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The Women Of Lynch Issue 7

This month we are celebrating THE WOMEN OF LYNCH. We are releasing a very special edition of The Blue Rose in August. 40 essays about 40 female David Lynch characters written by 10 female authors. Order this collector’s edition now. When they are sold out. They are gone.

Order Just Issue #7 here

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If you are really excited. Subscribe to Years 1,2 & 3 with Issues 2-12  (We don’t even know what issues 9-12 are yet, but you can subscribe because you love Twin Peaks so much and you don’t want to renew in 2 issues.)

Issue 7 has a very special cover by Blake Morrow. We can’t show you the real cover, but take a look at this teaser video that will give you a behind the scenes look at this work of art.

Who are the women of Lynch? Check out this video to see a few of the characters.

Who is writing for us? Listen to this podcast where Scott interviews 9 of our writers and Blake Morrow about the Women of Lynch.

An Interview with Curator Robert Cozzolino on David Lynch the Artist

An Interview with Curator Robert Cozzolino on David Lynch the Artist

By Courtenay Stallings

[The following is an extended version of the article that appeared in Issue 3 of The Blue Rose Magazine. Be sure to subscribe to the Blue Rose for more coverage of Twin Peaks.]

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At the same time David Lynch was participating in The Art Life (2016) documentary and developing Season 3 of Twin Peaks (2017) with Mark Frost, he was collaborating very closely with the Pennsylvania Academy of Fine Arts (PAFA) on his first major art exhibition in the United States — David Lynch: The Unified Field — which opened in 2014 and explored his art from his early years at PAFA to his later work through 2013. The exhibition brought together 90 paintings and drawings from 1965 to his more recent work. The exhibit also displayed several of his short films from his time at PAFA where he was a student before moving to Los Angeles to study at the American Film Institute (AFI).

Robert Cozzolino, who is currently the Patrick and Aimee Butler Curator of Paintings at Minneapolis Institute of Art, was the senior curator and curator of modern art at the PAFA for David Lynch’s The Unified Field exhibition. Cozzolino worked with Lynch to curate his life’s work as a painter and mixed media artist.

Courtenay Stallings interviewed Cozzolino in the summer of 2017 for her article “‘A Unified Field’ of Dreams” in issue #3 of The Blue Rose Magazine. The following includes portions of the interview with Robert Cozzolino.

Courtenay Stallings: How did David Lynch’s exhibition at PAFA come about?

Robert Cozzolino: I think there was a sense that he must be an overbooked star and had nothing better to do than what his old art school thinks of him. So nobody really made any overtures to him … It wasn’t until a colleague and I were talking about other alumni who should have major shows, and David Lynch came up. We thought “what if?” We were surprised when they contacted us and said “We sent your letter on to him, and he said he wants to see you.”

So the fact that it was PAFA — I think that was the thing. One of the things I came to realize while working on that project is the thing that happened to him during his formative years, particularly as a student in Philadelphia and afterwards, and the time between when he was formally involved before he left for LA. That was a really critical time creatively for him — a lot happened; a lot came together. A lot of what he figured out what he wanted to do happened in those years. And it was because of really supportive mentors and peers who were all like-minded and really wanted to make art. So that supportive atmosphere really gave him the boost he needed and the confidence he needed to just do his thing. It really meant a lot to him. He told me in our first meeting in LA when we went to go visit him that if it were any other institution to ask about this, he probably would have said no, but [said yes] because it was his alma mater (even though he didn’t graduate from there) …

There’s a number of people who David kept in touch with since the Philadelphia days, which I thought spoke volumes about who he is as a person. And then when you think about it, going back to Eraserhead, he works with the same people over and over again if what they do together makes magic. But it’s the same people he knows he can rely on over and over again like Jack Nance in Twin Peaks in the first season. … I think asking about a show in Philadelphia at the Academy touched that part of him that made it make sense to him.

CS: What year did you initially start working with Lynch to plan the exhibit?

RC: I think we reached out to him in 2010. He would accept a half-hour meeting at his place. We were there for like an hour or two hours. We sat and talked with him first. I think what he was trying to figure out was what were we up to. And also knowing that whatever a curator of an art museum says about it — don’t worry we’ll organize it — that it was going to occupy his time; that he was going to have to be involved in some way. He wanted to weigh what kind of people we were personality-wise. I think it wouldn’t have worked unless he got along with us, and he just wouldn’t have been interested. And I also think that he wanted to make sure that if it were going to happen, he was going to have some kind of time investment. …

I went out there a few times looking through files, looking through drawings and paintings, and also spending a lot of time at the house. And I interviewed him for an hour and a half or so ….

I do know that he and Mark Frost were talking about revamping Twin Peaks around the time I was doing my research, but I don’t have any idea how much they were working on it in practice, but it seemed like the years leading up to me coming to talk to him he had really been training making objects. He’d had a few shows at a gallery in New York and LA, and it was favorably reviewed, and collectors who hadn’t really collected his work were starting to collect it. I had a feeling it was just the right moment. His attention was on it. He had the confidence that while he would need to devote some time and energy thinking about it or approve decisions about stuff, he got the sense that it was going to be OK without him having all of his attention on it. That was good.

He was creating a database for the first time of all of the works of his. I worked very closely with [his assistant] on this stuff. I think it was definitely the years between 2008 and 2014, when the show happened, he was really spending a lot of time making drawings and making paintings and making objects and thinking about … tapping into the aspect of his life that had always been there but had either been in the foreground or the background depending on the kinds of projects he was doing. So the main aim of that show was to take his output as an artist seriously and to not compartmentalize it but to say this is always something he’s done, and everything he’s done as an individual artist … is coming out of the same stream. It was getting people to pay attention to that. And not to think of it as the stuff he does when he doesn’t make a film but more of this is how he thinks visually …

It’s interesting to me having worked on his show and looked at his films and thought of them as moving paintings and then going to this after so much time thinking about the relationship between the static work he does and the film work he does … there are so many motifs … the idea of the box in New York is in print. It’s in the devices through which he brings his compositions in the late 1960s in those paintings in Philadelphia. Even the fact that Cole’s office is in Philadelphia — that’s funny, but there’s a meaning to that. It’s not just happenstance that that’s where the character David Lynch plays in Twin Peaks. As he said to me, he feels like Philadelphia has been like one of his muses. It’s been the major muse for the work that he’s done so I always look for references to Philadelphia in everything that he does.

CS: Sometimes there’s a way that people see an artist versus the way the artist defines or doesn’t define themselves. Years ago, I attended a talk with Jim Dine at the High Museum of art in Atlanta, Georgia. The moderator called him a “pop artist,” but he took issue with that even though that’s how people typically label his work. Is there a difference in how Lynch defines himself as an artist versus how the public views him?

I do remember a time when we were talking in the studio, and I said to him I really wanted his show to be focused on his paintings, drawings, prints and his output as a visual artist and for that to be right there prominent in the foreground. That’s the way the show would be framed. And he said, “Oh people always say that, but they always fall back on the films.” And I said, “No, I promise you that I will treat you seriously.” Because of his success with The Elephant Man and Blue Velvet, which I think preceded the show at Leo Castelli, people were going to see him as a celebrity who paints. I think he just tried not to draw any attention to it. And he just matter of factly went about doing it without really trying to hustle in the art world. That whole aspect of what is expected of an artist that you have to have — you have to really be out there doing stuff, going to parties, being connected … I think he’s happiest when he is at his house, and he doesn’t have to go out and schmooze with people, and he can just do his thing and be with his family. That’s really important to him: being able to have the mental and physical space to be able to just make stuff and think about stuff. He doesn’t live an extremely extravagant lifestyle, and he also isn’t going out of his way to become a famous artist. I don’t think he thought that as a filmmaker, either.

In terms of how he would define himself as an artist: I don’t think he would. He’s just making things that excite him about the things that excite him. It was hard to get him to talk about anything: What does this mean here? What prompted this object? Or what prompted this scenario? Or from some of the more [surreal] paintings from the 2000s — there’s a …. There’s a woman wearing a neck brace, and she’s got an electric knife and there’s a dog, and she’s like in a hotel room, and the text on the painting is “Change the fucking channel, fuckface.” I think sometimes these are just stream-of-consciousness things that occur to him. If he made any distinction between making paintings/making two-dimensional objects and making film, which he did make some kind of distinction between the two of them, … because the physical process is different, the thinking process is slightly different.

I don’t think he actually has a lot of premeditation for the recent series of paintings and drawings that he’s done. I don’t think they are completely improvised, but I don’t think he’s doing studies…. Where, as a filmmaker, I do know that he’s very careful about that. He’s careful to let you know that things are not improvised. For instance, with Inland Empire, the only correction he made in the essay I wrote was I talked about an improvisatory process for Inland Empire because the way that I had seen him talk about it or read him talking about it was that he got an idea, and he filmed it. Then he got another idea that didn’t seem like it was connected, and maybe two ideas later that he filmed to see how they were connected. To me, that seemed like it was sort of an improvisatory process, but he was careful to correct that it wasn’t.  He wasn’t improvising. He knew exactly what he was doing when he was filming scenarios — even why he was filming them. He knew what would be in them. It’s just that he didn’t know that they were connected. I know that is a very careful distinction he makes. However, talking to people and reading interviews with people who have been on the set with him — if something accidental happens on the set that is visually exciting or adds another thing to it that he didn’t realize could be there, he will embrace that.

Looking at his stills while I was curating the exhibition, he was really, really specific about what is framed in the picture. That is one of the close relationships between his two-dimensional work and his still work is that he is really thinking about picture playing. He’s really thinking about how you are framing even if it’s live action and even if it’s not just a still of something … He is really carefully controlling what the viewer is able to see. I think that’s a sensibility that comes from him originally and always having been a painter and having to think about that.

CS: Yes, and in your essay in the book based on the exhibit The Unified Field you do a really good job of outlining his process as an artist, and you kind of make those ties to filmmaker, too. There’s a part that explores how many painters want to be stationary in their work, but Lynch likes to move around, and we see this in his filmmaking, too. One of the things I’ve read a lot is “let’s not try to make sense of this” and “David Lynch has no meaning,” or “he’s just making stuff up as he goes.” You just made an interesting distinction of how Lynch can be very intentional, but he’s also working from his subconscious, and he’s very open to something happening on set. Is it a discredit to him as an artist to say that he’s just making this up as he goes along, and he’s just putting random things together? What are your thoughts about this regarding his art?

One of the things is, which is a practical one, is that when he’s in his studio, he’s in control, and it is up to him. He makes all the decisions. They can be made quick. They can be erased. They can be removed. They can be scraped away. They can be burned away. And it can only take just a couple of minutes to do any of that stuff, but when you’re responsible for a crew, or if you’re doing any production, you have to have a plan, or you’re wasting everyone’s time. Even if you’re a seasoned improviser … you’ve got to come at it with a level of preparation that’s expert.

And, when you’re committing things to film, and you have actors and people that are trying to deal with their lines and where they’re supposed to be … trying to control the scene with regard to lighting and all that kind of stuff, you can’t do a whole lot of improvisation especially if it’s something like this 18-hour movie that he has made, which has to be carefully planned out. [Regarding Season 3] I have this feeling that a lot of what happens, little things that happen along the way, are going to be critical, are going to be repeated, and there will be motifs and returning motifs coming up over and over again. You’re going to see by the end how carefully composed it is. I mean, it already is. The first episode and the slowly building of mystery and the careful attention to what, again … looking at what kind of decisions have been made about what’s in Naomi Watts’ (Janey-E’s) kitchen — those kinds of things. Because I know he thought about it and had to approve it. Also, he’s so against product placement that there’s not going to be anything remotely like that in Twin Peaks.

I think the people that think there’s just crazy stuff and a series of images, and he’s making it up as he goes along is a naïve position. You can’t really do that … he’s going to have a point to it. He’s going to have a narrative arc, and it may not be a straightforward a narrative arc in the way that Mulholland Drive is not a straightforward narrative arc, but I think you can’t underestimate how powerful his experience and how natural his work as a painter is [regarding film] — sort of adding things visually, adding things in terms of sound, adding things for an 18-foot mural that are going to come back maybe later than you realize, but you’re going to have to look at it for a long time.

There is going to be eternal rhythms to it because he is composing in the sense that a painter composes, but he is also composing in the sense that a sound artist composes. All of that is at work in Twin Peaks, and he sees these very elements as a kind of palette. That’s one of the places where in all the things he does as a creative person overlap…. It’s in Six Men Getting Sick — sound is as critical as the visual, and they work together. So that siren that goes off gives the whole thing a different effect than it would if it was just completely silent or if it was some other sound.


To read Courtenay Stallings’ essay “‘A Unified Field’ of Dreams” on David Lynch the artist, order issue #3 of the Blue Rose Magazine. Subscribe to the magazine in general at For more information on the David Lynch: The Unified Field exhibit, read the book, which is based on the exhibit, by Robert Cozzolino and available at


Courtenay Stallings is the associate editor and a writer for The Blue Rose Magazine

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Blue Rose Issue 6 Cover

We are excited to announce the cover of the June Issue of The Blue Rose Magazine. Photo taken by Scott Ryan and edited by Wayne Barnes.

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What are the mysteries of The Palmer House? We uncover them in Issue 6.

Issue 6  contents include:

  • A pictorial of the Palmer House. This is not a set. It is an actual house that was used in Season 3, FWWM, and the Pilot. This article will be include an article by John Thorne about how the house is a modern day haunted house.
  • Interview with Michael Horse (Hawk) by Scott Ryan and Courtenay Stallings
  • An essay called “Let’s Rock!” about the geology of Twin Peaks by Andrew Hageman.
  • An interview of Clark Middleton (Charlie) by John Thorne and Scott Ryan.
  • A guide for doing your own Twin Peaks location tour by Snoqualmie resident, Mary Hütter. Take this with you this summer and see the sights.
  • Coverage of Harry Goaz (Deputy Andy) and Kimmy Robertson (Lucy) and their first public appearance together by John Thorne
  • An original surprise piece by Double R Club MC: Benjamin Louche
  • An original surprise piece by a Twin Peaks cast member.

How do you get Issue 6?



Twin Peaks Podcast interview w/ EW’s Darren Franich

Darren Franich and Jeff Jensen hosted the Entertainment Weekly‘s podcast about Twin Peaks over the summer of 2017.  Now, Darren Franich joins Scott Ryan and John Thorne to talk about the lasting effects of the new Twin Peaks on the television landscape.  They discuss how the pacing, storytelling and mood will be viewed through future television programs.  Topics include Atlanta, Star Trek, The Good Fight, Adventure Time, The Sopranos and more.

We get Darren’s theory on who the billionaire behind the box is (he is crazy) and some discussion on the short lived Tracy from Part 1. This is an a wide talk about television just like listeners of The Red Room Podcast have come to expect. We also talk a bit about Issue 5, on sale now, of The Blue Rose.

Listen to 3 Twin Peaks/TV fans talk about some of our favorite topics on episode 149 of The Red Room Podcast.

Listen here or head out to iTunes to download.


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Watch a Promo for Issue #5 filmed at Twin Peaks location.

Parts 17 & 18 Notes by John Thorne

John Thorne wrote up a Notes section that we couldn’t fit into Issue 4 or Issue 5. We figured we would publish them here to point out some interesting moments in Parts 17 & 18.  For a complete episode guide of Season 3 check out Issue 3 (Parts 1-10) & Issue 4 Parts (11-18).

Part 17 Notes:

  • Cole has kept the “Jowday secret” from Albert for 25 years.
  • What does Cooper’s “Two birds with one stone” comment mean? Stop Bob and Judy?
  • Cole is uncertain that the plan is unfolding properly because they should have heard from Cooper by now. The “plan” that Cole kept secret explain much about his behavior (stagnant in Buckhorn, knowing more about Diane than he let on, etc.)
  • Cole’s “That makes two us” comment refers to the fact that he and Bushnell are both Cooper’s boss.
  • Jerry and Ben Horne’s story ends here.
  • Because Mr. C is shown caged in the Fireman’s realm we can assume that he has fallen into a trap set by Briggs, Cooper and The Fireman.
  • Is Diane released from a cyst similar to the one that contains Bob?
  • Diane’s fingernails are now painted only black and white. (The red from her Tulpa version is gone.)
  • The story ends at 2:53, the number of completion. Cooper now passes through a door and effectively begins another dream. The superimposed face is the unifying element; the transitional presence. Passing through the door is critical. In effect, Cooper leaves the world, the fictional realm, of Twin Peaks and travels to another.
  • Was the “plan” to restore Diane?

  • Mike at last chants the words, “Fire Walk With Me” and there is strong transition. Did Cooper long to see through the darkness of future past? Is this what he has been longing to get to? A new future from the past?
  • When Cooper and Mike come through the door into The Dutchman’s, they turn to their left. When Mr. C came through the same door, he walked straight across the courtyard. Why? (Two different Jeffries?)
  • Jeffries says Cole will remember the “unofficial version.” Is he referring to timelines that will be altered? (He then says, “This is where you’ll find Judy.” Is he referring to the “unofficial version”? What else would it be? Unless it is a response to a different conversation.)
  • Jeffries’ responses: “There may be someone” and “Did you ask me this?” seem like parts of another conversation.
  • Cooper’s materialization in the woods resembles the way he disappeared before The Fireman in the first scene of Part 1.
  • When Laura sees Cooper she says, “I’ve seen you in a dream. In a dream.”
  • When Cooper takes Laura’s hand the image transitions from black-and-white to color, indicating a departure from past and Laura’s removal from that timeline. This removal prompts a horrific response from “Sarah Palmer;” if she is (or represents) Judy then she has been defeated at this point. (Or at least denied.) Is she responsible, then, for abducting Laura from Cooper in the woods? (Unclear).
  • Sarah Palmer’s (Judy’s) angry response in stabbing the picture parallels the response we see from Lula’s mother at the end of Wild At Heart.

Part 18 Notes:

  • It is vital to the narrative that we see the bad Cooper destroyed and a new Dougie created *before* Cooper returns to the Red Room. Those pieces complete a separate narrative.
  • Arguably, the new Dougie retains the memories and the moral compass of the Cooper version since he was created from Cooper’s hair. (Otherwise he might be heading back to Jade.)
  • Cooper’s transition back to Red Room is abrupt as if he suddenly awakens (like he did in ep 2 of TOS). There is no passage through curtains or doors.
  • The Arm repeats Audrey’s comments about “the little girl who lives down the lane.” This seems to trigger Cooper into remembering Laura’s whispered comment to him. Cooper is also spurred to action at this point; he is not a passive figure.  Potentially, the girl who lives down the lane is Carrie/Laura.
  • Diane and Cooper’s greeting to one another after he emerges into Glastonbury Grove is markedly different than their reunion in Part 17; it appears as if she has not seen him for many years. They are much more tentative in regards to each other (they do not kiss). Diane is also dressed differently than she was in all earlier episodes.
  • How does Diane know to be at GG at that specific time? A great deal of story has transpired outside the frame. We have not seen everything and must piece together a fuller narrative.

  • How does Cooper know which direction to drive?
  • Cooper and Diane’s kiss seems to be a good-bye.
  • Does Diane see a double of herself as a way of disassociating herself from what she has to do in the room with Cooper? Does she, in effect, become Linda at this point? (Did Laura do the same kind of “masking” when Leland/Bob abused her?)
  • Cooper and Diane go into the room 7 of the motel.
  • After they cross, Cooper and Diane seem more automated, as if following “programming” or directions. Cooper seems to know what to do and directs Diane.
  • When Cooper and Diane kiss in the motel, the Platters song plays (same as Part 8).
  • The town of Odessa recalls “The Odyssey” [Expand for notes]
  • Of course, Cooper had to complete this journey alone.
  • The first thing Carrie/Laura says to Cooper when she opens the door is, “Did you find him?” (Presumably the man who shot the other man now lying dead in her house.)
  • Carrie “Page” is almost certainly the missing page from Laura’s diary.
  • Carrie says she has to leave because of a “long story.”
  • The dead man in Carrie’s house seems to have some protuberance at his stomach, similar to the “cyst” which housed Bob in Mr. C. (This could simply be expanding gas in the dead man’s stomach).
  • The drive from Odessa to Twin Peaks is depicted as drive deep into the night. We never see Cooper and Carrie stop to sleep, nor does another day pass. Carrie never changes her clothes. They arrive at Twin Peaks deep in the dark of an endless night . . .
  • As they cross the bridge into Twin Peaks, there is a music cue. Bridge crossings are important to Lynch (see Straight Story).
  • Important to note that Cooper has been descending through deeper and deeper levels of reality (or going further and further “inside”). From TP sheriff’s station, to black space, to Great Northern, to Jeffries, to 1989, to Red Room, to Glastonbury Grove w/Diane, to motel, to Odessa, to dark night in TP. (Or is it a circle?)
  • Twin Peaks is different than the one we saw in earlier Parts.
  • There are no credits for the actors playing the fry cook or elderly patrons at Judy’s.
  • The Lynch Frost logo is silent (no electric sounds).

For more notes check out Issue 3 (Parts 1-10) & Issue 4 Parts (11-18).

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Jeff Lemire’s Issue 5 Cover revealed

We are honored to show you the cover for Issue 5 for the first time. Comic book artist, Jeff Lemire (Gideon Falls, Old Man Logan) is a huge Twin Peaks fans and he asked us if he could do the front cover. We were thrilled. Here it is:

Isn’t it amazing? But wait, there is more. He then asked if he could do the back cover. So this image wraps around to the back. That one, we are not putting out on the internet. You have to wait untill your magazine comes in the mail in March, 2018. Order this amazing piece of art. It is a one of a kind image and can only be purchased from the Blue Rose. We thank Jeff for this honor.

Issue 5 also has an interview with Lost creator Damon Lindelof, Actor Ray Wise (Leland Palmer), an essay by John Thorne about Parts 17 & 18, coverage of the BluRay release by Courtenay Stallings and another installment of Music in the Air.

The Best deal is to subscribe to 2018 Issues 5-8. Get an issue every 3 months including the extended Women of Lynch issue. Remember, if you ordered The Dougie Special, your subscription expired, so you need to subscribe again.

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What year is this? Year 2

Agent Cooper stood there mystified. “What year is this?” he asked. Well, it is year 2 of The Blue Rose Magazine. Year 1 saw 4 issues, 18 new hours, 3 soundtracks and a ton of questions. Season 3 may have divided some fans, but it had to spark everyone’s imagination. You are left with questions and we have answers.

Year 2 begins in March with Issue 5. It has so much star power that we are humbled. Let’s start with the cover. You wanna see the picture? Not yet.

Comic Book Artist, Jeff Lemire, who was recently picked as writer of the year by Multiversity Universe Comics, has drawn an original wrap around cover. Jeff is a huge Twin Peaks fan and wanted to draw something new for the cover. He combines a few items from Twin Peaks mythology into one large picture that will wrap from the front to the back. This cover will be a one of a kind image and will be a collector’s item for Twin Peaks fans and Comic fans alike. This right here is all you really need to know about Issue 5, but there is more.

We have a brand new interview with Ray Wise (Leland Palmer). Ray talks about working on Season 3, talks about the Between Two Worlds bonus feature on the (ha) Complete Mystery Box set and talks about the original series. He truly loves Twin Peaks and its a great interview. He also promotes his newest movie called Iodine. You can watch it now at Use the Promo code: BLUEROSE for 10% off.

You still need more? John Thorne writes about Parts 17 & 18, Courtenay Stallings takes on the BluRay extras and Scott Ryan covers the first of 3 parts on the soundtracks of Twin Peaks in the reoccurring article, Music in the Air.

One more thing . . .  We have an interview with Emmy winning writer, producer Damon Lindelof of Lost and The Leftovers. He was the moderator at the San Diego Comic Con and is a huge Twin Peaks fan. We talk to him about the production of Twin Peaks and how it will effect the world of television.

All this is just Issue 5. Not sure we can top this one, but we are gonna try. You can subscribe now to issues 5-8. When you do, you also are donating to the Catherine Coulson Welcome Fund at the Oregon Shakespeare Festival. The theatre where our Log Lady worked most of her career. We feel strongly about giving back to the community that we love so.

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Year 2 Subscription: The Log Lady

Because of reader support, The Blue Rose can announce that we will return for another year in print. Thank you so much for supporting an old fashioned print product. If it were not for our subscribers, we would not be able to keep printing an actual edition. You can now order Issues 5-8 which we call The Log Lady Subscription.

If you are new to the Blue Rose, Order the “: – ALL” Special and get Issues 1-8 with one click. Gets you the better deal and a $1 goes to the Log Lady Fund. Order by clicking here.

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