Twin Peaks- Season 3: “The Return, Part 7”

Showtime’s Twin Peaks
Season 3: “The Return, Part 7”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 6, click here.
* For a recap & review of Part 5, click here.
Pic 1Jerry Horne (David Patrick Kelly) is in the woods, a bewildered look on his face. More than just a good bake on from his killer bud. It’s like he knows there’s something bad in that forest. He calls his brother Ben (Richard Beymer). Seems as if he’s had his car stolen. Turns out he’s actually just high. Too high.
Deputy Chief Hawk (Michael Horse) finds pages of Laura Palmer’s (Sheryl Lee) diary, from the previous episode, and shows Sheriff Frank Truman (Robert Forster). These are the pages torn from the diary, connecting not only to the TV series, but also to Twin Peaks: Fire Walk With Me. They talk about who Bob was possessing, as well as relay the message from Annie – about the “good” Dale Cooper (Kyle MacLachlan) being stuck in the Black Lodge. Hawk susses out that whoever it was came out of the lodge  those 25 years ago was the “bad Cooper.”
Afterwards, Frank calls his brother Harry to talk about the whole thing. What I’d like to know is where is our former sheriff? Is he ill? Sounds like it. A little later the new sheriff calls Dr. Will Hayward (Warren Frost) about the night he went to the Great Northern, to check on Agent Cooper. The doc remembers it, very well. Seeing the agent and that “strange face again.” Moreover, we hear our first rumblings about Audrey Horne (Sherilyn Fenn), how she was in a coma after the bank exploded.
Pic 1AOut on the road Deputy Sheriff Andy Brennan (Harry Goaz) talks with a very nervous, paranoid man. They’re set to meet at 4:30. This guy seems like he’s up to no good, but I don’t see Andy as being the type to be up to anything shady. So what’s the deal?
One of the cops with the case concerning the decapitated head, the body in bed receives a military visit. About the prints they’ve found, what seems likely to be the corpse of Major Garland Briggs. Only there’s a bit of an age discrepancy. Briggs would be much older by now, the body’s less than a week old. How can it be him? Oh, I have a few ideas. Involving space and time. Colonel Davis (Ernie Hudson) gets a call about the prints, the body, and now there’s so much more afoot.
Gordon Cole (Lynch) sees Special Agent Albert Rosenfield (Miguel Ferrer) at his office, reporting on going to see Diane (Laura Dern), who wasn’t exactly forthcoming. Their relationship is hilarious and perfect. They go speak with Diane, she tells them both to go fuck themselves. She and Coop apparently didn’t leave things on good terms. They want somebody close to him to go talk with the Coop sitting in federal lockup, to gauge what’s happening. Eventually she agrees and they’re on the plane. Then Special Agent Tamara Preston (Chrysta Bell) shows them a slight problem with the fingerprints, tedious, almost unnoticeable to untrained eyes. Like someone did a bit of doctoring. Or perhaps, Coop slightly changed.
At the prison, Diane comes face to face with her old pal. He’s clearly different, his voice is unsettling and deep. He wonders why she’s so upset. She asks about the last time they saw one another. “At your house,” he replies (almost like the Mystery Man from Lost Highway; eerily reminiscent). A night they’ll both never forget, apparently. She can see a different person sitting behind those eyes, someone she doesn’t know inside his skin.
Diane: “That isnt the Dale Cooper that I knew
Armed with this affirmation from her which he trusts in wholly, what’s Gordon to do next? Back in his cell, the bad Coop asks to speak with the warden “about a strawberry.” Uh oh.
Pic 2On a lonely road, Andy waits for the paranoid man with whom he met earlier. At the guy’s house, we get the feeling of something ominous behind his open front door. Only Lynch could make a simple shot of a door like that feel creepy. One of the many reasons the man is a master filmmaker.
Coop and the warden meet. The bad man speaks in cryptic fashion, as usual. About “dog legs” and other bits. He mentions Joe McClusk, the late “Mr. Strawberry” and this puts the warden in his chair. Bad Coop requests a car for himself and Ray Monroe. Gun in the glove compartment.
At the Lucky 7 offices, Dougie (MacLachlan) goes about his infant-like day, Anthony Sinclair (Tom Sizemore) snooping around wanting to know more about what he’s been up to lately. Of course he gets no answers, nobody does. Then the police come to speak with Mr. Jones about his car. They mention deaths during the explosion of his car, gang members and such.
Outside the office, Janey-E (Naomi Watts) and Dougie are attacked by the small hitman, wielding a gun now. Instinctively Dougie moves “like a cobra” wrestling him to the ground, chopping him in the throat. In the pavement he sees the Man from Another Place, in his newest form, that brain on a tree. It commands him to “squeeze his hand off.” So Dougie chops the guy in the throat one more time, freeing the gun from his grip. SO INTENSE! The sound design in this scene is so foreboding, you can feel something coming
At the Great Northern, Beverly Paige (Ashley Judd) shows Ben a strange hum emanating from one of the rooms. They can’t pinpoint where it’s coming from, or what’s making it. They follow it around awhile, but still can’t figure it out. At the same time they’ve received the key from Cooper’s old room, from all those years ago. A slice of strange nostalgia for Mr. Horne. Beverly has her own difficult life; a very ill husband named Tom (Hugh Dillon) to look after, being cared for in hospice. They also don’t have a great relationship, it seems. He makes her feel guilty, or she perceives it that way.
Pic 3I love Lynch because he intrigues us, and he also gives us slices of anticipation where we see a long shot of the Bang Bang being swept, Jean-Michel Renault (Walter Olkewicz) at the bar working silently. And nothing happens, for so long. Because Lynch knows we’re paying attention. He doesn’t do this for shits, he does it to make sure we haven’t fallen off.
Then a call comes in, Jean-Michel running his greasy business as it always was, like 25 years ago. Trouble, too. I wonder who owes him, and what this will mean for the plot in coming episodes.
In jail, the bad Coop is released from his cell, as is Ray. They’re let out the back quietly, given a phone, keys to a vehicle. Off again, jiggity jig. Wonder where they’re heading first? Meanwhile at the diner in Twin Peaks, life goes on as usual. I love the way Lynch intertwines the mystery and the everyday, going from such a dark, mysterious moment into one of comfort, one of familiarity. And even underneath the beautiful music, the old 50s and 60s guitar swooning in the background, there’s an undercurrent of that threatening, foreboding sound design, building and festering. Perfect atmosphere.
Screen Shot 2017-06-19 at 12.38.08 AMAnother good episode, this one a bit less heavy on the surrealism and the absurd, more a classic episode of Twin Peaks we’ve come to know. I’m excited because with 18 episodes, Lynch and Frost have the opportunity to take their time a bit, which they do with relish. All the same it’s good, it isn’t frustrating for those of us Peakheads who love the mystery, the intrigue, the surreal. Can’t wait for the next episode already.

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Twin Peaks – Season 3: “The Return, Part 6”

Showtime’s Twin Peaks
Season 3: “The Return, Part 6”
Directed by David Lynch
Written by Lync & Mark Frost

* For a recap & review of Part 5, click here.
* For a recap & review of Part 7, click here.
Pic 1Poor Agent Dale Cooper (Kyle MacLachlan). Still Dougie, still infant-like. He’s not left work since after he finished. Plus, he can barely converse with anybody. He only knows a few words like “home” and his name and a few others like “red door” – the door of his house. A cop helps him along back home to Janey-E (Naomi Watts), his doting wife. He keeps rubbing the cop’s badge, too. Memories of his old life. The absurdity of the whole situation is so perfectly hilarious. There’s clearly something wrong with him and people treat it like it’s only a mild little thing. Suburban life is so zombified that this version of Dougie is somehow no more noticeable or worrisome than the general cold.
The best is seeing him with Dougie’s boy, Sonny Jim. They’re essentially on the same wavelength. Although young Sonny Jim is likely a few steps ahead of this depleted Agent Cooper. The only part of Dale which seems to remain is his love of coffee and food; the simple things.
Janey-E stumbles onto photos of Dougie and Jade, the working girl he was with prior to the switch. So now that’s another bit of trouble his infant mind can’t really compute, and it isn’t even his life. Doesn’t matter for him ultimately. Someone calls for Dougie, too. Clearly the guy’s into big debt with some rough bastards. Janey-E offers to meet the caller the next day.
Then we go to the Black Lodge, as Dale sees through the border between the worlds while running a finger along the black-and-white Lucky 7 Insurance logo. Calling to mind the floor of the lodge. The One-Armed Man Phillip Gerard (Al Strobel) calls out: “Dont die.” The spirits of the lodge are still with him in there, in his mind. He’s very slowly seeing things, he has a vision. A kind of second sight, like how he picked out the machines ready for jackpots. He takes out a pencil and on the files from the office he draws a figure similar to the tree with a brain for a head from Part 1. Then a ladder. He draws another ladder, as well as some stairs.


Fuck Gene Kelly, you motherfucker.” Best insult ever to someone using an umbrella. Special Agent Albert Rosenfield (Miguel Ferrer), on a mission from Gordon Cole (David Lynch), heads into a dark, neon-signed club. He’s there to see Diane (Laura Dern); FUCK YES! Oh, lord. How I love thee Ms. Dern. What a reveal, too. Been waiting to see this woman for far too long. Doesn’t disappoint.
Richard Horne (Eamon Farren) is picking up some cocaine, meeting with Red (Balthazar Getty), a strange dude accompanied by men with guns. Apparently he has a problem with his liver, has to beat it a bit. There’s a lot more nastiness in the small town of Twin Peaks than even 25 years ago. Darkness never left. Used to be Bobby Briggs (Dana Ashbrook), now a deputy sheriff, was the bad boy. Looks like the Horne family still has its share of bad apples. And Red, he’s creepy. He’s psychotic, also a bit of a magician.
Red: “Just remember this, kid. I will saw your head open and eat your brains if you fuck me over.”
Over at the Fat Trout Trailer Park, we see Carl Rodd (Harry Dean Stanton) after all this time. He’s headed into town, same time each day. He hasn’t changed, either. Good man. Loves his cigarettes. In town at the Double R, Shelly Johnson (Mädchen Amick) works her shift as usual, as does the giggling waitress. Life goes on and on in their slice of America.
Pic 2Flying down the road raging on coke, Richard goes flying through a crosswalk and kills a child in front of a bunch of people, bloody everywhere. And he keeps on going, doesn’t even look back. A girl who’s a regular at the Double R sees his face as he speeds off. Carl stumbles across the scene, shattering the tranquillity of his day prior. He looks up to the power lines above, seeing a strange light dissipate into the electrical wiring. He goes to the woman and tries comforting her what little he can. A tragic scene.
Note: The #6 electrical pole from Fire Walk With Me and Missing Pieces is specifically shown, panning up to the wires overhead. “Electricity” is spoken by the Man from Another Place in Missing Pieces. See here.
Dougie’s blown-up car is being investigated. A cop has to climb up over the junkie mom’s house as she yells out “one one nine” over and over. There’s so much swirling around Dougie Jones that if someone doesn’t find Dale soon it’s gonna be a shitstorm eventually.
In a hotel room a man rolls dice, writing down numbers. Under his door comes a thin envelope. One from a man named Duncan Todd (Patrick Fischler), whom we saw in a previous episode, the one seemingly being extorted. The man opens the envelope to find two pictures, he then goes over their faces with an ice pick. Fucking creepy. One face belongs to Dougie Jones.
Over at Lucky 7, Dougie-Coop is at work, wandering around like usual. Watching on is Anthony (Tom Sizemore), clearly a man with things to hide. The boss doesn’t seem to love Dougie’s “childish scribbles” on the files. A mess. Somehow in the pile of nonsense the boss discerns what’s meant to be happening. He figures out the symbols, connecting them. Just as the viewer does while watching Twin Peaks. Do like Dougie: “Make sense of it.” This cracks me up, it’s so perfect in a comedic way and also in that way of post-modern thought in terms of how we interpret what we’re watching. Lynch and Frost are mindbenders. Love every second of it.
Pic 3Janey-E goes out to meet a couple sketchy-looking dudes, Tommy (Ronnie Gene Blevins) and Jimmy (Jeremy Davies). They’re trying to get over $50K out of Dougie. She’s pretty tough, all the same. She offers up $25K to be done.
The man with the pictures murders his first target. Brutally. He has to do a few murders, in fact. To keep anybody from talking much. All with that ice pick. He almost cries after he’s bent it. Such a surreal moment. Another note: Lynch has a fascination with fucked up teeth, more of which is evident here.
Out in the woods, child killer Richard stops to see how much blood is smeared across his bumper. He washes it off. How long can he hide it?
Back with Deputy Chief Hawk (Michael Horse), we see him drop an Indian Head coin. He picks it up, noticing another Native logo on the stall of the toilet door; screws missing at the corner. So he takes a closer look inside, prying it open. Inside he finds papers full of writing.
We find out more about Sheriff Frank Truman (Robert Forster); his son killed himself, a soldier. Part of why he and his wife are at odds much of the time, because of her grief over what’s happened. That’s a sad story.
Pic 5Another interesting episode. This one a bit more straight forward, and even then it’s a wild ride.
I’m interested to see more of the Trumans, and I’m itching to know about Harry. We’ve got another 12 episodes, there’s plenty to uncover. Until next time, Peakheads.

Twin Peaks – Season 3: “The Return, Part 5”

Showtime’s Twin Peaks
Season 3: “The Return, Part 5”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 4, click here.
* For a recap & review of Part 6, click here.
Pic 1In Las Vegas, we start on two men waiting late outside a place, as a woman named Lorraine (Tammie Baird) talking to them on a phone seems worried sick. Afterwards, she makes another call, though at the other end is only an ominous black phone or tablet-like object blinking.
Concerning the murder scene we saw recently, inside the body itself was found a ring, inscribed to Dougie Jones, from his wife, Janey-E (Naomi Watts). Hmm.
And back at the prison, bad Coop (Kyle MacLachlan remembers the Black Lodge, thinking back to when he – Bob – first entered the vessel: “Youre still with me, thats good,” he says in the mirror (remember: “Chrome reflects our image,” from Fire Walk With Me). Note: Amazing work on the composite shot of MacLachlan’s face [upper half] joining the face of Bob (Frank Silva; RIP) [lower half] in a grin we’ve seen time and time again during the original series.
In an office building, Steve Burnett (Caleb Landry Jones) is chastised for a terrible resume and sent packing from a hopeful interview. Whom exactly is he?
Over in Twin Peaks at the sheriff’s station, Sheriff Frank Truman (Robert Forster) gets a visit from his wife Doris (Candy Clark), interrupting a call with his brother Harry. She’s not happy, everything at home is fucked up. He tries reassuring her everything’s fine, but it’s clear they don’t communicate so well.
Pic 1AMeanwhile, regular ole ‘good’ Dale Cooper (MacLachlan) is still kicking about the Jones residence, his wife trying to make sense of his “weird as shit” attitude. She’s hidden the nearly $450K he won at the casino, now she offers to drive him to work. With all the people swirling around the REAL Dougie, it’s only a matter of time before Coop winds up in a load of trouble. There are a lot of eyes on Dougie.
I wonder what exactly will pull Coop back to reality, so that he remembers himself. Or perhaps Gordon (Lynch) and Albert (Miguel Ferrer) will track him down soon enough. For now, Coop unwillingly masquerades as Dougie, puttering around the Lucky 7 Insurance offices. What gets him moving? You bet it: coffee. He sucks it back in the elevator like life sustaining nectar. The funniest thing to me about all this is that people, while feeling it’s odd, don’t exactly treat Dougie differently, they sort of play along with it and the guy delivering coffee pulls him into the board meeting; sort of Lynch and Frost’s commentary on the monotony of office work, no matter how high profile.
At the meeting, Coop’s Dougie blurts out that his friend Tony (Tom Sizemore) is a “liar” and everyone is a bit thrown off. Still, they lead Dougie around like a child and he stares with wide-eyed wonder wherever he goes. Then, like a child, the confused Coop picks up a new word: agent. Soon he learns more: case files. His journey back to Agent Dale Cooper is on its way, slow but sure.
Note: Lynch can make anything surreal, the beginning of the meeting with the coffee and the green tea latte is a perfect example. Hilariously absurd, the way Tony and the other man share a glance. Of course the whole Dougie angle is absurd, in the best ways. Especially when he’s holding his piss, nearly dying from the pressure, and once more people cater to him like an infant.
Pic 2At the casino where Coop won his jackpots, Supervisor Burns (Brett Gelman) is beaten severely for letting all that money slip away, by Rodney Mitchum (Robert Knepper) while Bradley Mitchum (Jim Belushi) warns him to leave town. They’re the, uh… controlling interests, in the business. I’m sure they’ll cross paths with Coop’s Dougie at some point. Time being, the pit boss Warrick (David Dastmalchian) is put in charge.
In the house with the junkie mom, across from where Dougie left his car, the little boy heads outside to look at it. Underneath blinks the little tracking device, which the boy tries removing. Before a black car blasting music pulls up, men hop into the car, and the thing explodes when they try boosting it. Whoa.
Perhaps a clue for the outside world: Coop’s old Great Northern key is found in the working girl’s vehicle as it’s being cleaned. She pops it in the mail.
In Twin Peaks, Norma Jennings (Peggy Lipton) keeps an eye on the diner as usual, as Shelly Johnson (Madchen Amick) works away. She sees Shelly give Becky Burnett (Amanda Seyfried) money, obviously not for anything good. Norma’s worried about the new girl. She’s married to Steve, that hopeless young man from the job interview, and they’re both into coke.
OH, no. I feel like there’s a parallel between Becky and Laura Palmer (Sheryl Lee) already. The old-timey, romantic music, the cocaine, even her smile is similar to Laura’s with that big, sweet, toothy grin. Uh oh.
At the station and into the night, Deputy Chief Hawk (Michael Horse) and Andy Brennan (Harry Goaz) keep going through all the evidence, the old papers, et cetera. They’re searching for the clues directed by the other clues of the Log Lady. But “no Indians,” as Andy so eloquently points out.
Pic 3Out in the woods, Dr. Lawrence Jacoby (Russ Tamblyn) powers up his own little radio show. He rambles about globalist conspiracy, his “cosmic flashlight” – and a bunch of other things. At least he’s passionate. A few of his listeners include perpetual hippy Jerry Horne (David Patrick Kelly) and Nadine Hurley (Wendy Robie). Jacoby uses one of those gold-plated shovels as a bell, he rings it with a hammer like tolling it for his listeners. He’s truly mental, The gold-plated shovels are a way to “dig yourself out of the shit” towards the truth: only $29.99. I mean, the absurdity is off the charts, and I love it. He’s not even mental, he’s an opportunist.
Colonel Davis (Ernie Hudson) receives information about Major Garland Briggs in Buckhorn. Stuff keeps popping up over the years about the old fella, they haven’t actually found his body yet. Well, the army hasn’t; somebody certainly has at the morgue.
At the Bang Bang Bar another excellent band plays – they’re called Trouble and the song is “Snake Eyes” – people mingle, dance together. A young man named Richard Horne (Eamon Farren) is asked to stop smoking, then proves he’s definitely one of the rich Hornes by offering up a bribe to keep his cigarette lit. Could it be the son of Audrey Horne (Sherilyn Fenn)? Either way, he’s a creepy dude. When a girl asks him for a light he assaults her a bit, grabbing her by the throat. Shit, he is scary.
Back at the FBI, Agent Tamara Preston (Chrysta Bell) compares photos of Coop with his doppelganger, she looks at the fingerprints, examining everything carefully looking for answers. A true mystery.
Pic 4In jail, bad Coop gets his phone call. The one Gordon is hoping will give them something with which they can work. The doppelganger knows they’re listening in. So he says: “Who should I call? Should I call Mr. Strawberry? No, I dont think Ill call Mr. Strawberry. I dont think hes taking calls. I know, I know who to call.” He dials madly over the numbers, making no sense. Followed by all the systems going haywire, lights flashing and alarms going off.
And into the receiver bad Coop finishes with “the cow jumped over the moon.” Everything stops immediately once he hangs up. Will the dish now run away with the spoon?
In Buenos Aires, Argentina, where that phone – or whatever it is – blinked in the beginning. It blinks more, before shrinking into a tiny morsel, like a little crumpled stone or piece of metal, in a wooden bowl where it sits. Remember, Phillip Jeffries (David Bowie) disappeared from Buenos Aires back in Fire Walk With Me/Missing Pieces. Keep that in mind.
All the while Coop’s Dougie lingers outside the Lucky 7 offices, unsure of how to keep going about his day. He’ll find his way again, somehow.
Pic 5What a great episode. So weird, so funny, and more intrigue; particularly in the Jeffries-related area, part of the plot I’m very interested in since long ago first having seen Fire Walk With Me. Part 6 will surely give us more, and I can’t fucking wait!

Twin Peaks – Season 3: “The Return, Part 4”

Showtime’s Twin Peaks
Season 3: “The Return, Part 4”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 3, click here.
* For a recap & review of Part 5, click here.
Pic 1In Las Vegas we find Coop (Kyle MacLachlan) winning jackpots all over the casino, fresh off his transition back into the real world since spending all those years in the Black Lodge. He sees that strange little vision of the lodge’s curtains and patterned floor all over the place, each one indicating a jackpot. Like a second sight.
Then a man named Bill Shaker (Ethan Suplee) and his wife Candy (Sara Paxton) think they’ve spotted Dougie Jones, chatting him up. Poor Dougie just wants to go home. Such a comically absurd scene, so perfect.
Thank you, Mr. Jackpots.”
The casino’s manager (Brett Gelman) and his pit boss Warrack (David Dastmalchian) wonder why Coop’s headed off without all his winnings. All he can say, again, is “call for help.” They get him a limo home, but not actual home – Dougie’s place. His wife Janey-E (Naomi Watts) is waiting, worried sick; he’s been gone three days. Now he’s back, much quieter, and with a ton of cash. Seems that the Jones’ have been worried about paying somebody back. This can solve all their troubles.
Pic 1AFBI Director Gordon Cole (David Lynch) is meeting with Bill Kennedy (Richard Chamberlain) and Denise Bryson (David Duchovny), who’s obviously in a much higher position than last we left her – Chief of Staff at the bureau. Seems that Cole is taking an agent named Tamara Preston (Chrysta Bell) with him on his latest excursion to find Coop. Absolutely love this exchange between these two. It’s funny, kind of heartwarming at moments.
Back in Twin Peaks, Lucy Brennan (Kimmy Robertson) is worrying over the thermostat. Sheriff Frank Truman (Robert Forster) arrives and scares the life out of her; she’s got trouble with understanding cellphones, apparently. And there are various other little things going on while the boss was away fishing. Not only that, Bobby Briggs (Dana Ashbrook) is now on the side of the law.
Deputy Chief Hawk (Michael Horse) fills Truman in on everything that’s happening, what the Log Lady (Catherine E. Coulson) prophesied. One of the newer men at the station doesn’t particularly dig how things are done in their town. Not used to all the mysticism the locals understand as important and very real. Afterwards, Bobby winds up seeing the picture of Laura Palmer (Sheryl Lee) in all the evidence and has a minor breakdown. When he calms down he mentions Coop was the last person to see his father Major Garland Briggs before he died in a fire.
At the station arrives Wally Brando (Michael Cera) – son of Andy and Lucy – wishing to “pay respects” to the sheriff, about his brother Harry’s recovery. A weird kid, though no surprise there with those two with his parents. He dresses like Brando in The Wild One. He’s a traveller, too: “I think about Lewis and his friend Clark…” – I mean, he fits right in. Frank Truman is much like his brother, in that he’s a normal fish in a pond with a whole lot of strange fish.
Pic 2Coop’s still stuck as Dougie, for now. He remembers bits of the Black Lodge, where the One Armed Man, Phillip Gerard (Al Strobel) searches for him. He sees that other world just barely below the real one, superimposed below everything he sees. “Now one of you must die,” Gerard explains. Pretty tall orders for a guy who can’t even properly take a piss yet.
It’s as if coming back into the world Coop is once more like a child. Then he looks into the mirror, touching his reflection. There is no other face but his own; the chrome does not reflect any other image, like in the finale of Season 2 where Bob existed in the bad Coop behind his face. He can’t take a leak, he can’t wear a tie, he can barely eat on his own. When a coffee’s placed in front of him a familiar light brightens in his eyes, then he almost scalds himself to death. Too funny.
Gordon, along with Agents Preston and Albert Rosenfield (Miguel Ferrer), arrive from the airport and head towards their destination. Their banter is so perfect, and I think even after 25 years the hearing problems of Director Cole are still as funny as ever, maybe even better with Albert’s intolerance after decades of the same shit. They’re looking into what was found in the car, where bad Coop crashed. And then they get to have a chat.
Pic 3They ask Coop where he’s been, it’s clear there’s something not right. He tells Gordon he’s been working with Phillip Jeffries. He continues repeating himself. His voice is low and unsettling unlike before. Gordon especially sees that this is not the same man who’s been his close friend all these years. Not a bit.
When they’ve left Gordon also questions Albert, about his reaction to their mutual friend. Albert says he authorised Jeffries to give over information to Coop years ago; he told him about a contact in Colombia, who wound up murdered the day after. So, was it the doppelganger of Jeffries? Were he and the bad Coop working in unison? Seems the two older FBI men are now concerned there are dark things at play. They’re just as much confused as they are sure of something sinister coming.
Then they come to the decision there’s a woman who needs in on the Coop situation, a fresh perspective. Could it be Audrey Horne (Sherilyn Fenn)? Could it be Sarah Palmer (Grace Zabriskie)? We’ll see.
Albert: “Blue Rose
Gordon: “It doesnt get any bluer
Pic 4Another beautiful, dark, mysterious episode. So much going on, and so much to look forward to over the next 14 parts of this new Twin Peaks.

Twin Peaks – Season 3: “The Return, Part 3”

Showtime’s Twin Peaks
Season 3: “The Return, Part 3”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Parts 1 & 2, click here.
* For a recap & review of Part 4, click here.
Pic 1Agent Dale Cooper (Kyle MacLachlan) falls through that space of darkness. Amazingly strange visuals here, love the new evolution of what Lynch is doing here. Soon, Dale falls to a balcony overlooking black ocean waves. One thing I’ve always loved, that plays through into these surreal sequences, is the calmness of our faithful FBI agent. His mind is so open he’s willing to experience these often terrifying things with a grace and poise not many would have, I’m sure. This whole scene is unnerving. Like Coop’s lost in a wasteland of some kind, the building he enters is a nightmare. He finds a lady with no eyes – almost resembling Josie Packard – sitting inside by a fireplace. She mumbles, touching his face. Then a loud pounding on the walls.
Coop notices a safe-type contraption on the back wall with a visible number 15 on it. He goes toward it but the thing repels him, and the eyeless woman urges him to leave. He follows her up through a trap door and onto an odd structure, in the middle of a starry sky, on top of which is a lever the woman pulls. Electricity throbs and then sends her flying out into space while Coop watches helplessly. Through the sky floats a face that says “Blue Rose” – remember, Gordon Cole (David Lynch) and his Blue Rose Cases? Ah, I love that more of the pieces are beginning to fit now in the series’ return.
Pic 1ABack inside the structure, Coop discovers a woman, dressed similarly to the eyeless woman. But she does have eyes, and a watch with no face. On the wall, the safe-like contraption now has the number 3 above it. Cut to bad Coop in his car, as the time approaches 3 PM. We move back and forth between these places, as the good Cop somewhere further than the Black Lodge is trying to find a way to get himself back to the world. As he moves closer to the thing with the 3, bad Coop feels himself get weak, and good Coop is slowly sucked through its middle, leaving his shoes behind. The doppelganger proceeds in flipping his car, as the empty cigarette lighter’s electricity crackles, threatening to haul him inward. And outside the car appear the curtains of the Black Lodge.
When you get there, you will already be there.”
Elsewhere, a guy named Doug (MacLachlan) is with a prostitute, he feels his left arm going numb. He’s also wearing the owl ring on the same hand. The guy has terrible pains in his gut, falling to the floor. He vomits brutally before being pulled into nowhere; the Black Lodge curtains again appear. Bad Coop vomits what looks similar to creamed corn – garmonbozia – everywhere then passes out.
Doug, however, is in the lodge. There, he finds Phillip Gerard, the One Armed Man (Al Strobel) watching him. “Someone manufactured you,” he tells Doug: “For a purpose.” And now the purpose is done. Gradually the guy’s hand starts shrinking, the ring falls off, and his head disappears in a smoky black shadow. An orb rises from him then he disintegrates into a fleshy pod and further vanishes. Whooooa.
Thus, Gerard puts the owl ring back in its place on the marble table. More electricity in the mythology now, as Agent Cooper shows up through the electrical sockets in the house where Doug and the prostitute were shacking up. He’s got no shoes, either. He isn’t exactly feeling himself. Still has a key to the Great Norther Hotel in Twin Peaks in his pocket, too.
In the meantime someone’s watching them. They’re near Sycamore Street, in fact; wink, wink, nudge, nudge. Someone’s looking for Doug, though when Coop drops his Great Northern key it looks like he isn’t in the car, and the men watching are thwarted. For now.
Pic 2A junkie in a nearby house screams “one one nine” over and over. I wonder, does she deal with spirits from the Black Lodge? Are these numbers connected to those Coop’s been told by both the Arm and the Giant?
Bad Coop’s car is found by officers on highway patrol. They smell something disgusting inside and can’t even open the door, so they call in reinforcement with gas masks. I imagine he’s basically a puddle of skin and blood and creamed corn.
At the police station in Twin Peaks, Deputy Chief Hawk (Michael Horse), Andy and Lucy Brennan (Harry Goaz & Kimmy Robertson) look through a mountain of various evidence. The typically quirky, hilarious dialogue ensues between our old favourites. Andy’s not AS goofy as he was, though still foolish in the best sort of sense. Hawk keeps pressing himself to figure out the clues left by the Log Lady (Catherine E. Coulson) even if his two pals aren’t overly helpful.
And what about ole Dr. Jacoby (Russ Tamblyn)? He’s out at that camper, spray painting shovels. I’m endlessly curious about this, because the doc was always an odd duck. Right from the first episode of the original Twin Peaks run he was a weirdo, and I can only imagine what he’s up to now.
Cooper connects words from Laura Palmer (Sheryl Lee) in his newest Black Lodge experience to the prostitute, as she urges him to go. He walks spaced out into a casino’s revolving door, still not adjusted to life back in the real world anymore. LOVE seeing Meg Foster at the cash dispensary, she’s awesome! Poor Coop wanders the casino floor, he sees a flash of the Black Lodge’s curtains and the patterned floor. So he sits at a slot machine and hits a big win. He goes from one machine to the next, hitting jackpots. Yet all he can say is “call for help.” He continues seeing machines lit up with the tiny vision of the Black Lodge. Jackpots everywhere. Even helps a dirty old woman hit it big!
Pic 3At FBI HQ in Philly, Agent Albert Rosenfield (Miguel Ferrer), Director Gordon Cole, and others look over a murder case involving young women, a boy, an automatic weapon, some pliers, and a jar of beans or something similar. They’ve also got a few things about New York to discuss. Mutilated bodies in an apartment complex; yes, that one we saw in Parts 1 and 2. They have evidence of the glass box, and a recording of the eerie apparition in the darkness.
Then Cole receives a call about Agent Cooper after all these years.
Albert: “The absurd mystery of the strange forces of existence.”
Pic 4Amazing. Just spectacularly weird, wild stuff. It’ll only continue.
Now with Agent Cooper back in the real world with Gordon and Albert on their way to meet him, there’s bound to be a deepening sense of the surreal working its way farther and farther into these next episodes. And that’s saying something!
A new case, a new world. Bring it on.

Twin Peaks – Season 3: “The Return, Parts 1 & 2”

Showtime’s Twin Peaks
Season 3: “The Return, Parts 1 & 2”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Episode 3, click here.
Pic 1Welcome back!
We start in that old dream with Laura Palmer (Sheryl Lee) and Agent Dale Cooper (Kyle MacLachlan): “Ill see you again in 25 years. Meanwhile.” And thus begins our walk down those familiar trails, through the town we knew so well. Revisiting the heartbreak surrounding Laura’s own murder.
Cut to Cooper in another dream with the Giant (Carel Struycken). Telling him to listen to the sounds, which come from an old gramophone record player. “It is in our house now,” he says. “Remember 430.” Is it a time? Or something else? Well, we’ll see how Cooper pieces together all the cryptic messages, y’know – when he does his thing.
Pic 1AAt a camper in the woods is Dr. Lawrence Jacoby (Russ Tamblyn), the one and only. He gets a shipment of shovels. Not at all strange. The doc’s got a bit of digging to do. Meanwhile, in New York City, a young man (Ben Rosenfield) sits in a strange room with a glass box setup in the middle, lights and cameras trained on it. I’ve got a couple ideas about this – could he possibly be trying to contain a spirit from the Black Lodge? Too early to guess, even. It’s a genuine facility, security guards and cameras all over the place. A girl named Tracy (Madeline Zima) shows up with coffee, but the work is very secretive, so she’s sent off fast. The young gentleman has work to do watching the glass box, the porthole in the building’s wall. Hmm.
Back in Twin Peaks, Benjamin Horne (Richard Beymer) is business as usual with a new secretary Beverly (Ashley Judd), and you know brother Jerry (David Patrick Kelly) is kicking around like a hippy as usual. In fact he’s growing weed these days. They’re hilarious as ever. Then there’s sweet Lucy Moran now Brennan (Kimmy Robertson), still at the police station running the show in her unique way.
More of those dark roads we know well. Ominous music playing over top. Headlights lead us to a house where Agent Cooper pulls up and goes inside to see a man named Otis. Coop’s looking… tough, different. Is it possible this is the bad Coop? The one who came back possessed from the Black Lodge? No matter for now, he’s there to get a pair named Ray and Daria.
Back at the NYC, our watcher receives another visit from Stacy while the guards seem to be off on a break. He explains it’s a “job to help with school.” The place belongs to an anonymous billionaire. That’s curious. He has to watch and see if anything appears in the box. Oh yes, they’re looking for spirits from the Black Lodge. I know it! While they’re meant to be watching the box, they have sex. And of course something happens. The box fills with darkness. Then something inside becomes more visible, an odd corpse-like figure; it breaks out. Then dices the two lovers to bloody bits. Jesus. Terrifying.
Pic 2In an apartment building Marjorie Green and her dog come across something foul in a nearby room. The woman who lives there, Ruth Davenport, hasn’t been seen in three days. Police arrive promptly to check on things, though with not much help from Marjorie. Nor any of the other people in the building. When they get into Ruth’s apartment they discover her corpse in bed, a hole in her face. Not just that – her head is cut off, her body posed and twisted in a ritualistic fashion. It’s happening again.
The Log Lady (Catherine E. Coulson) calls to speak with Deputy Chief Hawk (Michael Horse). “Something is missing, and you have to find it.” She also tells him it’s to do with Agent Cooper, as well as his own heritage. Now this is interesting! I’m hoping this time around Lynch and Frost give us more Hawk, I love him. Hawk, Lucy, and Andy (Harry Goaz) are starting to look into the Log Lady’s clues. We find out Coop’s actually been missing for nearly 25 years. Did Bob infect Coop all those years ago then take him on a joy ride?
A fingerprint match comes up from the crime scene at the apartment building: William Hastings (Matthew Lillard), a local Buckhorn boy. The principal of a school. Ah, in proper Twin Peaks fashion things are about to get fucked up. But they’re never all they seem, ever. Hastings is naturally picked up by the cops. He’s questioned about Ms. Davenport, denying any relationship with her or being at her apartment. Soon he’s asking for a lawyer. Things aren’t looking too good, though he doesn’t exactly seem like the murderer. Surely there’s an evil lurking somewhere behind all this. Feels like something we’ve seen before, too.
When the cops have a look at the Hastings home they open his trunk and find themselves a torn patch of skin. No bail for ole Bill. More interesting is that he says he wasn’t there, except he had a dream that he was there.
Pic 3Oh, this is absolutely where Leland Palmer (Ray Wise) found himself a couple decades ago. As night falls a strange figure appears in one of the cells, quite unsettling. At home Bill’s wife gets shot in the face by a mysterious stranger in the dark.
Those Black Lodge spirits are still swarming, and the town of Twin Peaks was only a start. Just look at Agent Jeffries (David Bowie) and all that he went through, it isn’t a confined problem. This is one of the excellent parts about the series comeback, so far we’ve already seen it branch out to NYC, Buckhorn. Delicious!
In the city of Las Vegas, a man named Mr. Todd (Patrick Fischler) is being extorted. He sends an employee named Roger with a wad of bills for a payoff. He’s being forced to hire someone.
We go back to Coop, in a diner, with Ray and Daria. There’s definitely something quite different about Agent Dale, he isn’t the same guy we left back in Season 2. Although he does still drink coffee, still looks at it the same way; he’s there underneath it all. And there is a connection between their little crew + Hastings. Uh oh.
Pic 4Hawk is out in the woods, worried of what will happen next. He gets another prophetic call from the Log Lady herself. She cautions him to watch carefully. Hawk can almost feel the divide between the two worlds in those woods, the red light shining dim around the trees.
And just like that we’re back in the Black Lodge. Cooper is there, too. Along with Phillip Gerard, the One Armed Man (Al Strobel) repeating the words of his counterpart, The Man from Another Place: “Is it futureor is it past?” He disappears after a moment. Then Laura Palmer returns! She and Dale, back there again 25 years later. Or did he ever leave, really? I don’t think so, I think he’s been stuck in the Black Lodge all these years.
Laura also removes her face, like a mask. Remember the masks on the little boy and the Jumping Man in Fire Walk With Me? Significant imagery/symbolism. More of which we’ll explore surely as these new episodes play out.
And what does Laura whisper this time to Dale? Surely it’s not about her murder, the whole thing’s solved. So, it’s something new. By the look on his face it’s something shocking. Followed by rippling curtains and Laura is ripped into nowhere, screaming. Cooper sees a white horse in the distance – death? – and then Gerard asks him to follow through the curtains. We see the “evolution of the Arm” and he’s no longer the tiny man, rather a fleshy head on a tree. The Arm reminds Coop of his doppelganger who escaped; he has to come back before Coop can leave.
Pic 5Out in the world the doppelganger Coop goes about his business. That hair noticeably longer, sort of like the way Bob wore his hair. At the motel with Daria he lurks around in the dark, only concerned seemingly with the next act of violence or whatever it is he has planned. He’s also uncovered the betrayal of Daria and Ray, they were contracted by somebody, which doesn’t bode well for her alone with him. We know of what this dark spirit is capable. And he’s ready for whatever his other half good Coop brings, not willing to be pulled back into the Black Lodge.
Bad Coop gets in contact with someone he thinks if Phillip Jeffries. There’s also mention of Major Briggs. There’s so much juicy stuff going on I’m beyond excited. Afterwards he checks out info on Yankton Federal Prison. He then goes to see a woman in a nearby room (Jennifer Jason Leigh) about his plan, they’re pretty intimate.
In the Black Lodge, Cooper receives other cryptic clues from the Arm. Now it’s up to him to escape, to draw Bob back in so he can leave. First he has to navigate the various rooms, where he runs into Leland Palmer once more who urges the agent to find his daughter. In another room he sees the place blur, and the Arm mentions his own doppelganger, which attacks Coop in one of the halls as the floor tears apart and he falls inside under black waves.
The Arm: “253. Time and time again.”
Pic 5ACoop appears in the glass box in NYC, he floats on through the side of the building and finds an empty room. Immediately we’re back before the young man and Tracy get busy. The box rattles, then it expands before closing in on itself. Then Coop is in a terrifying black hole of sorts, falling through space.
In her home Sarah Palmer (Grace Zabriskie) watches television and smokes cigarettes, as usual. And in Twin Peaks at the bar (as The Chromatics play), things go on as they have for so long, including the lives of those we knew years ago like James Hurley (James Marshall) and Shelly Johnson (Madchen Amick) and more.
I suspect that’ll change soon enough, though. The town’s about to experience something like it did 25 years before. Maybe worse this time around.
Pic 6The Return Parts 1 and 2 have been an amazing experience. I first saw Twin Peaks about 16 years ago, ever since I’ve been enthralled. Lynch and Frost, for me, are doing fans right. 18 episodes is plenty to open up the mythology they began 25 years ago. This time, the Black Lodge, the White Lodge, all these things will come full circle, I believe. We’re bound to see much more wildness.

Lynch’s BLUE VELVET is Like Disturbing(ly Good) Literature

Blue Velvet. 1986. Directed & Written by David Lynch.
Starring Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Laura Dern, Hope Lange, Dean Stockwell, George Dickerson, Priscilla Pointer, Frances Bay, Brad Dourif, & Jack Nance.
De Laurentiis Entertainment Group (DEG)
Rated R. 120 minutes.
Drama/Mystery/Thriller

★★★★★
Pic 1David Lynch is one of my favourite filmmakers, his directing and writing equally fantastic. My dad told me about Twin Peaks when I was young (it was on TV when I was about five years old), so in my teenage years I discovered its magic. This lead to seeing Eraserhead with a few friends in a dim lit basement, which blew my mind. On and on through Lynch’s catalogue of work I went, eventually watching his early short films opening up a whole other door into his mind as an artist.
Blue Velvet is a surreal film. Not as steeped in it as much as his other work, though full of surrealism nonetheless. It’s through the absurd Lynch taps into this element, alongside his modern noir-ish plot that digs deep into the underbelly of idyllic American life. What makes the movie so exciting is the dangerous story, looking at this darker side of suburbia in a small logging town, fittingly named Lumberton.
Lynch has said this film inspired Twin Peaks; the way in which he blends the darkness with the absurdism is strangely compelling. There’s an explicit scene or two, depravity taking the reins in violent fashion. Mostly, Blue Velvet takes place in a space where violence is always possible, never far; its threat is debilitating to the progression of everything from innocence to love. The central character Jeffrey Beaumont (Kyle MacLachlan) finds himself pitted against the psychotic, Freudian villain Frank Booth (Dennis Hopper), faced with either accepting his role in a hierarchy of violent men or rejecting the male violence which underpins the light and goodness of Lumberton.
Pic 2The now iconic opening of the film is perfect, designed like the meticulous opening sentence of a piece of great literature. Lynch starts with those typical images of American life, things he remembers from the 1950s: white picket fence, bright red firetruck with waving firemen followed by the bright red roses of a luscious garden, the beautiful houses like boxes in a row.
He immediately smashes the gorgeous, American Dream-type feeling with Mr. Beaumont, Jeffrey’s father, having a stroke while watering the garden. As if innocence is starting to shatter with it, a child in a diaper wanders up while the man seizes on the lawn. The hose spurts water, and Lynch goes into a slow motion shot, the sound likewise slowed – the dog snaps at the water’s stream, his face looking vicious and snarling, his sounds become sinister. What a perfectly thematic opener. I honestly don’t know how this could’ve been improved; because it couldn’t.
This first sequence is a thesis for Blue Velvet, ending in its statement where we zoom in and the camera takes us into the grass, into the dirt, right to the insects crawling in the earth. An image that sticks with us, coming up again in the end. But it effectively shows us what Lynch is doing, and plans to do throughout the plot – put a microscope over the lives of those in a quaint town. In this story, that involves a young man under threat of violence invading his life, maybe even his very soul.
Pic 2AIts a strange world, isnt it?”
Jeffrey’s dropped into a Freudian nightmare of a world, perhaps one to which Oedipus could relate; in a symbolic sense, anyways. He is lured into the dark side of his town by a sliced off ear, yet more importantly the story begins with his father’s brutal stroke. He loses the male influence in his life, falling prey to corruption.
Frank’s arrival is surreal in itself. He switches between two personas – Daddy and Baby. He treats Dorothy Vallens (Isabella Rossellini) as Mother. At the sight of her vagina, and with a gas mask dose of amyl nitrite, he goes from Daddy to Baby, then back again. Likewise, after there’s a change in Jeffrey. Without his actual father around he adopts Frank, albeit subconsciously (perfect for a Freudian analysis), as Daddy. And where his family didn’t introduce him to the darker side of Lumberton, Dorothy and Frank become his surrogate parents, leading him down the garden path to the truth; no matter how disturbing.
This is quickly evident when he leaves Dorothy’s apartment following the first time we meet Frank in his erotic rage. We’re whisked directly to a dream sequence of Jeffrey remembering the events, then he wakes and there’s a strange moment where he seems relieved, touching the wall near a figure: the figure may be, to him, something else entirely but it looks like a vagina dentata sort of image. The influence of Daddy is transforming Jeffrey’s image of women into something dangerous; tying into one of the film’s themes being his journey, as a young man, trying to reject the violence of the male gender through the lens of how his surrogate Daddy treats the surrogate Mother.


Jeffrey walks to and from the hospital during the day and everything is bright, beautiful, positive. In the evening this changes, suddenly even the normal things don’t feel right. For instance, a moment many never catch when the first night scene sees Jeffrey out for a walk in his neighbourhood: a man stands in the grass as his dog on a leash stands on the sidewalk, a reverse of what you’d see like he’s being walked, you almost expect him to squat, drop a coil. One early indication of the surrealism Lynch employs.
Part of the surrealism is that idea of the twisted, half-Freudian and half-Oedipal journey on which Jeffrey goes. Because not only does the story dive into the underbelly of Lumberton, the story itself dives into the subconscious mind. This is best represented in the shot from Lynch after Jeffrey’s discovery of the ear – the camera closes in, further and further, right into the ear canal; figuratively, and literally because the orifice is an ear, into the mind. So, our trusty director dips us into that subconscious, in every way. Once you begin peeling back the layers they shed like skin.
The other surreal moments, the best, involve Frank most of all. First, there’s his amyl nitrite through the gas mask. On the surface that’s absurd alone, but coupled with the whole Daddy idea, you see that Jeffrey’s father has to breathe through a tube while Frank uses the surgical gas mask to inhale his drugs; a weird double image. The doubling continues, too. Frank is captivated with music, in particular the song “Blue Velvet” by Bobby Vinton and Roy Orbison’s “In Dreams” – the doubles return here, with Dorothy singing Vinton, suave Ben (Dean Stockwell) singing Orbison. And Stockwell’s little performance is so unnervingly odd. Strangely enough, the scene that weirds me out most. We see him singing, holding an electrical cord lamp lighting his face, and Frank stares at him, mouthing Orbison’s words, almost in a trance. An addition to the psychosis of Frank, suggesting something behind his fixation that we don’t need to know to find terrifying.


The violence is likely the most surreal of all: the Man in Yellow is dead on his feet, in literal fashion; Lynch shows us a close-up of Dorothy’s chipped tooth in her red lipstick-ed mouth then a little later Frank paints Jeffrey with lipstick and slaps him around, too; Frank’s crew stands by watching in complacence as he commits various unpredictable acts in a violent rage. Just as surreal as the absurdist situations in which Jeffrey finds himself throughout the film, from finding an ear in a field (the ants call to mind an image from 1929’s silent short film Un Chien Andalou) to witnessing the ritualistic sexual assault by Frank on Dorothy.
One of the reasons Lynch’s film acts as an excellent piece of visual literature is how he ties off the imagery. Whereas in the first couple scenes we go into the dead ear’s canal, the camera takes us back out of the ear later, except it’s Jeffrey’s ear, alive and in the sun; a transformative journey, from darkness into the light (a visual motif we see in the use of light Lynch employs in many scenes). In addition, the rightful Mother and Daddy are restored once Frank is dead; Mr. Beaumont is recovering well, the sun is shining, the backyards of suburbia are back to their dreamy quality again. Finally, while the darkness still exists – the robins feed on the bugs, the extent of Frank’s connections and the bad people in Lumberton remain unknown – a lightness is restored.
These elements help Lynch suture together his masterpiece of neo-noir surrealism. One of the greatest films made in the 20th century, a work of dangerous art.