May 27,  · A group of doctors from the Army return to work the night shift at a hospital in San Antonio/10(K).

Somehow, the rebirth system on our planet utilizes or co-opts human technology. We would rather be faced with a traumatic disappearance—a kind of literary castration—and then play the game of hunting for a sensible, materialist cause the girls were murdered, they fell down a crevasse, etc.

A nightshirt is a garment intended for wear while sleeping. It is longer than most regular shirts, reaching down to the thighs or below the knees, [1] leaving some of the legs uncovered. It is generally loose-fitting to avoid restricting the wearer's movement while sleeping.
As Season 3 concluded, the fate of the night shift was uncertain: Paul Cummings (Robert Bailey Jr.) led a staff walk out after his father (guest star James McDaniel) bought the hospital and fired Topher Zia .
The night shift doctors put themselves in harm's way to save the victims of a campus shooting, and TC, Shannon and Drew each make hard choices about their futures at San Antonio Memorial.
As Season 3 concluded, the fate of the night shift was uncertain: Paul Cummings (Robert Bailey Jr.) led a staff walk out after his father (guest star James McDaniel) bought the hospital and fired Topher Zia .
May 27,  · A group of doctors from the Army return to work the night shift at a hospital in San Antonio/10(K).
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About the Show

Nightgowns-Sleep-Shirts. Getting a good night’s sleep means having the right nightgowns and sleep shirts to choose from. From gowns and caftans to short sleeve shirts and boyfriend shirts, you’ll find the perfect pair of cozy pajamas to make your dreams that much sweeter.

Edit Cast Series cast summary: TC Callahan 45 episodes, Jill Flint Jordan Alexander 45 episodes, Brendan Fehr Drew Alister 45 episodes, Robert Bailey Jr. Paul Cummings 45 episodes, JR Lemon Kenny Fournette 45 episodes, Alma Sisneros Topher Zia 35 episodes, Scott Wolf Scott Clemmens 35 episodes, Tanaya Beatty Shannon Rivera 23 episodes, Jeananne Goossen Krista Bell-Hart 22 episodes, Freddy Rodríguez Michael Ragosa 22 episodes, Trina E.

Edit Storyline A group of doctors from the Army return to work the night shift at a hospital in San Antonio. Edit Details Official Sites: Edit Did You Know? Goofs Throughout the series, a recurring character error is when someone mentions the Texas state police. Add the first question. User Reviews Best new show of 13 July by escherdonna — See all my reviews. Was this review helpful to you? Yes No Report this. Audible Download Audio Books. TC Callahan 45 episodes, Jordan Alexander 45 episodes, Drew Alister 45 episodes, Paul Cummings 45 episodes, Kenny Fournette 45 episodes, Topher Zia 35 episodes, Scott Clemmens 35 episodes, Shannon Rivera 23 episodes, Krista Bell-Hart 22 episodes, Michael Ragosa 22 episodes, The animal on my right in my dream was brown and vaguely dog-like, with a squarish head and saber-teeth; it was advancing on another creature, lumpy, squat, and black, more evil and reptilian-looking.

I jotted down notes on this in my notebook immediately on waking—it was probably around 6 AM—and then I wrote a couple paragraphs describing the dream in more detail in my electronic dream journal later that morning.

When I checked my mail, I was pleasantly surprised to find the new Winter issue of Prehistoric Times , my first issue since subscribing. It contained a feature about therapsids.

Therapsids I quickly learned were the vaguely dog- or cat-like proto-mammals of the Permian period, the period preceding the dinosaur-dominated Mesozoic era. I remembered such animals dimly from my childhood, as the boring early land carnivores shown at the beginning of some dinosaur books, preceding the exciting Mesozoic animals every kid is really interested in.

The painting on the first page of the article—the one at the top of this post—was unmistakeably and stunningly the scene from my dream: It showed, side by side, exactly the two creatures that had moved to attack each other and that I had struggled to keep apart. From the caption I learned that the evil reptilian-looking one on the left was a scutosaurus and the saber-toothed therapsid on the right was a sauroctonus.

The feature was specifically on therapsid paintings by the Czech illustrator Zdenek Burian , an artist from the middle years of the century whom I already knew and liked, but this was not a picture I had ever remembered seeing, nor did any books in my collection contain pictures of these creatures.

Not only the two animals in my dream, but also the dream setting was exactly like that Burian painting—sort of a low hillside. I have recorded a couple hundred dreams that I have identified as seeming precognitive—I have written about a handful of them in previous posts on this blog—but this was probably the most crystal-clear example of dream precognition so far in my life.

There were no puns or other substitutions. I quite literally dreamed that picture, with the embellishment that I was in the scene, interacting with those two animals. The only odd detail not in the actual picture was the laser dot.

But that dot turned out to be the key to the time loop. The first thing it reminded me of was the red dot of a laser gunsight on the forehead of Linda Hamilton in The Terminator , when Arnold Schwartzenegger first tries to assassinate her in a crowded bar. In fact, the out-of-sight hunter was me , about 12 hours ahead in my own timeline.

The dream pre-presented my own retrospective scrutiny of these dream fauna from the point of view of amazedly, there on my living room couch, realizing that I myself was a time traveler, a hunter in my own past. I have found, again and again, that dreams that turn out to have been precognitive often contain some representation of the act of returning to the dream to verify this fact. In other words, the precognitive nature of the dream is represented within the dream, like a fractal.

If your realization that your dream was precognitive coincides with the experience being precognized, your realization will be included in the dream. The above dream contained an additional time gimmick in addition to the laser dot. In an earlier part of that lucid dream, I had been zooming uncontrollably I can never control my dream flight through a vast enclosed cavern or gallery, like a vast subterranean hall, crowded with balconies that were densely packed with pale statues of ancient heroes—thousands of statues packed together on these balconies, almost like this enormous space had been converted into a storage facility for some huge trove of ancient marble statuary.

I had a sense that some of the heroes were wearing helmets and light armor like ancient Greek or Roman warriors, but the only figure I remembered distinctly was an archer drawing back the string on his bow. I saw no obvious referent to such statuary later in the magazine although the magazine did have several ads for superhero action figures. I had not noticed the correspondence at first because my sublimely vast dream caverns were totally out of scale and proportion with this packed room, but the general sense was the same: As I have described before, the exaggerated scale and importance of things in dreams often starkly contrast with the objective puniness or triviality of their precognitive or mnemonic referents in waking life.

A patient of the psychoanalyst-parapsychologist Jule Eisenbud related to him a dream about being unable to hit a target with an arrow, and the next morning his favorite comic strip B. But because of it, these days, archery and arrows represent for me the issues of causation and retrocausation that I have been immersed in for the past few years while writing my book.

Substituting a dinosaur model in the next issue of Prehistoric Times with an ancient hero drawing back his bowstring was a time gimmick a lot like the laser dot on the scutosaurus, or an archery dream precognizing a B.

For me, it is the most powerful validation of precognitive dream interpretation as a gnosis: The knower is literally included in the known.

It is also a startling confirmation of what Hermann Minkowski and Albert Einstein argued about the solid, block-like nature of spacetime: The past is still here, and the future is already here, we just usually lack eyes to see it.

Again, such representations will be noticed more and more, the more you become attuned to precognitive dreaming. But more than that, it is about the thoughts, feelings, and associations that will be provoked by that experience.

This goes a long way toward explaining the interesting ways dreams deviate from the real-life experiences that precognitively catalyze them. This transposition into ancient human heroes facilitated the link to archery and the B. It connected, for instance, to the theme of Minkowski spacetime, where the past still exists. Among my other associations to the subterranean gallery full of marble ancient heroes was the confrontation between Perseus and Medusa in the original Clash of the Titans: My two-part lucid dream about a dinosaur magazine is an obvious example.

In early , I wrote down the following dream that also exemplified the same principle:. Dream about Butch Cassidy and the Sundance Kid—a long introduction to the movie that I had not seen before, in which Butch and Sundance are reunited at Union Station in Denver and warmly embrace, Sundance tells Butch he missed him, and then they kiss.

The dream shifted and they were lying together in an MRI or CT scan tube, and I was a bit surprised that they had that technology back then. On a countertop were some modern medical supplies and some sort of salve or ointment from CVS. My natural thought when I dream of a celebrity or their character is that they may have died; I have never once been right in this assumption, yet on a few occasions my research has turned up something else even more interesting.

Among other things, Redford was quoted as saying how much he missed Newman. The CVS ointment or salve on the counter points associatively to the idea of an insect bite or sting. In other words, the anachronism of Butch Cassidy and the Sundance Kid itself—a distinctly modern-feeling buddy comedy with lates Burt Bacharach score, etc.

Another magazine I subscribe to, and also avidly read although not to my two-year-old , is New Scientist. Having lunch with a psychoanalyst who believes dreams can be precognitive, he writes, he nearly choked on his burrito. Many people at that meeting, he lamented, expressed their belief in precognitive dreams. He wanted to see a homogeneous set of scientists upholding that narrowly materialistic in the bad sense viewpoint. Lest any New Scientist readers be on the fence about the possibilities of precognitive dreaming, Hooper provides the standard explaining-away: In fact, those who have followed in the footsteps of J.

Dunne and investigated their own dreams for evidence of precognitive material often come away with substantial evidence that precognitive dreams are the norm. Lots of alleged precognitive dreams, because their relationship to a putative target consists of highly personal associations, understandably hold little weight with skeptics, who are as hostile to psychoanalytic premises as they are to parapsychological ones.

And if I related a dream like the one about Butch and Sundance, he would quite reasonably counter that if I looked long and hard enough in an Internet search about any famous person, I would eventually find some piece of text that might seem to match my dream. Despite my love of prehistoric animals, I never dream about them. I have on a few occasions in roughly a quarter century of keeping an electronic dream diary dreamed about trilobite-like, vaguely prehistoric sea invertebrates; and dinosaur-related books or films have appeared in a few dreams in my journals, but the number of times dinosaurs, dinosaur fossils, or similarly charismatic extinct creatures have appeared in my dreams can be counted on the fingers of one hand.

And I have never in my life dreamed about Permian fauna. Again, this is in 25 years of mostly faithfully recording my dreams. I knew practically nothing about Permian land carnivores before this dream; I did not know what they were called; and I did not know they were going to be featured in the Winter issue of Prehistoric Times. I had basically forgotten about my subscription by the time this issue arrived, so its arrival was a total surprise.

There is simply no way my dream about a scutosaurus fighting with a sauroctonus on the morning before getting the magazine featuring these obscure creatures was coincidental.

And the fact that I wrote the dream down beforehand rules out retroactive memory distortion. Attic figures frozen in time, locked in an eternal dispute that goes nowhere. Meaning-centered phenomena resist purely scientific approaches, and this has put the study of dreams like the study of psi at an impasse for decades. It is really just a paradigm buttress, and an excuse to avoid dealing with threatening data, by moving the goalposts.

This effectively exiles the whole topic to the disreputable zone of anecdote or, at best, small studies in parapsychology journals that mainstream scientists readily ignore. Hooper writes that his head was in his hands by the end of a keynote address by Stanley Krippner, who conducted what are still the best-known dream-ESP studies a half century ago; but they were tiny studies and thus hold zero scientific weight in the world of big-budget science Hooper is used to.

What is really so extraordinary about dreams providing a glimpse of the future? Could the fact that people for thousands of years have believed, even assumed, this was the case be a clue worth at least taking seriously? Collective skepticism around precognition can be shown to be rooted in historical-social convention and taboo, not reason or even evidence. Physics allows information to reflux from the future. Quantum computers can scramble causal order as you can even read in New Scientist , and a kind of computation across time may even be what gives them their power.

And guess what pinkish-gray squishy organ is increasingly thought, by serious scientists, to be a quantum computer? Once the larger paradigms in physics and biology shift, psychology and other fields will eventually be forced to follow. It is about time-traveling hunters who travel to the Cretaceous period to bag a T-Rex but find upon their return that one of them had, by stepping off an assigned path, crushed a butterfly in the distant past, and thereby altered the course of history.

Phil Dick recorded several examples of this time-looping logic in his letters, for instance, and the dream about Butch and Sundance is just one of several examples of this phenomenon in my own experience. A group of Australian schoolgirls, all clad in white dresses, are driven by coach to Hanging Rock, an enormous volcanic formation in central Victoria, Australia, for an afternoon picnic.

The rest have seemingly vanished into thin air—along with the school math teacher, Mrs. McCraw, who had followed after them. It turned into a month of gathering and reading everything I could about the source novel and its author, Joan Lindsay. There are so many fascinating wrinkles to the story that it is hard to know where to begin. First, if you have never seen the film, do yourself a favor and watch it. With its gorgeous cast and costumes and scenery and a Georghe Zamfir pan-flute melody that will be stuck in your head for days, it is brilliant from start to finish.

But no spoiler warnings are really necessary, because none of the questions raised in the first 20 minutes of the film are answered by the end.

We never find out what happened to the girls, and there are only subtle hints of anything paranormal in the film, or even in the book, unless you are paying close attention. The paranormal is mainly in the backstory of the author, the unusual circumstances of the writing of her novel, and especially in what was excised from the text prior to publication. The year-old Joan Lindsay wrote her novel, which quickly became a classic of Australian fiction, over the course of a mere week in , after a series of obsessive dreams.

The whole novel came to her in these dreams, and it did have at least one obvious autobiographical component. Macedon, near Hanging Rock, which she had attended as a young woman in the late teens. As the fateful picnic took place in the year nineteen hundred, and all the characters who appear in this book are long since dead, it hardly seems important. Just ask David Lynch. Especially after the film was released in , Australian fans obsessively scoured newspapers from the period for reports of missing schoolgirls at Hanging Rock—in vain.

In reality, Hanging Rock had been a pretty dangerous place in the late s. People sometimes did go missing. Prospectors returning to Melbourne from nearby gold fields were sometimes robbed and murdered there. According to a documentary about the film, a nearby town has a monument to three children who went missing sometime in the late s.

Visitors still regard it as a spooky, mysterious place. And there is an odd, easily overlooked but telling detail early in the novel when the girls who have left the group gaze down on the valley below and muse philosophically on human purpose, almost like aliens surveying people from some Archimedean vantage point; one of the girls hears then hears a sound like drums:. The plain below was just visible; infinitely vague and distant. Peering down between the boulders Irma could see the glint of water and tiny figures coming and going through drifts of rosy smoke, or mist.

Although Irma was aware, for a little while, of a rather curious sound coming up from the plain. Like the beating of far-off drums. Readers who are paying attention note that a search party several hours later bangs on sheets of tin to try and signal to the missing girls.

Lindsay in real life claimed that clocks would not function near her, and friends confirmed that their watches would stop in her presence. In her memoir Time Without Clocks , she described her own hatred of the clock-bound life most people lead.

The more readers pressed Lindsay for details about her inspiration, the more she clammed up—and even complained at how people kept showing up uninvited at Mulberry Hill, to get answers. Yet her various coy allusions to a true story, and to real people concealed in her novel, kept readers digging.

The rumors proved … entirely true. And the story of how it came to be excised from the novel is just as interesting, and telling. These include the re-exploration of the rock by the two young men who had last seen the girls, the recovery of Irma, the suicide of one of the other students who the film suggests had been in love with the missing Miranda , and the descent into drink and finally suicide of the headmistress Mrs.

Appleyard played by Rachel Roberts in the movie , after several parents withdraw their daughters and their money from her school. McCraw, whom Edith later recalled with embarrassment seeing coming up the hill in only her underwear while she was running down it. Marion then gets the idea they should all discard their restricting corsets, which they toss off a precipice, only to see them hanging motionless in mid-air.

A long time ago. And sometimes even then. And it gets stranger. When the brainy Marion suggests they keep moving before the sun sets, the older woman utters further perplexities:.

Since there are no shadows here, the light too is unchanging. Please, does that mean that if there are caves, they are filled with light or darkness? I am terrified of bats. It means we arrive in the light! But Miranda … where are we going? I can see her heart, and it is full of understanding. Every living creature is due to arrive somewhere. It was a hole in space. About the size of a fully rounded summer moon, coming and going.

She saw it as painters and sculptors saw a hole, as a thing in itself, giving shape and significance to other shapes.

As a presence, not an absence—a concrete affirmation of truth. She felt that she could go on looking at it forever in wonder and delight, from above, from below, from the other side. It was a solid as the globe, as transparent as an air bubble. An opening, easily passed through, and yet not concave at all. The woman formerly known as Mrs. McCraw then confidently decides to lead the girls into the hole.

Irma had flung herself down on the rocks and was tearing and beating at the gritty face of the boulder with her bare hands. She had always been clever at embroidery. They were pretty little hands, soft and white. So that is how Joan Lindsay originally ended her novel: In contrast to the matter-of-fact tone of the rest of the book, it is more like something out of Carlos Castaneda—or indeed, Lewis Carroll.

As Yvonne Rousseau wrote in her commentary to this chapter, it also bears close rereading. Among other things, there is something punnily akin to dream in these strange events: It is a stunning vision of the Minkowski block universe.

Probably in , her husband Daryl had been driving her to another town, Creswick, to visit his mother, and on the way Joan saw something strange. One friend, John Taylor, recalled her story in his commentary to the missing chapter: Her husband saw nothing. Puzzled, she asked her mother-in-law if there was a convent in the area. There had been, she was told, but it had burned down years earlier.

She confided to her friend Adam Phillips that her writing of Picnic had been very influenced by the book An Adventure , first published anonymously in by a pair of English academics, later revealed as Charlotte Anne Moberly and Eleanor Jourdain, about an alleged shared time-slip experience while wandering the gardens of Versailles in The women reported seeing a number of people in anachronistic dress that they later determined must have been the ghosts of Marie Antoinette and her courtiers circa , just before their deaths in the French Revolution.

One critic chalked it up to costume parties an aristocrat was known to throw on the grounds; another, Lucille Iremonger, attributed it to a lesbian folie-a-deux between the two women because lesbians, of course, are always hallucinating. There is no telling how much their memories of their first visit may have been shaped by the decade of research delving into the history of the Trianon garden and Versailles as well as their subsequent visits to the gardens, or how much their memories influenced each other.

At this point, there is no telling. Still, it made for an interesting book—one that was influential on many writers, including J. But I think even more importantly, the edition that Lindsay is likely to have read, which was published in , also included an introductory note by J. Dunne, the aeronautical engineer and precognitive dreamer whose book An Experiment with Time is probably the most important book ever written on the subject of precognition and its relation to the Einsteinian time-elastic universe.

Marie Antoinette—body and brain—is sitting in the Trianon garden now. It is happening now. As it has been happening ever since Edith Horton ran stumbling and screaming towards the plain.

As it will go on happening until the end of time. The scene is never varied by so much as the falling of a leaf or the flight of a bird. To the four people on the Rock it is always acted out in the tepid twilight of a present without a past. Their joys and agonies are forever new.

However, in this case, there does not seem to be any question of the text being a forgery, as there are living witnesses to the original manuscript with the chapter in place. When Lindsay originally submitted her novel to her friend, publisher Andrew Fabinyi, he was enthusiastic; but he assigned it to a junior editor, Sandra Forbes, who felt uncomfortable about the ending. On the whole, would prefer to omit it altogether.

Besides losing a very personal and important part of her story, the absence of the final chapter also had become a kind of negative Albatross for Lindsay by the time of her death. It left readers to concoct fictions of their own to solve the puzzle, and their demands for confirmation left her and her husband with little peace during their old age. Taylor, like Forbes, was not unbiased in the matter—he perhaps stood to gain from publishing the chapter—so we cannot be certain of his claims that Lindsay intended Chapter 18 to come out.

Just as interesting as the chapter itself is the discomfort it aroused in her editor, Forbes. These are clearly not readers of science fiction, or the paranormal. Especially at the time , those belonged to a low-level literary ghetto where, besides there being no literary respectability, there was also no money. As Jeffrey Kripal has shown in his books like Mutants and Mystics , the collective cultural discomfort with the paranormal experiences that have driven many writers of imaginative fiction reflects just how transgressive these experiences are.

Lindsay was transgressive in other ways besides her time slips and her inhibitory effect on timepieces. Although married, she appears to have maintained life-long erotic friendships with two women, for instance.

But like many women of her generation, she felt compelled to subordinate her own artistic and intellectual talents, to be a satellite of a talented, high-achieving man. The Lindsays led an enviable life surrounded by fascinating bohemians and celebrities. Through it all, Joan had little time or opportunity to express herself or develop her own unique talents as a writer, and she received little encouragement from Daryl.

Another thing her life with Daryl suppressed, according to McCulloch, was her mysticism. She had long been drawn to the mystical and the paranormal—her friends all regarded her as a psychic—but avoided talking about these matters in front of Daryl. As readers of this blog know, I think misrecognized precognition is behind many paranormal experiences.

One wonders how much of what gets diagnosed as psychosis is really precognition unrecognized. And as I argue in my book Time Loops coming soon from Anomalist Books , precognition is also the source of creative genius: Their lives and works often show evidence of bizarre causal tautologies or self-fulfilling prophecies. Lindsay, I believe, belongs to the club of highly precognitive writers, and her novel lends itself to a kind of precognitive rereading.

Picnic at Hanging Rock stages a traumatic disappearance —a group of schoolgirls go on a picnic and come back minus three, and minus one math teacher—and then describes the ripple effects of that disappearance. Yet as everyone agrees and Lindsay even came to agree, the novel never would have been popular had the cut not been made.

Taylor confirms it was thus a source of deep ambivalence for Lindsay. These are precisely the kinds of mixed emotions that characterize precognition-worthy experiences. We could thus read the complete dream-inspired novel as originally written in late , with its final chapter, as being about the subsequent editorial cut of its final chapter and the aftereffects of that cut.

In the novel, Appleyard College is beset by unwelcome, curious visitors in the aftermath of the disappearance. One of the three girls, Irma, who has heard the beating of drums and then witnesses the disappearance of her friends into the hole, is found alive and returns to the school near the end, but without any memory of what happened. It so happens that the passage about the beating of drums which some readers like Taylor and Phillips thought was a clue that the author was playing tricks with time originally appeared in Chapter 18 that is, in correct chronology.

Lindsay preserved it and re-placed it, along with a few other passages, earlier in the book when she agreed to cut the rest of the final chapter. The opening paragraph, about the events being frozen in time, was also retained and re-placed to an earlier chapter. The core thread of prophetic jouissance is a kind of reward and excitement.

What could be more exciting than writing an amazing mystery novel and then becoming widely known and admired for it not to mention the royalties and movie rights? But like most or all precognitive experiences, it also pointed to the survival of a loss, a cut, a sacrifice that needed to be made for that success, and it was the sacrifice of the bulk of the most radical, personal, and spiritual part of what Lindsay had written.

The story—a party that traumatically loses a few members and provokes a desperate search, as well as other ripple-effects—rather strikingly anticipates the fate of the novel itself: Lindsay no doubt did want people to see it, yet felt prevented—silenced, or indeed, castrated. It is incredibly Freudian, really. A castration is a kind of sacrifice or threatened sacrifice that keeps things within their proper limits, a warning or punishment for transgression.

The hole is the final chapter in which it is embedded, the excised spiritual core of the novel, the really fascinating part, the solution to the mystery, which everyone wanted to see but which no readers got to see, a presence that became an absence simply because it made a cautiously realist editor uncomfortable.

In his classic manual, The Art of Dramatic Writing , Lajos Egri tells a story about the sculptor Rodin and his famous massive sculpture of the writer Balzac.

According to Egri, this enraged the sculptor, who grabbed an axe and chopped off the hands. And since it seemed so appropriate to the story of Joan Lindsay and her Chapter 18, I returned to it for the sake of writing this chapter. I did not have a copy, so I was forced to search the Internet for the quote I was seeking—and that search revealed quite quickly that what Egri had written was not true.

Rodin, at least as far as I could determine, never took an axe to his sculpture of Balzac to break off its distractingly wonderful hands. It was merely a bit of artful and thus memorable dramatic writing. Studies for the final sculpture show the writer gripping the end of his thrust-out member.

It is now on prominent display at the corner of Boulevard du Montparnasse and Boulevard Raspail in Paris. Undoubtedly, that would not have happened had Rodin remained true to his original vision; it would ultimately have been censored, kept hidden away.

Why did Egri tell his story the way he did? Did he misremember the true story? Its fate is to be marginalized and denied—erased—and then to haunt us in the way the repressed, per Freud, always returns. We would rather be faced with a traumatic disappearance—a kind of literary castration—and then play the game of hunting for a sensible, materialist cause the girls were murdered, they fell down a crevasse, etc.

Her description of a convex hole in space not only anticipated black holes, in other words, but also fast-forwarded to a revolution in black hole iconography that was far off in the future.

Check out my article in the March issue of EdgeScience , on why the extraterrestrial hypothesis should be kept on the table with some modifications.

And thanks to all my readers who have been patient during my writing hiatus. The book is almost done! We can go through that door anytime we get it together. With the new incarnation of Twin Peaks , David Lynch is inviting obsessive scrutiny, as always. How did the evil spirit Bob got here, and when? Some of the hidden stuff I feel sure is just there just to beguile the obsessed. For instance one fan has discovered that of all things the flashing windows in the jet carrying Gordon Cole et al to South Dakota in Episode 7 is not sun reflection but was added digitally, creating some kind of code … but what?

There are other lures in the form of numerical sequences: I have no clue what that means either unless something is going to happen in Episode 15 that links to it. Color seems to be a code here too—the color gold, for instance. Some are the usual suspects like Kubrick; others, though odd on the surface, make greater sense on examination. Remember that Lynch is a lover of cinema and its history, and has always indexed and referenced other films quite explicitly.

But I think he may be doing it here not only systematically but also semantically —sending a message with some of these film references, not just paying homage to directors he likes. In the bardo, you can get re-routed and detained, you encounter really creepy beings, and there seem to be multiple levels or staging areas through which you must pass.

You wander through it in a daze. The most obvious references are to films by Kubrick, especially And appropriately enough, a good indicator of whether a person likes Lynch is whether they think is the most brilliant thing ever or is just meaningless psychedelia. You know where I stand: Go up and touch it. I was particularly struck that when we enter the fortress in Episode 8, it is via a black aperture that looks exactly like the monolith. Nothing makes much sense, and you wander through it in a daze.

The allusion to Dr. The next one, a Woody Allen reference of all things, will seem odd, but bear with me. Turns out it was specifically the Trinity test on July 16, that ripped open the barrier between worlds that let an evil host through.

The fire the evil spirits want us to walk with is nuclear fire. Robert Oppenheimer, later quoted the Bhagavad-Gita in reference to what they had wrought: The next scene, taking place in , shows a frog-like winged insect hatching from a meteorite egg, which crawls into the body of a girl, no doubt to possess or impregnate her. Whatever the case, we are likely to see a Kafkaesque transformation at some point. An Access Guide to the Town. It is clearly the source for the creature.

If any readers have any further information about this bit of mythology, or know if it is genuine, please let me know in comments. With the pictures in his office, Lynch as Gordon Cole seems to be signaling not only the origin of evil in our world but also possibly a pathway to redemption. The fact that the Giant and his wife—keepers of the fortress, presumably—interact with earth via a kind of newsreel projection also calls to mind cinema as the interface or mediator of rebirth.

The movie screen as uterus. An amazing effect is produced that each identical insect comes to take on a distinct personality because of its name. The fortress on the Purple Planet through which souls pass on their way to rebirth has a definite Eraserhead vibe.

Much of Episode 3 the space box with its lever and Episode 8 recall this Gnostic mechanism of cosmic insemination and rebirth. And of course there is Mulholland Drive. Turns out that not long before they filmed Twin Peaks , the actor who plays the Woodsman was also in a very short, very funny film called Linclone , about an evil clone of Lincoln, so there you go.

But clearly he along with Mark Frost, his cowriter knows a lot about the paranormal and the occult. And with the new Twin Peaks , Lynch is more clearly than ever telling a spiritual story via the medium of paranormal science fiction.

Where the original series was like an occult-inflected soap opera, this one is turning into something much more epic, like a comic book, complete with superpowers and origin stories. With the new Twin Peaks , Lynch is more clearly than ever telling a spiritual story via the medium of paranormal science fiction. Lynch is obsessed with flickering lights, bad connections, old bakelite lamps and clocks, and power lines.

And when Dale Cooper is reborn through an electrical outlet in an empty Rancho Rosa home, I was thinking: Lynch must have been reading Kripal. The strange pylons in the Fortress of Rebirth and on the space box in Episode 3 are somehow transformers of electrical-spiritual energy. Somehow, the rebirth system on our planet utilizes or co-opts human technology. In this Twin Peaks incarnation, Lynch is also showing us more explicitly what he thinks about light as such.

Early on, Laura Palmer in the Black Lodge pulls aside her face to reveal to Dale Cooper that she is a creature of light. Lynch is showing his spiritual hand in this series more than ever before. Lynch may be Yoda. Who are these entities in the Black Lodge? But it is becoming more and more explicit that they are not from or of our world, but that our own technology has allowed them to gain access.

I have always wished Lynch would tell a full-on sci-fi story forgetting Dune , of course , and now I am getting my wish. They are not just projections of our own shadow selves.

Pay attention, wake up, dive within, and stop being a smart-aleck in no particular order. Being good people follows from that.

More than any artist, Lynch knows how to indicate the Good by means of the Bad—his work is full of unforgettable archetypes of obliviousness, lack of compassion, selfishness, and greed, as well as archetypes of innocence, compassion, simplicity, goodness. The polarity is explicit. So, believe Lynch when he talks about TM, just mentally strike the T and the implied trademark after it: You just need the M, free of charge, and whatever flavor speaks to you … but you do need to do it , daily.

To an extent, the Roadhouse concerts sort of play that role: They break the fourth wall in a sense and create a bridge to the real world. I like to think, though, that in the last episode, the actors will all break character and appear on the dancefloor of the Roadhouse, as themselves , like the awesome celebratory end credits in Inland Empire. Their arms go numb before they become his vessels. Also, recall how Laura Palmer said that sometimes her arms bend back, which we all thought was a reference to Bob as her father Leland tying her up in the train car where he raped and killed her … but now we have a new meaning: This seems like another kind of perversion of desire or attachment.

Lynch is obsessed with arms in his paintings as well: Anderson to reprise his role as the Man From Another Place a. Lynch was able to film Catherine Coulson the Log Lady , who was also dying of cancer and who died months before Bowie did. It would be just like the two Davids, the two greatest American artists of our time I sort of consider Bowie American , to pull a surprise like this.

Fans will go nuts. These men, of all people, would have made it happen if they could. If Bowie does appear, it will be in Episode 15, the day before the big eclipse, and there may be additional Blackstar allusions or tie-ins. Remember that that song also is about a spirit rising from a dead body and being replaced by another ; and remember that the video featured a headless skeleton floating in space.

If the girl is the vessel for the good Giant from the Purple Planet versus the vessel for Bob or one of his fellows, see above , perhaps she will play some savior role. Whatever the case, the series certainly seems to be taking an epic direction. The question of arms and how they properly behave happened to be central to the Satori enlightenment experience of Zen writer and teacher Daisetz Suzuki, who brought Zen to America in the middle decades of the last century.

In an autobiographical essay he described that his initial kensho , or a kind of luminous awakening attained after intense koan meditation, was only deepened and solidified by a second, subsequent realization some days later: After kensho , I was still not fully conscious of my experience.

I was still in a kind of dream. It expresses exactly what I was getting at in my previous post , about the paradoxical freedom that comes from the limitation implied by the Minkowski block universe.

Probably because I am thinking about and trying to finish a book on precognition and retrocausation and the glass block universe they seem to imply, I keep finding my thoughts returning to a famous Zen koan from 8th-century China. You will have heard it: Master Ma and his student Pai Chang were walking along when they encountered a flock of wild ducks.

The considerable evidence of precognition and retrocausation points to the reality of something like the glass block, the already-ness of the future and the persistence of the past. There are many versions of the story, and many translations of the different versions.

In their play-by-play commentary on these ancient dharma battles, some writers declare Pai-Chang the victor, not Ma. This is how the present life of man on earth, King, appears to me in comparison with that time which is unknown to us.

You are sitting feasting with your ealdormen and thegns in winter time; the fire is burning on the hearth in the middle of the hall and all inside is warm, while outside the wintry storms of rain and snow are raging; and a sparrow flies swiftly through the hall. It enters in at one door and quickly flies out through the other. For the few moments it is inside, the storm and wintry tempest cannot touch it, but after the briefest moment of calm, it flits from your sight, out of the wintry storm and into it again.

So this life of man appears but for a moment; what follows or indeed what went before, we know not at all. If this new doctrine brings us more certain information, it seems right that we should accept it. Christ, with His redeeming retrocausal tachyon blood, offered the exact same solution that Master Ma was offering Pai Chang: I also always think about that sparrow, flying in one door of a fire-warmed Anglo-Saxon hall and out the opposite door back into the cold.

It is just like the wild ducks in the Chinese story: Its flickering transit is eternal; it has always been there and always will be there. Having been raised in an atheist household, I for long time had trouble grasping the spiritual appeal of Christianity, with its seeming focus on death and even torture Christ nailed to the Cross.

Thanks to Bede, and Master Ma, I get it. According to Guo-gu Shi:. Han-shan came across the stories of a Bramacharin who had left home in his youth and returned when he was white-haired. When he got up from his seat and walked around, he did not see things in motion. When he opened the window blind, suddenly a wind blew the trees in the yard, and the leaves flew all over the sky. However, he did not see any signs of motion. When he went to urinate, he still did not see signs of flowing. There is real liberation in letting go of the weighty idea that we Westerners always carry around with us, that our actions are open-ended and thus that we bear responsibility for the world.

The biggest surprise of pursuing this whole business of precognition is discovering that it was never really about expanded human potential in the sense of developing some superpower. Experiencing precognition invariably brings you face to face with the limitations of mortal life and the futility to change your fate or wyrd , as King Edwin would have called it.

It has thus, unexpectedly, acted for me as a kind of koan, reinforcing again and again these spiritually surprising experiences of stasis-within-flux. Again, at least on some deep, hard-to-describe level.

Paradoxically, in a Zen way, this realization makes you more free, not less, as well as more responsible for the world around you.

It is an evidence-based Zen realization. The considerable evidence of precognition and more generally, retrocausation points to the reality of something like the glass block, the already-ness of the future and the persistence of the past.

Whether the block is really sturdy glass or something a bit more viscous, like tree sap, or possesses a variable viscosity , is an open question. For now, we must just say that the mysteries of the glass block passeth understanding and our vision of time really is through a glass, darkly.

To hold firm that it really is a Minkowski universe has implications for parapsychology in addition to spirituality. The brain seems to be a tesseract, a tunnel from birth to death, bringing us oblique information about our already-exising future and dressing up that information in sometimes realistic but often quite oblique or deceptive costumes. For example, you are never going to have a completely accurate and clear precognitive dream about an outcome you would or could intercede to prevent.

No amount of searching in hindsight will find spent causal arrows for an impossible event. For instance, in a case recorded by Louisa Rhine, a woman had a vivid dream in which her baby was crushed to death by a chandelier that had been hanging over the crib.

Two hours later, they heard a crash in the nursery. Thankfully, because her mental image refluxed in time and caught her awareness two hours earlier, and she acted on it, her baby was with her and not in the nursery when the chandelier crashed onto the crib.

We should not confuse our imagination, our ability to picture many nonexistent worlds, or our ability to picture the universe from an imagined vantage point outside history, with real perception.

Once retrocausation is fully embraced, many worlds may look less appealing or realistic. More generally, all living organisms, and systems within living organisms, seem to metabolize time , utilizing quantum biological processes to converge on optimal and efficient courses of action more than chance would predict.

The Nightshirt Guide to the Twin Peaks Rebirth Tuesday, 27 June, “We live in a world of opposites, of extreme evil and violence opposed to goodness and peace. As Season 3 concluded, the fate of the night shift was uncertain: Paul Cummings (Robert Bailey Jr.) led a staff walk out after his father (guest star James McDaniel) bought the hospital and fired Topher Zia . Our customers tell us time and time again how much they love to live in our nightshirts. There is something wonderfully playful about these half-dress half-shirt pajamas that come in many artistic iterations. Our nightshirts give a heaping dose of happy because they leave your legs unencumbered and reflect a loose style.