Despite depictions of harsh violence, men abusing physical and systemic power against women, instances of inhumanity washing over the forested hills of Washington as both a literal and figurative fog, Lynch was positioning Twin Peaks as a world where, yes, evil very much exists — but with vigilance against the darkness, with actively mended hearts, hope remains for light to beat back the night.
The hair that Cooper plucked from his own head in "Part 16," which he gave to the Lodge-dwelling Gerard (Al Strobel), was seemingly used to create a new Dougie Jones as hoped, which went on to return to Janey-E (Naomi Watts) and Sonny Jim (Pierce Gagnon), so at least there's one happy ending.
He embodies the chilling tactics of the evil Cooper, too, shooting a man in the foot when he absolutely does not have to, dumping a set of handguns in a vat of hot oil and thereby putting a seemingly innocent restaurant at risk without much concern for the patrons' safety, and otherwise operating in the stone-cold manner more commonly associated with Mr. C.
The Cooper we end up with seems to exist at the center of the Venn diagram, a far cry from the enthusiastic optimism of the federal agent we first fell in love with, if not quite the monster who ravaged everyone in his path for the majority of The Return .
"You've gone soft in your old age," federal agent Albert Rosenfield (the late Miguel Ferrera) tells Gordon Cole in the first scene of the penultimate episode of Twin Peaks: The Return .
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