or were not) connected to others. in order
to better explain the methodolog' used in creating and
maintaining the Twin Peaks character chart. we provide
the following list of reference notes. We hope these notes
will helpanswer someofthequestionsyou may have about
why things are the way they are. lf you have additional
questions. write to us. We'll be happy to reply through the
lellef page!
"0133
1) At first every major and minor character was
depicted on the chart with the rule that the lines connect-
ing them were not to cross. As the TP universe became
more complex. certain minor characters were dropped
(Lucy's sister. Toad. etc.) and some lines were forced to
cross to keep the chart from becoming too unwieldy.
2) Only four types of relationships are shown (Busi-
ness Relationships. Personal Relationships. Past Personal
Relationships. and Blood or Marriage Relations). Lines
depicting these relationships show the crudal bonds and
interconnections between characters, and establish some
sort of order and clarification to the world of 1\wtn Peaks.
A personal relationship is a euphemistic way of depicting
an affair or sexual relationship. it does not includesual
acquaintances or friendships. since attempting to do so
would result in an overly complex and unreadable chart.
We assume that friendships such as those between Donna
and Laura. or between Mike and Bobby. are accepted and
understood. In addition. friendship is more dillicult to
measure or define than other relationships. On the other
hand. a businms relationship is evident by transactions of
money. contracts. or an official hierarchy; and a personal
relationship is measured by sexual or intimate contact.
3) The chart shows the current status of the Twin
sode). It also includes characters from Fire Walk With Me.
Because the last episode ended with unresolved plots. and
the fates of some characters remain unknown. we have
chosen to depict those characters involved in cliflhangers
(Ben. Leo. Audrey. Andrew and Pete) as ‘possibly dead.“
The same is true for Windom Earle. Though it appears
BOB kills Earle in the last episode. events that transpire
within the Black Lodge/Red Room are unpredictable and
mysterious: therefore we have chosen to depict Windom
Earle as "possibly dead." Finally. the chart shows BOB
connected to (or possessing) Cooper. (ln previouscharts he
was connected to Leland.) We realize that Cooper could be
trapped in the Lodge (as Annie indicates in FWWM) and
that his doppelganger may have taken his place back in the
real world. Since the facts surrounding this situation are
extremely unclmr. we've chosen to depict BOB as possms-
ing Cooper.
' 4) All legal and illegal business relationships are
shownwhethertheyarecurrentisuch asRichard Tremaine
working for Ben Horne at the Home's Department Store) or
past (such as Emory Battis working at the same place).
These lines serve as a reminder of who worked with (or for)
whom.
5] We've chosen to connect Dr. Jacoby only to those
characters he treated on a regular basis (Laura. Johnny
Horne. and Ben). Jacoby is not connected to Nadine or
Bobby. since he was involved with them professionally for
only a short time. Jacoby's connections are business
relationships.
6) The connection of Madeleine's mother. Beth. to
Leland (as his sister) is an edumted guess. Sarah Palmer
briey refers to Beth in the second-season opener. Her
attitude seems distant. implying. perhaps. that Beth is a
sister-in-law. not her actual sister. (This is a guess only.
however.) James's mysterious and confusing parents (did
his mother actually come back?) are depicted as question
L
marks. They seemed like potential characters who might
have been introduced into the story at some later time.
This plot was clmrly abandoned early in the second
season.
'Wm”»J in [PI-no fl
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 CHECKLIST OF TWIN PEAKS
MAGAZINE ARTICLES, PART 2
Here is the conclusion of the list of Twin Peak.s- and May 7. I990
David Lynch-related magazine articles and appearancm TP article (.5 page 46)
that we hope will aid Ians in locating additional inIorma- NEW STATESMAN Q SOCIETY
tion. The first half of the list appeared in WIP I. May I l. I990
As menUoned last issue. any such listingofmagazines TP article (.8 pages 42-43]
is bound to begin some debate as to exactly what counts October I2. 1990
as a "magazine" as opposed to. say. a weekly “newspaper” TP article (l.8pp]
(such as the Village Voice]. For our purposes. we are December 21. I990
counting weekly and monthly Voice-type publications as TP mention (page 48)
magazines. II. as this list expands. that placement makes NEWSWEEK
the list unwieldy. we will reconsider. April 9. 1990
Because the release of Wild at Heart overlapped Twin Lynch article (3.33pp)
Peaks. some of the articles below will cover mostly one April 23. I990
project or the other. We have tried. where practical. to note TP mention (I paragraph page 6)
the items that are not primarily related to Twin Peaks. The April 30. I990
amount of space listed in parentheses includes photos. TP article (.25 page 6)
which accompany most items. Finally. items preceded by May 7. I990
a star (') are those that we have not actually seen Ilrst- TP cover mention & article (2pp)
hand. so the infonnation for these may not be completely May I4. 1990
accurate. ll’ you have any of these starred items. please TP mention (I paragraph page 8)
send us a photocopy of the relevant pages so that we can TP article (.5 page 80)
update this list in a later issue. May 21. I990
As we go to press. FWWM isjust opening in England. TP article (.25 page 8]
which is sure to produce a number of articles and reviews May 28. I990
in British magazines. In future issues of this magazine. we TP article (.40 page Bl
will continue to list magazine appearances as we lmm June 4. 1990
about them. Lynch/WAH article (I.33pp]
September 3. 1990
Abbreviations: TP mention (I paragaph page 6)
TP - 'I\vin Peaks October I. 1990
'l‘P:FWWM - 'I\vin Peaks: Fire Walk With Me TP article (lp)
IS - Industrial Symphony November I9. 1990
LLM - Love. Lies and Murder . TP article (lp)
OTA - On The Air December 2. 1991
WAI-I - Wild At Hmrt MaeLachlan mention 61 photo ll paragraph page 88)
January 20. I992
MOVIES (North Amemn Edition) TP article (1 paragraph & photo page 4)
#2 August I992 March 16. I992
MacLaehlan cover (part) 6: Rich in Love article (Spp) TP:FWWM article (.25 page 75)
MS. MAGAZINE NEW YORK
November/December I990
TP article (3ppI
M TI-IE CIVILIZED MAN
August I990
MacLachlan cover & interview (2pp)
NATION
June I1. I990
TP article (.25 page B08)
NATIONAL REVIEW
October 1. 1990
WAH cover: Lynch articles (4pp)
NATURAL HISTORY
September I990
TP article (2pp)
NEW REPUBLIC

I4 "W\-"J 1.. Splnul 1

 Lynch cover mention & interview (7.33ppI
Si'li.‘.i1YR Pill \ M §§;:f,f,e“f,99o
"WW V 4 > l K‘? " WAH cover mention 6: Lynch int (4ppI
‘
Dern interview (4pp)
‘V June 1992 (V. 5 0101
Q,
'_,,-__

4 kg
A TP:FWWM review (i paragraph pagc 1 14)
~ “ “ PREVUE
: } , #83 March/May 1991
i ~ ' 4., Fenn interview (3pp)
" ' ~, PRIME TIME

s i
“
@-
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?Q'i*"Ȥ.@~ ~

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TP cover (part) & article i3pp)
PULSE
;; ‘
'

August 1992
i.;_,, _‘
Isaak/TP:FWWM cover mention 8: article ilp)
April 9. 1990 RADIO TIMES
TP article (.75 page 90) October 1990
May 7. 1990 Fenn cover & TP article (3ppI
TP cover & article (7pp) REDBOOK
July 2. 1990 October 1990
Fenn cover & pictorial (2ppl Lipton cover (part) & interview (2ppI
NEW YORKER ROLLING STONE
April 9. 1990 0574 March 22. l99O
TP article tl.5pp) Lynch cover mention 81 interview (3.25pp)
September 10. 1990 0576 April l9. 1990
TP article ll-Zpp) TP mention ll paragraph page 37)
December 17. 1990 #586 September 6. 1990
TP article (1.33pp) Lynch cover mention 8: interview l6.25pp)
PACIFIC NORTHWEST WAH review (lpl
‘March 1990 #588 October 4. 1990
TP (page 83) TP cover 81 articlc l6.25pp)
PARADE MAGAZINE #590 November 1. 1990
July 1. 199° IS review (l paragraph page 99)
Lipton interviewilpl #593/594 December l3. i990
September 8. 1991 TP cover photo (part) 81 mention (page 28)
TP article (.25 page 20] #639 September 17. 1992
May 3. 1992 TP:FWWM review (2 paragraph page 103]
Von Dohleh lnlervifrw l-4P] Storyville review (2 paragraph page 103)
PEOPLE WEEKLY 31¢};-[T Am) QQUND
April 9. 1990 May 1991
TP review (-33 page 3) . TP mention (page I7)
April 30- 199° November 1992
Laurie article (3pp) FWWM review (l.25pp]
May 14- 199°
TP cover mention 61 article i6pp)
an mourn
y71 July 1992
S¢Pl¢"'lb°l" 3- 199° Fenn cover & interview (5ppl
Fen" cover lparll & I-ynvh Int i4PPl 074 October 1992
5¢Ple"'lbe|' 10- 199°
Badalamenti article l2pp)
December 10. 1990
Y
Ashbrook article

Ferrer article (2pp)

December 31 . 1990/Jan 7. 1991
TP article ilp)
February 25. 199]
Lee article l2ppl
May 18. 1992
TP:FWW'M photo & tnption. + OTA photo 6: caption
September 21. 1992
’l‘P:l"WWM review(.5 page l8]
PLAYBOY
December 1990
Fenn cover photo & interior pictorial il0.33pp)
Fenn. MacLachlan. 6: WA]-I photos [.33 page 178]
February 1991
(Wt-Hal 1- LP!--in 1 5
 June 9. 1990
TP letters to editor (.25 page 46)
1n1 ~
July 7. 1990
TP cover (part) & several mentions (pages 4-7)
TIEIITNIIE
July 28. 1990
rum ennui! .
TP soundtrack article (.25 page 23)
TP actors article (lp)
September 8. 1990
TP cover & article (4pp)
‘September 15. 1990
TP mention (pag 3 and 127)
October 6. l99O
TP article (.5 page 8) & ad (.5 page 73)"
TP letters to editor (.5 page 41)
October 27. 1990
Beymer article (.33 page 24)
TP article (.25 page 31)
SOAP December 1. 1990
#48 October 16. 1990 Tp anlck u_5pp)
TP cover 81 article (44-pp) December 15_ 1990
srmurwoon AND '1wen'r1r-om: Tp mm: (_ 17 page 40,
"1 199° December 29. 1990
All-'l'P/ Lynch fanzine (32pp) 1-p 3|-“dc L50 page 47;
Sm“ TP letters to editor (.50 page 45)
August 1992 February 9. 1991
TP cover mention G1 Ashbrook article (.66 page 70) Leg Nude (zpp)
9" February 16. 1991
Lee mention 61 LLM photo (1 paragraph page 39)
November 1990
TP cover mention & article (.6 page 26) LLM photo (page 81)
51‘-‘uu'°° February 2s. 1991
H81 August 1992 TP mention (page 26)
3 photos 81 caption (pages 6-7) March 23_ 199]
TIKKUN TP mention (page 37)
November/December 1990 APr“6_ 1991
Lynch muck l3'5Pp) Buchanan article (.5 page 26)
Tum 'r1> article (.33 page an
AW" 9- 199° April 27. 1991
T? article app) TP cards article (.33 page 42)
May 21. 1990 May 4_ 1991
T? ankle “'33PP) TP mention (page 43)
October 1. 1990 May 25_ 199]
Lynch mver & ‘mervlew (599) - Chen photo Bl caption (.4 page 28)
December 3. 1990 June 8_ 1991
TP 'evlewl'17 Page 38) TP article (.17 page 39)
December 31. 1990 July 6_ 1991
TP mention (1 paragraph page 44) mcnmm (page 5)
-I-P

Apr“ I‘1991 TP article (.4 page 23)

TP memm“ (1 paragraph Page 1°, TP letters to editor (.25 page 34)
June 10. 199i
TP mention (1 paragraph page 10)
‘IV GUIDE
March 24. 1990
Beymer article (.5 page 33)
April 7. 1990
TP article (4.33pp) & 4 full-page ads E:‘*“”.a‘¥~‘»'5

April l4. 1990

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TP mention (twice. page 6)

April 21. 1990
TP article (.65 page 41) 61 ad (.5 page 175)
May 5. 1990]
TP cover mention 81 article (Bpp) 81 ad (.5 page 197)
May 12. 1990
TP review(1p)& ad (.5 page I76)
TP letters to editor (.33 page 53)
American Chronicles article (.4 page 49)
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September 28. 1991 TP article (.5 page 14)
'1‘P article (.33 page 33] July 9. 1990
February 8. 1992 TP article (.33 page 681
'1'P:FWWM article (almost 1p) VARIETY
September 19. 1992 ‘Apr1l 4. 1990
TP:FWWM article (.25 page 4) TP review (page 48)
1‘V HITS ‘October 8. 1990
‘September 1992 TP review (page 63)
TP May 18. 1992
TV ZONE 'I‘P:FWWM review 81 photo (.5p)
019 June 1991 August31. 1992
TP cover 61 article (4ppl TP:FWWM (1 paragraph 61 photo. page 10)
026 January 1992 September 7. 1992
Cover mention 61 complete episode guide (7pp) TP:FWWM mention (pages 8 81 12; + ‘Jersey Girl‘
‘#27 February 1992 review)
Struycken article VIDEO WATCHDOG
TWIN PEAK! GAZETTE #2 1990
0 1 February. 199 1 TP cover 81 articlm (l8pp)
Olcial TP tabloid magazine (BppI VILLAGE VOICE
02 March. 1991 ‘April 10. 1990
(ditto) TP (page 33"] (9 pages]
#3 April. 1991 ‘November 27. 1990
(ditto) TP (page 57)
U8 ‘Deqrmber 18. 1990
#128 May14. 1990 TP (page 59)
Fenn article (.50p| ‘June 11. 1991
Machachlan interview (2.5ppI TP (page 51)
0129 May 28. 1990 VOGUE
'1'P cover 81 article (6pp)
#131 June 25. 1990
K. Robertson photo 61 caption
#136 September 3. 1990
TP cover mention 81 Fashion pictorial (7pp]
#144/145 December 24. 1990-January 7. 1991
TP photo 61 mention (1 paragraph page 25)
0152/15:: April 18-May 2. 1991
Ashbrook. Amick. Boyle. J.Lynch photos G1 captions
1"
(2pp)
#173 June. 1992
'1'P:FWWM mention (page 42)
US NEWS K WORLD REPORT
April 16. 1990
Lynch article (.2 page 16]
April 23. 1990

m/..;.,..J 1.. :P:...u. 15

September 1990 ENTERTAINMENT WEEKLY
Chen article (2pp) #124] I25 June 26. i992
WONDER Lee article tlp)
#5 #127 July 17. 1992
TP article (3pp) Cruise article (.25 page 8)
WRAPPED IN PLASTIC #132 August 21. l992
#1 October i992 TP:FWWM article (1.33ppl
TP magallne (24pp) FANGORIA (Correction)
#2 December i992 #115 August I992
You're holding itl (28pp) TP:FWWM article (.8 page l0)
FILM
ADDENDUM TO ‘August I992
WIP 1 LISTINGS TP
FOR HIM MAGAZINE
CINEMA PAPERS August 1992
use August 1992 Isaak cover & article (part FWWM) Mpp)
FWWM cover and article (6.25pp) GLAMOUR
CONDE NASTE TRAVELER May i990
October 1990 TP article (lp)
TP article (lp) G9
DARK SIDE March 1990
October l992 TP article (2.33pp)
FWWM article (.5 page 6-7) I-lARPER‘S BAZAAR
DETAILS March I990
September I992 TP article (l.2pp)
Lee interview (2ppl INTERVIEW
DETOUR August I990
October 1992 Chen cover mention & article (Bpp)
MacLachlan cover 8: interview (9pp) MADEMOISELLE
ELLE September 1990
May 1990 TP article (3.33pp)
TP & Fcnn articles (3pp) METROPOLITAN HOME
EMPIRE June I 99 I
‘July I992 TP furniture article tlp)
TP MOVIELINE
‘October 1992 ‘September 1992
TP cover (part) & 3 photo gallery pages Von Dohlen article ilp)

WIP Looks at the Twin Peaks

Collector's Card Set
ln April. 1991. Star Pies re-
leased the Twin Peaks Collect-
ible CardArt set. The company
had only been around since 1990.
when they released the first of a
series of draft pick sports card
».\
" ~._ sets. The cards are standard 2
1/2' x 3 l/2‘. with full color on
= __. .
general oversight to ensure that the cards were consistent
with the issence of Twin Peaks. Star Pics (who actually
made the initial contact and proposal to create the cards)
chose which photographs they were going to use and wrote
the card backs.
The cards themselves are of mixed quality. The
"portrait" cards are extremely nice. but many of the cards
depicting actual scenes from the show (about a fourth of

’=I- . K

both sides.
Althougha fewTPcardswere
released as individual promo-
tional packs. all of the retail sales
5 consisted of complete 78-card
boxed sets. Lucky purchasers
found randomly-inserted auto-
graphed cards.
The set was a co-operative
project between Star Pies and
Lynehl Frost Productions. who
provided the photographs and
18 'WmH>|J Ill 93!-nu;
the set) are slightly blun'y. as if they shot the photos
straight off a television screen. Since the otherrds are
sharp and clear. this is probably Lynchl Frost's fault. The
backs of the mrds include black-and-white negative pho-
tos of the fronts of the cards. beautifully capturing the
offbeat. dual aspects of the show.
As for individual mrds. several are exceptional. such
as BOB. Leland. the Log Lady. Dr. Jaeoby. Jerry Horne.
Jean Renault. Mark Frost. and David Lynch. A few of the
cards we could have lived without: four trivia cards.
Cherry Pie (with recipe on the back). Fish. Pine Cone.
Coffee. and Speaker Phone. It would have been better to
 include mrds of the Little Man From
Another Place. Windom Earle. Gor-
don Cole. Harold. and Jacques. for
exam p le. '
‘g ~
3' ,,...
, .
'
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,

3
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The infonnaiion on the card backs 2\ ~¢)¢‘<““

‘Slow. ,_
gm
¢/I4
is generally well written and corre ' " ‘Q! s ("Iii
sponds well with the television show ;_ ;. -’ 4&5; ; M
and related tie-in books. Oneobvious wP\~~ "" ti ' . ~ 1; _Y,.--;{~,(*;.;.;g,~,;.
mistake occurs on card 67. which ‘ K; ’*’a:_",,_A.,.,
mentions that Windom Earle is being
l sent to'I‘win Peaks “to conduct an FBI
internal Affairs investigation on Coo-
. 2
' ' P“ ‘ *1
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5 w-{fl "'

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per“ for alleged“drug trafficking.“ An- , B ‘ F ‘H I

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other is on card 14. which lists Laura , ' v . ' f
Palmer as Prom Queen instead of V ' ‘
Homecoming Queen. ' . Q \ -. X
But despite the drawbacks. we Y. \_

generally like the set quite well. U :" - ' . ' -

2 .
i-u\»uu I
.

'_,. rvqr A

l
Star Plea ‘huin Peaks Promo Card
Last issue, we wrote about one Star Pics promo
l
featuring'l\vtn Pks. We've since learned about a second
Peaks promo card created before the release of the card
set. lt measures approximately 4' x 8 3/ 4" and featurw
~;=\¢
‘ the Cooper and Laura cards (except—and this is a little
strange—the background tree bark is different on the
Cooper promo card from the final Cooper card in the set:
why would they change this?). The backs have a few minor
chang from the final versions and a notable one: Cooper's
birthdate was changed from 4/ l9/56 to the correct date
. of 4/ l9/54.
Since Star Pics docs not sell these. your best bet in
obtaining one is to check with some card retailers.

Star Pics Releases Single Autographed Cards

In October. Star Pics~ began selling autoE1’ 3P hed
'l\vin Peaks cards individually. first announcing the
"lease '~° c“st°""@|'s “"h° had °|'d°|'°d the 5'35 dl"'?¢llY-
Since nobody at Wrapped in Plastic was fortunate enou Sh
to get any signed cards with our sets. we placed an order
lbemre Sm‘ Pics knew wh° we were °" that We had
already written a card review for this issue of WIP) to see
what they were like. We were extrcmelY PI ea scdl
Although some of the cards are a bit pricey - the high
quality is undeniable. All of the cards offered are from
the “portrait” mrds - so the front photo E1’ a P h Y is gene“
ally excdlent. The cards are sigied with blue Sharpie
pens (or equivalent) on the backs and aflixcd wi I h an
l
"authentic Star Pi"
gold label initialled by the Star Pics
employee who verified the authenticity of the signature.
The cards are then placed in a sturdy clear plastic sleeve
for protection. Also included is an 8 l/2' x l 1' Certifi-
Ca 1e 0 f A uthenticity that includw the buyer's name
and
the signature card name. Overall. this is an extremely
mm pl-escmauon_
The rds
were autographed at a Twin Peaks Wrap
Party in West Hollywood before the release of the original
card set. Obviously. supplim are extremely limited. See
the Star Pics ad on page 23 for information on how to
o rd er. These signed cards get our highest recommenda-
tionl
I
"Wu":-J In 93!-um 19
 ‘Films ww Feaes
WIP Reviews Every TP Book to Date!
TI-IE SECRET DIARY OF LAURA PALMER
by Jennifer Lynch
(Pocket Books. 1990. l84ppl
Laura Palmer's diary is. quite simply. a brilliant tour de
force depicting her slow. steady slide to destruction. The
book is so well written by Ms. Lynch of David.
plus writer/director of the Helena
starringSh
series is required for the
book to have a powerful
impact.
The book covers the fi-
nal flve ymrs of Laura's life.
beginning with her twelfth
birthday. when she begins
her joumal. We see her as
an almost happy and inno-
cent child. But hidden be-
tween the linm. barely per-
ceptible both to the reader
and to Laura. is a secret
time bomb waiting to ex-
plode. We immediately sec
hints: Laura's guilt over
her conviction that she is a
bad person; her preoccu-
pation with death; her disturbing dreams; and her obses-
sion with sacual matters. Obviously. something has gone
on before she started her journal.
From the beginning. the strong suggestion is that
Laura has been sexually molested. perhaps for many
yrs. ln her inability to deal with that reality. she has
created BOB. a long-haired. bmrded man who climbs
through her window and attacks her in her own room.
destroying all sense of security.
Her inability to escape the attacks leads her toa hellish
world of promiscuity. drug abuse. and depression. Ms.
Lynch's powerful writing provides us. in essence. with a
gripping horror novel at least as good. if not better. than
Stephen King's best. (Don't rad the book alone at night!)
BOB‘s attacks upon Laura emotionally drain the reader.
and as Laura battles against the demons pressing in upon
her. the struggle reaches almost epic proportions. One
finishes the book not only crying for Laura's plight. but
exhausted. as well.
Although the book stands on its own as a brilliant
work. it meshm with the scrim and the lllm. In fact. Sheryl
Lee. who played Laura Palmer. has often stated that she
used the book to get additional insight into her character.
Reading the book now. after understanding Leland's role
in Laura's abuse and dmth. provides even greater depth
into her situation.
Diary has proven to be quite a hit. When released. it
spent a number of weeks on the bestseller list. (We‘ll have
a full report nmrt issue.) lt is currently in its eighth
printing.
- l should mention two relatively minor flaws. First.
Laura has several entries after February. 1989. Since she
20 ‘Wt-pp‘-l in LP!-in.
3l».E@zPa£§>g7
died on February 23rd of that year. those writings would
not be possible. Second. the final entry. undated. men-
tions that she knows who BOB is (but do not give his
identity] and is giving the diary to l-larold for safekeeping.
in Fire Walk With Me. however. she gives thediary to Harold
before she nds out who BOB is (the night of the 22nd). It's
possible. of course. that she stopped by Harold's on the
23rd and made a final entry. mpecially since. in the film.
she does not take the time to note that she's giving him the
diary. Another visit. however. would diminish the drama
of the movie's scene where she leaves his house saying. “l
don't know when I can come back. Maybe never." The film
clearly implies that she never saw him again.
One other note. ln FWWM. Laura givm Harold the
diary bemuse “You made me write it all down.‘ But in the
diary. she doesn't meet him until August of l988—over
four years after starting the diary.
But admittedly l‘m nitpicking. The diary stands not
only as the best of the Peaks-related books. but as an
outstanding work of art in its ovum right. —CM
THE AUTOBIOGRAPHY OF FBI SPECIAL AGENT DALE
COOPER: MY LIFE, MY TAPES
by Scott Frost
(Pocket Books. 1991. l95ppl
The Secret Diary qf Laura Palmer figured prominently
in the unfolding Twin Peaks story and provided enlighten-
ing insight to the character of Laura Palmer. The Autobi-
ography of Dale Cooper. on the other hand. has no anchor
to the show's narrative. but like its predecessor. it does
provide unique and revelatory insight to the show's most
significant character.
This is more true today than when the book was first
released in April of 1991.
The Cooper Autobiography
takes on new relevance now
that Fire Walk With Me has
been released. Asthe book
suggests. Cooper's whole
life has been leading to-
ward the mysteriousevents
that manifmtod themselves
in Twin Peaks.
Written as a scri of
transcripts from tapes
made since he was thir-
teen. the "Autobiography"
tracts the life of Dale C00-
per from boy to man. His
first love. the death of his
mother. his college years.
and his eventual career as
an agent for the FB1 are all described. Throughout his life
mysterious events foreshadow Cooper's ultimate confron-
tation with evil in the Black Lodge. First. there are dreams
both he and his mother share—dreams that seem shock-
ingly familiar. Hts mother dreams of a "man" who is
apparently pursuing her. Later. the young Dale has a
similar dream in which the "man" attempts to get into his town. maps. lists of things to do and see. etc. Unfortu-
room. ln yet another dream. and perhaps the most nately the book's inconsistency makes it merely a novelty.
startling part of the book. Cooper's dead mother gives him adding little to the enjoyment of the series itself. lt'salmost

'.
a ring. When he awakens he Ls clutching the ring in his asifthe Twin Peaks ofthe Guide and the Twin Peaks of the
hand. Sound familiar? Add to that the mysterious “Blue television show are two different placm.
Man‘ who appmrs outside Cooper's window and Windom The authors painstakingly detail events such as the
Earle's apparent monitoring of Cooper's adult life (Earle Packard Passion Play (i) yet
recruited him into the FBI), and you get clues that may not mention only briey the Miss
add up to anything definite. but which mesh nicely with Twin Peaks Pageant. (Accord-
eadsting information from both the movie and television ingtovariousepisodes the pag-
show. eant was in its twentieth yearl)
Scott Frost (brother of Twin Peaks co-creator Mark Clmrly. this event was a eru-
Frost) dom a fine job recreating the Cooper character and cial plot aspect (albeit a silly 7 .
also capturing the “Lynehian" environment in which he one) near the final weeks of the
lives. Throughout the book Cooper encounters dead
bodies. people with severed body parts (hands. fingers.
ears). and a bizarre connection between sex and fire.
series. Details about the _'
Pageant‘s history and its past
participantswould haveadded
5.

::l
'“ ~ = I /' »

(Cooper's first sexual experience occurs duringabnrshfire more continuity and clarity to v ’ , I l

ignited by stray fireworks. another occurs at a college the Twin Peaks universe. The '-K "
bonfire. yet another with a gasoline-soaked arsonistl) Owl Cave petroglyph is repro- 3 '

Because all the entries are supposedly transcripts from duced in another part of the
Cooper himself. Frost has the difcult job of capturing the Guide. For something so cryp- '.
fCpe(
ii-lil
=

cadenm o oo r's re: Ky le MacLachlan's) delivery and tic. ominous. and secret to be
s peakin g sty e. e pu s it off surprisingly well. . blatantly displayed proves the -

There are problems with Guide crmtors were reaching

the book. however. and some for material - This theo W is
are far more than minor (such proven by other features which end up being space-fillers
as misspelling Albert's last rather than valuable information. such as a complete
name). The major mistake is listing of everything from the Double R Diner jukebox
the whole Teresa Banks in- songs.
vestigation: the discrepancies For the nitpickers (or attentive fans. whichever) many
between book and movie are inconsistencies pop up. True 'I\vin Peaks fans know that
almost too numerous to men- the famous “Gazebo” is located in Easter Park. But
tion . ( C : ncounter according to the Guide. it's in "Lower Twin Park"l?l And
Sheriff Cable, but that's where one would think to find the Timber Falls Motel (site of one
the similarity ends.) in the of Catherine and Ben's trysts and Phil Gerard's living
book. Teresa's body is found quarters) or the Robin's Nest Motel (Gerard's later hideout)
in a ditch. she worked at the in the Lodging section. They're not there. Streets are
Cross River Cafe. and lived in missing as well (like Riverside Drive. where Big Ed and
a lakmide cabin. There's also Nadine live). Though minor. these mistakes (and others
no mention of Chet Desmond too numerous to mention) prove that little effort was made
or Sam Stanley. in effect. to let the details of the sees deterrn ine the contents of the
Cooperconducts a completely Access Guide. —JT
different investigation from the one shovm in FWWM. ln
addition to these errors, the datm of Caroline Powell's TWIN PEAKS: BEHIND THE SCENES
murder don't match with what is described in the show. by Mark Altman
Cooper says she died “four years ago" (i.e. 1985) in the (Pioneer Books. 1990. l45pp)
television series. but the book places her death in 1979.
ten years before Cooper arrived in Twin Peaks. This book is really
Despite these quibbles and complaints. the book is a a mixed bag. it is filled
fascinating read. and more so now that the film has been with grammatical and
released. lfyou have not yet re-read The Autobiography of typographical errors
Special Agent Dale Cooper. do so — you're sure to get some and has absolutely no
surprises. (We have pictured both the American and order to it at all. Re-
British paperback editions.) -—JT member how. for high
school research pa-
TWIN PEAKS ACCESS GUIDE pers. you had to collect
[Pocket Books. 1991. 1 l2ppl your notes and refer-
ences on index cards
The Twin Peaks Access Guide is an intriguing idm and turn in your stack
because of its unique concept. The book is written by the of cards with your pa-
same people who have produced Access Guides for real per? Imagine taking
places such as San Francisco and Paris. The Twin Peaks yourindmt cards. shuf
Access Guide follows the same format and style as the true- ing them thoroughly. A .' X

life guides. lt's chock full of detail. including history of the and then writing your ““" ' ~ Q‘ _"

‘Wm/¢|J in [Pl-nu 21
paper based on whatever order the cards were in. Expand
the paper to book length. and you have Behind the Scenes.
The disappointingthingis that if you're willing to wade
through the unorganized mess. there are some real infor-
mation gems inside. Although many of the show's
participant's quotes are simply lifted from earlier inter-
views. many quotes were new to us. particularly by several
of the show's directors and writers. And Altman had direct
contact wim at least one actor. Miguel Ferrer (Albert
Rosenfield). who provides some great behind-the-scenm
insights.
The book also includes a number of black and white
photos and an episode guide through l2/ l / 90. A revised
edition. Twin Peaks Revisited. was announced for release
in November. 1992. but so far we haven't seen it.
Although the book's the lack of organization will drive
you crazy. Peaks fans will still want to own a copy. —CM
A TWIN PEAKS INTERPRETATION
By Patricia Shook
(Pilgrim Printing. 1992. l3Opp)
This trade paperback. relmsed last month. is a genu-
ine labor of love containing three sections: the main text.
an episode guide. and a cast list with brief biographi.
The bookisbilled somewhat inaccurately asan “inter-
pretation" and an “allegory.” The goal. states the introduc-
tion. is to present Twin
Peaks asas h owa ea o
its time. but not for the
hdf . q
L
l
relating events in the present tense (there are a few
annoyinglapses into past tense) while possessing thoughts
on the mid 90s. ls the book's “present” 1989 or several
years later?
My guess is that the ‘allegory’ provid a structure for
presenting Ms. Shook's commentary on the show by
allowing her to become a “visitor” to Twin Peaks. My
preference would be to jettison the pretense of an allegory
and just write a straight commentary on the series. What
few commentsare madeareoften interesting: thestoplight
as a symbol of should / shouldn't and good/bad; the water
in Leland‘s death scene as representing baptism ta well-
known symbol of death and life). More of these comments
land more in-depth analyses of them) would have greatly
improved the book.
Although Twin Peaks interpretation is another mixed
bag. l would recommend it if. for nothing else. the numer-
ous black and white photos. a number of which ihad never
seen. and the ocsional fascinating observation. —-CM
WEIDOME TO TWIN PEAKS: A COMPLETE GUIDE TO
WHO'S WHO AND WHAT'S WHAT
by Scott Knickelbine
(Publications international. 1990. l28pp)
The summer of 1990 was a happy time Twin Peaks
fans. The first season had ended with a bang [no pun
ilfif
secon d -season prem ere e ansgi ddwithy tiiti
intended). and news that David Lynch was directing the
an c pa on.
While we waited for more episodes and hoped for some

reasons you may think. answers to our qugs tions we ha d only videota pe co P ies of
_

TP isdescribed asa show .,.m:wn\m\0~ the first season to satisfy our TP hunger. Then this little
espousing conservative paperback book popped up in storm from coast-to-coast.
values and morality. Be- ‘ Bi PATRICIA SNOOK Welcome to Twin Peaks contains an overview of the TP
causeof the public‘s gen- phenomenon. profiles of the main characters. a concise

P
.. ._

eral moral irresponsibil- ‘I summary of each episode. and information on Lynch.

r
I

ity. they couldn't accept ' Mark Frost. and other behind-the-scenes personalities.
the show. particularly ‘\
But one glance and you know that Welcome to Twin
when it was broadcast Peaks was a rushed and simple affair. Writer Scott
on Saturday. the night of
.5 in. .
This is certainly a L“ "‘
f
‘"‘"““‘" ' W" "W M" ‘
Z in
tolend somecredibility to the
unique‘ H’ not bizarre‘ L 90'! P(l$0I'S VIEW OI ill! He also lapses H-no
explanation of why the sophomoric descriptions
show failed. Ancxtended livmou Sim“
5
themain charactersand their
argument would be fas- situations. (“James must
einating to read. The L .. . . ._.._~ avoid the wrath of
book. however. rarely returns to this thesis. whether by for
allegory or otherwise. in fact. the extent to which the book Bobby Briggs")
is allegorical at all is somewhat debatable. on the one hand Welcome to
What we have. essentially. is a sixty-three page illus- Twin Peaks extols the many
trated retelling of the series. interspersed with ocmsional unique and trendsetting vir-
observations and analyses by Ms. Shook. The fonnat is tues of Twin Peaks. and yet
first-person narration. with the narratortwhose identity is on the other. falls into trite
kept a mystery) travelling around the town of Twin Peaks and superficial descriptions
during the time the events of the show take place (actually of the show. as if it were any
February and March of 1989. as WIP explained in the first typical nighttime soap opera.
issue) and describing what is happening. Now. the book serves pri
The narrator is described only as “a 90's person“ (on marily as a reminder of a
the cover) coming to town as a visitor. He or she is also "a time that can never be recap-
90's child‘ who is "coming of age in the 90s." (Huh?) We tured. when Twln Peaks promised to become a scrim that
later team that the character has studied psycholog! and would change television.
has some thoughts on the “mid 90s.” This brings up one One final note. Lynch/Frost Productions won a suit
confusing element of the book: when exactly does the against the publisher. according to the Wall Street Jour-
narration occur? The narrator walks through Twin Peaks nal. for copyright and trademark infringement.—JT
22 \'W\-Hui-J LII EPI-in.
 F

TQTAR P/CS PRESENTS TWIN PEAKS COLLECTIBLE CARDAR T?”

5 I AR PICS TWIN PEAKS A\|'lOGHAl!NhlJ BANDS (Pun ‘ll TW|N PEAK$ AUTOGRAPH PACKAGES (Purl 2|

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 U55 (I/I/omfcl A‘/1024
ing episodes. Right now. fans‘ only hope is to borrow the
tapes from someone who recorded them during their initial
ii
run on television.
E However. there is good news for laser disc fans. image
Entertainment told us that the first season of TP is being
released on disc in a boxed set around December 1 O. 1992.
The suggested retail is $124.98. But no plans on a disc
version of the second season.

“Uncut” Twin Peaks Movie Coming on

Laserdlsc?
Although no date has been set. New Line Cinema will
be releasing mm Peaks: Fire Walk With Me on laserdisc.
and the early indication is that there will be additional
material included. although. since no contracts have been
signed. all New Line will say officially is that the expanded
version is a “possibility.” Actually. there are quite a few
possibilities if they decide to go with a long version.
Fangoria 1 17 reported that Lynch shot so much footage
that the first edit was nearly five hours long. We've also
heard about a three-and-a-half hour cut. This linm up
more with the shooting script we've seen. which includes
many scenes not in
l theflnalrelease.in- ‘x \,
eluding appear-
by Ed.
“' ~

ances
Fire Walk With Me Opens in England
I

‘
‘l
Nadine. Doc and
The November issue of Empire. a movie magazine from Eileen Hayward. u‘
‘.'
‘ ,

England. contains an ad for FWWM. reprinted above. The Josie. Sheriff v

color version is really incredible. A1 you can see. the film Truman. Ben. ' l : V.

opened on November 20. Jerry. Sylvia. and .3:-:3-?'_§l_=¢§T_5‘3*-_'—_‘-_‘____

Johnny Horne.
in Andy. Lucy. Pete. §y:_;._-_.j;_'_j__‘__,==
New David Lynch Series Coming and Doctor J acoby. §'_:'-EFF-'='-'-'1'
January! This script also in
HBO recently announced that Hotel Room. a dramatic eludes additional " -"T? ..§J--= “ '

trilog by David Lynch. will debut in January. Each
segment is set in the same room oia New York hotel during
a different era. The first episode. "Blackout." takes place
in 1936 and was written by Ban'y Gifford and directed by
Lynch. Crispin Glover stars. The second episode. “Tricks.”
takes place in 1969 and concerns a hooker. her client. and
his boorish friend. Also written by Gifford and directed by
Lynch. it stars Harry Dmn Stanton and Glenne Headly.
The final episode. “Getting Rid of Robert.“ takes place in
1992 and tells the story ofa rich man and opportunist. lt
was written by novelist Jay Mclnemcy (Bright Lights. Big
City] and directed by James Sigiorelli. The sei1es was
created by Lynch and Monty Montgomery. both of whom
also serve as executive producers.
No Plans For Video Release of TP Second
Season
Readers of WW have asked us about the availability of
second season episodes of Twin Peaks on video. To date.
only the first season has been released. and Worldvlsion.
which owns the rights. has no plans to release the remain-
24 ' (Wt-Hi-Ju-£PI.-m
scenes wnh Lam.a_
Lcland.andDonna.
New Line has told us that FWWM will be out on
videotape by January 6. 1993! Although this edition will
not have any additional footage. we re still eagerly awaiting
its release. The illustrations here reproduce the box art.
Oops!
Last issue. while praising the perfonnances of various
actors in FWWM. our review attributed Sheriff Cable to
Rick Aiello. when it was actually Gary Bullock.
Newsletters Wanted
We have heard that quite a few TP newsletters have
been published around the country. We'd like to compile
a survey of as many of them as we um. Ifyou know of any.
please tell us. if you could supply us with copies of the
newsletters for even photocopies]. that would be best. Our
address. as always. is 1912 East Timberview Lane. Arling-
ton. TX 76014. books like this about wraps up the second
issue of Wrapped in Piasiici
p
 : PEAKED
BY PAYRICI
roo soon
_A SHOOK A BOOK TO HELP VOU UNDERSIAND

ii
.

"TWIN PEA KS"

PAPERBACK EDITION ONLY $ 10.95

PEAKED TOO SOON: A 90‘: Parson Walks Through ‘Twin Peaks‘

Quunlily
AUOWI - 6 WEEK$
Inca P or book $1595

—
FOR DELIVERY. x

‘ '9‘! Pmoors vim of nu MICHIGAN RESIDENTS ‘" DIOIGI *

ADD 4% sates mx
TWUN -
PM Wavlr-0 =Ȣ Mwdllno
Plus“!-Iux(M|:nlgun|nldonll OIII y)
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THEWSION Sim“ YOTAI ENCLOSED =

AME

ADDRESS

NV. SKA TE ZIP

AILTO: ‘Peaks of Romeo‘, 8900 Dutchess, Romeo, Ml 48065 I

J

THE TWIN PEAKS

MURDER MYSTERY
GAME
AVAILABLE NOW‘ ..,.~~ I141’ §'\ IV k<>
'~**~:,~:<~;<:.

You may remember that wewrote about kw’

this British board game last issue. Even
though we were somewhat critical of the
game itself, we did like the packaging and
various accouterments included, such as
the FBI Agent's Handbook. The game
board is first-rate. So we've decided to
offer you the chance to purchace one for
your own collection. This game is very
difficult to find in the United States!
._>_
,

~
-I
\

Price is just $39.95 + 3.50 UPS shipping and insurance I

(we must have a street address to ship tol) I

’ Win-Mill Productions, 1912 E. Timberview Lane, Arlington, TX 76014

J‘/ext uue: Coming
February!
“An Extensive Look lnto the Nature of the BOBI
Leland and BOB/Cooper Dichotomies!
' of Twin Peaks and Julee
‘A Look at the M usic
Cruise!
I Pan 1: The Obscure inuences on Twin Peaks!
"The TP Timeline: Who Did What Where--Before
the Laura Palmer Story!
*FWWM Box Office--a Final American Report
‘Rare Promotional Material!
‘And Much, Much Morel
$2.95 atyouriocal comic shop or book store (or directly
from the publisher)
Reserve Your Copy Now!

Additional C opies of WIP 1 81 2 are also $2.95 while

supplies last!

‘$' W
/N/NE
' ‘I’
“Q
ALSO AVAILABLE FROM
WIN -MILL PRODUCTIONS!
,,

\ /
,.
Q“ ‘\ I
Twin
' Pea ks Magazines!
lh process of our research, we end up with a lew duplicate
n 6 of magazines with Twin
issues ' Pe a k s articles. Which we're

/
' . _ §a olfe ring
' Iorsae
| O nmos I we only have one copy so please list
altemates . For Idetails on contents. so e Checklists in this issue
tn)?” ,‘_
~
"'
_y i

/
'

and our previous issue. The conditions are in parentheses.

-h’/ I
Q" V

y‘ 4’, (ex% DETAILS 9/92 (good+) $3 o o .

. 4 ‘ '
i 4: 414/
, !~.[M V.
DETOUR10/92(v ne) $7 50
ENTERTAINME NTWEEKLY
#8 (v good) GREAT 'issuel. $ 1o.oo
.

‘ " _ ‘
Wlii/W
Milli/ii
- #31 (v. good) $3.50
046/47 (v. good) $5.00
A

' #56 (v. good) $2.50

7#c'o¢d4a/a-— G0 8/92 (v. good) MacLachlan cover 8| 7p article! $5.00
A futuristic science ctlonlsuperhero epic in comic book format! NEWSWEEK 4/9/90 (v. good) 3.33p Lynch article! $3. 50
A radical arsonist has started a chain-reaction ofres that engulls 4/9/90 (iair+) $2. 00
the city of Arbor. but Steve Windsor is preoccupied with the 5/7/90 (good) 2p TP article! $3.00
murder of his girlfriend. He believes the Defense Secretary is PEOPLE 5/14/90 (v. good) Good 6p TP article! $7.00
responsible and begins to hunt him down. But Windsor is also TIME 4/9/90 (good+) 2p TP article! $3. 50
being relentlessly pursued by police ofcer Jennifer Bach for 10/1/90 (good) Lynch cover 8- 5p interview! $5.00
questioning in that same murder! And so begins an electrilying TV GUIDE 4/7/90 (ne) $10.00
chase through a city in flames! Written and drawn by WIP co- 5/5/90 (v. good) $10.00
editor Craig Miller. Find the rst two issues now at ner comic 9/8/90 (v. good) TP cover! $12.00
shops everywhere, or order directly from the publisher. 24 b8-w ALSO:
pages; tull color covers. $1.95 each. SECRET DIARY OF IAURA PALMER (fine) 1st printing! $1 1 .00

Postage: Add $1.00forlirstltem; .75 each additional item On larger o rd ers($10.00 and over). we would preierto ship UPS, so please
.
-

include a street address for shi pping.

' Make checks or money orders (no cash!) payable to:

Win-M111 Productions, 1 9 1 2 E . Timbervicw Lane, Arlington. TX 76014