ESCAPE FROM TOMORROW Deconstructs Disney & the Happiest Place on Earth

Escape from Tomorrow. 2013. Directed & Written by Randy Moore.
Starring Roy Abramsohn, Elena Schuber, Katelynn Rodriguez, Jack Dalton, Danielle Safady, Annet Mahendru, Lee Armstrong, Kimberly Ables Jindra, Trey Loney, & Amy Lucas.
Mankurt Media
Not Rated. 90 minutes.

Escape from Tomorrow 1Just the fact that Randy Moore’s film Escape from Tomorrow exists is a gift. Even if you don’t enjoy it there’s a guerrilla quality of filmmaking which grips tight, and the imagery, if anything, is impressive. Without permission from Disney, Moore and his crew infiltrated Disneyland and Walt Disney World with their minimal equipment, iPhones holding the scripts, and more. Afterwards, Moore absconded to South Korea (special effects provided by the same company who worked on The Host) where he edited the film, for fear Disney might do anything in their power to stop him from making it, let alone releasing it.
Sure enough, we’ve been graced with a daring, surreal piece of cinema due to his efforts, as well as the efforts of a dedicated crew and some talented actors. This vision of the happiest place on Earth grew out of Moore having visited the park as a kid, mixed up with memories and feelings from his life at the time. Like a cocktail of childhood dreams, as fantastical as they are terrifying.
This won’t be everyone’s cup of tea. Particularly if you’re American and you hold Disney sacred. But it isn’t only surrealism, there’s a genuine plot. Still, this is a divisive film. It attacks and deconstructs the American Dream, in no better place than Disneyland. So while it’s not as if Moore engages in blasphemy, to some it may feel that way. The famed park goes from the happiest place on Earth to a place filled with nightmares, a much different vision than what children experience, as we’re taken through in the perspective of an adult who’s not a carefree kid anymore.
Escape from Tomorrow 3But you cant be happy all the time.”
Essentially, we begin right as the weight of adulthood and responsibility is bearingcrushing down onto Jim (Roy Abramsohn). In his hotel room, on the last day of a family vacation, he finds out he’s fired from his job. His wife Emily (Elena Schuber) doesn’t know, he hides it from her. Thus begins the American Nightmare at Disneyland. Instead of that carefree enjoyment his children experience, Jim experiences a surreal, horrific park that seems directed at the deepest, darkest parts of his mind.
At its core, Escape from Tomorrow is about the existential trap of Disney’s attractions. In that the regular, everyday person like Jim is forking out big dollars to take his family on vacation. Simultaneously he loses his job, yet he can’t be happy: he’s at the happiest place on Earth, right? So, in a sense, this existential, twofold struggle between the part of him that’s desperately stressed and the other side which feels he has to keep up the illusion, to make sure his children, the other people in the park aren’t disturbed by his unhappiness in the very place that dictates you cannot be sad while you’re there.
If a dreamy place like Disneyland can actually be a physical space, then if the dream turns to nightmare this nightmarish headspace then is as real as the rides themselves. The deterioration of Jim’s life and marriage while in such a forcibly happy environment is like amplified tragedy at work and his surreal experience confronts us with a visual metaphor of this breakdown. Starting with ride disappointments, brief visions Jim has, seeing two recurring French girls and confronting Jim’s ugly, forbidden temptation; this last bit especially hits hard, because Disney is supposed to be so kid and youth friendly that a married family man like him lusting after these girls is even creepier than it would be in the outside, normal world. Moreover, kids, as in any bad marriage, take the brunt of what’s happening far too often, represented by Jim’s son vomiting, tarnishing the clean and pretty image of the park, plus his daughter tripping, skinning her knee in a nasty fall.
Escape from Tomorrow 5 (1)The surrealism makes the film what it is, a combination of absurdism and outright wild, hallucinatory imagery that somehow feels – for Jim and the viewer alike – of vivid consciousness. Right off the bat, the black-and-white cinematography does wonders by giving this very American movie that sense of a Hollywood classic, playing into the theme of Disneyland as an American dreamspace in a physical location before becoming horrifically surreal.
Added to that is the endless imagery. Often, Moore juxtaposes that happy ideal of Disney with an outright vulgarity, ugliness, or horror that resonates: Jim’s bloody toe + sock that gets progressively worse, symbolic of his mental state; Emily sees the French girls and their faces become ghoulish; even the princesses working at the park become call girls for Asian businessmen, deconstructing that almost holy image of the Disney princess as the iconography of innocence. This also leads to the wonderful comparison of Disney at day v. Disney at night, strikingly transitioned when Emily boils over and slaps her daughter across the face. The biggest, most striking piece is a brief hallucination of the EPCOT Center coming free from the foundation, rolling with an explosion over crowds of fleeing families, their perfect little vacation flattened on the concrete.
Bad things happen everywhere. Especially here.”
Moore deconstructs the American ideal of Disney through Jim and his family’s nightmare vacation, but the other characters add to the surrealism of Escape from Tomorrow. For instance, the weepy nurse, whom Jim and his daughter visit after she scrapes her knee. The nurse breaks down, crying, almost a warning that things are not what they seem. More than that she’s a marker of the bits of absurdist humour weaved into the story. Nearly a Lynchian moment. Also, the creeper in the motorised chair who shows up before the nurse, again running into Jim when he’s cleaning his bloody sock in the washroom, and again after that, too. Just his smile, his voice, it’s all eerie and rife with absurdity. Again there’s a warning in the absurdism, telling Jim: this place ain’t right. If only he listened.
Escape from Tomorrow 5Escape from Tomorrow 6With a perfectly morbid end, suggesting the lengths to which Disney might go to protect their happiest place on Earth status so as not to disturb any guests, Escape from Tomorrow concludes a feverish vision of the American Dream subverted into the polar opposite, a quintessentially American Hell. Final moment is a cynical, chilling view of the sanitised, Disneyfied, picture perfect commercial that the company wants you to believe is the ONLY experience available at their perfect parks.
People are programmed to see Disney in a certain way, which is why this film will bother some people. They’ll say it’s dumb, or it makes no sense. Really, they’re afraid to admit that places made of dreams can easily be places made of nightmares. Disney’s postured as a park where they provide everyday people respite from life’ problems.
Therefore, the title: Escape from Tomorrow. It isn’t so much a play on the Tomorrowland attraction, first opened in 1955. Rather it’s a play on escaping one’s future, delaying tomorrow by going to Walt Disney World. But as the film wears on it’s an omen, ironically one from which there’s no escape for Jim. The film presents the park as a paradox: a place where you can go with your family to escape the responsibilities and concerns of the real world, but one where those same concerns are amplified in juxtaposition with such dream-like perfection, a place from which, ultimately, nobody might escape if the paradox takes its toll on their mind.


MULHOLLAND DR: Traumatic Hollywood Real Estate & Deconstructed Memories of Abuse

Mulholland Drive. 2001. Directed & Written by David Lynch.
Starring Naomi Watts, Laura Harring, Jeanne Bates, Dan Birnbaum, Robert Forster, Brent Briscoe, Patrick Fischler, Bonnie Aarons, Michael J. Anderson, Ann Miller, Angelo Badalamenti, Dan Hedaya, & Justin Theroux.
Les Films Alain Sarde/Asymmetrical Productions/Babbo Inc.
Rated R. 147 minutes.

Mulholland Drive Red Lampshade (1)No secret if you follow me on Twitter or know me personally: I’m a stark raving mad fan of David Lynch. A fanatic, really. While I understand entirely the fact others either can’t stand his films or find them too strange to follow, his work speaks to me on a deep level. His status as an auteur comes not just from the way he manipulates sound and visuals to create a hypnotic vision of his concept of Americana. It also extends from the fact he’s one of the 20th century’s greatest surrealists, capable of deconstructing genre, even the concept of cinema itself.
In that very spirit of rearranging our preconceptions of film, he takes aim at the film business, and above all else Hollywood itself with Mulholland Dr.
The nightmarish psychic landscape of this Hollywood is partly Lynch’s own personal experience as an artist, a veritable auteur existing in a state of suffering at the hands of executives holding the purse strings, the power. Even the tale of this film itself, starting out at ABC as the hopeful pilot for a new Lynchia series, where it was then butchered into a product of which Lynch was not at all proud, can be seen in the meat and bones of the dreamy story he weaves through Mulholland Dr.
Most of all, the film is an allegory about the dark corners of Hollywood, what it does to the psyche of directors, actors, and actresses in particular who find themselves in pursuit of the classic American success story of making it big in the pictures.
Mulholland Drive Dead DianeLet’s start at the beginning.
The dancers, the various screens, then Watts’ Betty character with the two older people. Followed by a pillow, signifying a dream. However, as the twists and turns get more mystifying, it gets harder to tell what is dream, what is reality. But if we pay attention there are ample clues to what’s actually going on. It’s just the fact that Lynch is a deconstructionist, taking apart Hollywood, the hopes of aspiring artists and actresses, and showing us how the film business is, more often than not, built on the bones of broken dreams.
Right before we see Betty, for real, for the first time we see the red lampshade, and the telephone’s ringer echoes dreamily as she shows up at the airport. Significantly, she’s with an old woman and her husband, who see her off then grin creepily together while they leave in a limo. When does the red lampshade reappear? Following Watts’ 2nd character Diane’s failed orgasm. She hears the phone ring, then she’s invited out to the party on Mulholland Drive, taking her to where we first, earlier on, meet Rita (Laura Harring). Constantly, Lynch plays with the idea of the dual identity, a recurring theme over the course of his work in film.
One other key way to suss out the true identity of who Watts is playing in the ‘real life’ of Mulholland Dr‘s world are – you betcha – coffee cups! Damn fine addition. For instance, if you pay close attention to both Winkie’s Diner and Diane Selwin’s apartment there is a blatant clue in the open. Just so long as you’ve got coffee on the brain.
Mulholland Drive Coffee Cup #1Itll be just like in the movies. Well pretend to be someone else.”
Mulholland Drive Coffee Cup #2 (1)Identity is obviously a prominent theme. Hollywood fractures the identity of actors inherently, so in this vein then Mulholland Dr becomes the landscape of a true Hollywood nightmare, as we watch the destruction of the American dream of the sweet, young actress trying to make it big int eh movie business. Lynch’s deconstructionist method is in turning the American dream into a surreal, nightmarish circus of ethereal vignettes, pure existential dread.
Not only is Hollywood shown in a dark light in terms of its affect on personal, individual identity. Lynchian absurdity is rampant when it comes to the business’ mechanical processes themselves, too. The espresso scene, featuring none other than longtime musical collaborator Angelo Badalamenti, is wildly absurd. Points out the foolish excess, the bourgeois expectation of the backrooms in the movie industry. A cup of anything, even the most expensive liquor imaginable making or breaking a film production is hilarious, if not at its core desperately depressing.
Someone is in trouble.
Who are you?”
Mulholland Drive Blue KeyThere’s a strange space which Mulholland Dr occupies in terms of Lynch’s filmography, fitting right alongside both Twin Peaks and also Lost Highway. You might say these three films of his in particular fit together, existing in the same universe. One where electricity crackles, signifying a move between the world of the spiritual, the dreamworld, and that of the real world.
For instance, Winkie’s Diner. A place where nightmares seem to exist, play out, where elements of dreams come together, or perhaps where they fall apart.
Exhibit A: Dan (Patrick Fischler). He tells his friend about a terrifying dream, one in which a scary man appears from behind the diner’s dumpster. One of the many keys in the film is when he casually comments: “I hope that I never see that face, ever, outside of a dream.”
Exhibit B: The Nightmare Man, credited as Bum (and played by a woman, Bonnie Aarons). We see him out back of the diner early on when Dan tries confronting his dream in, supposedly, real life. The literal personification of a haggard nightmare. Later, we see him again at night, a red light flashing, where he sits behind the dumpster holding a blue box; the one into which Rita seems to disappear after opening it (a sign of Diane being the dreamer as we shift to her story once the box is opened, symbolic of our opening a door to understanding).
Most interesting is, this 2nd time, the Nightmare Man puts the box in a bag and drops it to the ground, out of which comes the old couple from before, the ones who saw Betty off from the airport (we’ll return to this afterwards). And finally, a shot of the Nightmare Man is dissolved into the blue light over the red curtains of the club Silencio just prior to the end credits.
Mulholland Drive Opening the Blue BoxThis final exhibit hinges on my belief that Diane is the real character, dreaming up Betty and Rita, et cetera. And from there it’ll lead into my final thoughts on the film.
Exhibit C: Silencio. This is a space existing in dreamworld, most definitely. Or rather, a nightmare world. Silence, in spiritual terms, is the gateway to enlightenment. Therefore, we can see the club as a place where the dreams/nightmares all come together, where their meaning is revealed.
At the same time, silence can be interpreted in wholly different terms if considered in conjunction with the concept that Diane, as it’s revealed through the presence of older debaucherous men in her life via the dreams of herself as Betty, was abused as a girl. The presence of the blue-haired woman (blue hair symbolising old age), especially seeing as how she speaks the word “SILENCIO” as the final line of dialogue, suggests that part of the plot, dug in deep, rests with an old woman’s silence. Leading many to understand this as a confirmation of Diane having been abused as a girl, receiving no help from either her aunt, or more than likely her grandmother. In that the blue-haired woman, whomever she represents, is confirming her silence when Diane was abused years before.
Speaking of grandmothers, this is where we jump back to the old couple from Betty’s arrival at the airport. After they’re released from the blue box in the Nightmare Man’s paper bag, they escape to Diane’s apartment where they terrorise her until she puts a bullet in her head. The idea that the old couple are the final terror of her life, the one that drives her to suicide, is the key. And just like the blue key to the blue box, this key is what unlocks the mystery of Diane and her rightfully fragile headspace. No mere coincidence then that the blue key is also the key to her apartment, right?
Mulholland Drive Nightmare Man + Blue BoxThere are still things to discuss, though here is where we’ll end. Let me know what you think; if I’m full of shit, or otherwise. All thought is welcome in the Lynchian universe.
My last words are these. That Mulholland Dr doesn’t merely look into the darkness of Hollywood through deconstruction and surrealist imagery, it – as Twin Peaks did, too – dives into the subconscious dreamworld of traumatised women, young women broken and butchered by men in power

Twin Peaks – Season 3: “The Return, Part 16”

Showtime’s Twin Peaks
Season 3: “The Return, Part 16”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 15, click here.
* For a recap & review of Part 17, click here.
Pic 1More desolate highway. Lynchian trademark, including the ominous music. Bad Bob Cooper (Kyle MacLachlan) is driving with his new pal Richard Horne (Eamon Farren). Soon they’re on dirt, heading further into darkness. Until they arrive at a lonely spot and stop. A place for which bad Coop received coordinates.
Bad Coop: “Im looking for a place. Do you understand a place?”
And now it sort of makes sense why Jerry Horne (David Patrick Kelly) has spent The Return in a state of hippy madness, wandering the woods. He’s wound up stumbling onto his own flesh and blood Richard with his new friend out in the dark, so he promptly whips out his camera to film. Meanwhile, bad Coop goes to a rock out in the nearby grass, sending his young protege directly to it.
Already we hear snippets of familiar sounds, the Black Lodge’s ambient noise calling, flickering on the light evening breeze. As Jerry looks on recording, Richard climbs the rock. Suddenly electricity crackles, tearing through the young man. Zapping him while he wails into the night. He disappears in its bright flash, soon he’s nothing, exploding to smoke, fizzling, popping. Bad Coop says nothing but “goodbye, my son.” Of course he had to be destroyed. Bob’s son couldn’t keep living, not in the real world, anyways.
Pic 1AWhat’s happening over in Vegas? Again we see the Hutchens duo, Chantal (Jennifer Jason Leigh) and Gary (Tim Roth). They’re camping out on that familiar street, in their van dressed as painters. Then they catch a glimpse of cars surely carrying G-men to the neighbourhood. The FBI are looking for, you guessed it, the Jones family.
We last saw the real Cooper a.k.a Dougie-Coop (MacLachlan) jamming a fork into an electrical socket. Naturally it’s landed him in the hospital, Janey-E (Naomi Watts) and Sonny Jim waiting at his side, hoping he’ll come out of the coma. The Mitchum brothers, Rodney (Robert Knepper) and Bradley (Jim Belushi), arrive to pay their respects, as well as bring a load of “finger sandwiches” and other things to keep them comfortable. Everyone’s hoping for the best. And just as the audience has been asking for 25 years about Twin Peaks in general, Bradley sums it up perfect with: “It was like, whatelectricity?”
A FANTASTIC CUT to Gordon Cole (David Lynch) in the midst of a bunch of beeping, whining machines. He almost has this sense, as we cut back to where we’ve cut from: Cooper trapped in Dougie’s body, trapped in a coma, as the life monitor beeps with his sleepy heart. Just.. I mean… only Frost and Lynch together can make this sort of magic, and on television no less. Beautiful, haunting surrealism at work.
Pic 2The Hutchens’ run into trouble when a guy takes issue with them parking near his driveway. Rather than fuck around much more Chantal shoots at the guy, who in turn has his own gun in the trunk. All the while the FBI are right down the street. A nasty little scene ensues, Chantal takes several bullets, as does Gary.
At the hospital, a noise rings. Calling out. Then Coop wakes up from his bed, the One-Armed Man (Al Strobel) appears from beyond in the Black Lodge. “Onehundred percent” our man is BACK, BABY! FINALLY, AFTER ALL THIS TIME! The One-Armed Man provides him with the owl ring, and also has something Cooper calls “the seed.” Now they’ve got to take care of Bob, “the other one” still out there causing evil. Of course people are a bit bewildered once he’s back, though he plays along with his new family, his new boss. Only needing to eat a sandwich after his coma. Afterwards, he gets the Mitchums to charter a plane for Spokane, Washington, leaving a note with his boss for his true boss, Gordon.
Diane (Laura Dern) is rocked when she receives the text from bad Coop saying ALL with a big smiley face. What exactly does it mean? Something terrible, no doubt. This woman barely shows any emotion unless telling someone to fuck themselves. And now she types in a series of numbers, coordinates, surely. Following which she heads to the elevator, gun in her purse, that song we heard in Part 1 of The Return playing while bad Coop drove that dark highway plays again… she goes to a floor upstairs, heading towards a room. Cut to Gordon’s face, knowing she’s on the other side of the door.
Inside are Agents Tammy Preston (Chrysta Bell) and Albert Rosenfield (Miguel Ferrer) with Gordon. They all know she’s off. She necks a drink. Suspense each time she puts a hand in her purse. She tells them all about several years after losing contact with Cooper. She says he walked into her home one night. They sat and talked, he pressed her about things at the FBI. He kissed her, that’s when she knew there was something bad happening. She saw a strange smile (like the one on Sarah Palmer’s in Part 15?) on his face before he raped her. When he was finished he took her to an “old gas station.” That fabled convenience store.
Then Diane takes her chance, muttering “Im not me” and tries to shoot them. Tammy and Albert gun her down first. Quickly, she’s gone. Disappeared. “A real tulpa.” Out in the Black Lodge, Diane sits with the One-Armed Man. She’s been “manufactured” and now she’s deconstructing. Oh, and the seed? That’s those little orbs we see from out of the created forms in the lodge.
Pic 3Pic 3Cooper must say goodbye to the Jones family. An emotional moment, for all of them. Graciously, he thanks them for making his heart full. Then off he goes, back to his previous life. Although he promises Dougie will be back to stay, eventually.
MOTHERFUCKIN’ EDDIE VEDDER AT THE ROADHOUSE, MAMA! You know you love it. Because I do. Gorgeous song, that godly voice’s power behind the strumming (song’s called “Out of Sand”). Funny, how the time in the hourglass is measured by sand, and we’re literally running out of sand on this series.
Finally, Charlie (Clark Middleton) and Audrey (Sherilyn Fenn) get to the bar. After all their arguing, back and forth. Out of nowhere, “Audrey’s Dance” plays and everybody clears the floor. She’s surprised, but fast her reflexes take over, soon she’s out in front of everyone moving to the music. Isn’t long before a fight breaks out elsewhere.
And then Audrey begs Charlie: “Get me outta here.”
But she IS out of there. We zap to a stark white room, she’s looking at her worn face shocked in the mirror. Oh. My. God. Has she been living in an alternate universe Twin Peaks in her head this whole time?
Screen Shot 2017-08-27 at 11.50.05 PMScreen Shot 2017-08-27 at 11.53.38 PMThis is the one: the episode that changed everything. People have been complaining about so many things they perceived as loose ends, not giving the surrealist approach and techniques of Frost+Lynch the full series to play out. Because that’s their game, the long ball. Strap in. Only two episodes left, forever.

Twin Peaks – Season 3: “The Return, Part 15”

Showtime’s Twin Peaks
Season 3: “The Return, Part 15”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 14, click here.
* For a recap & review of Part 16, click here.
Pic 1Nadine Hurley (Wendy Robie) goes to see Ed (Everett McGill) over at the gas station. Her golden shovel in tow. She says she’s “changed” and realises he’s been a “saint” over the years. She knows she kept him and Norma (Peggy Lipton) apart, all this time. Of course he denies it, insisting there’s nothing to it. He already knows, from the rhetoric, she’s been tuning in to the show crazy ole Dr. Jacoby (Russ Tamblyn) broadcasts.
So Ed goes down to see Norma. Except her new guy Walter’s around. Life and love has passed Big Ed by, after so damn long. Heartbreaking to see. No matter how much coffee Shelly (Mädchen Amick) serves him. Or a “cyanide tablet,” as he mumbles to himself. But all he has to do is wait a few minutes, until Norma kicks that guy and his franchises and all that shit to the curb. She’s fine right there in Twin Peaks, the way it’s always been, the way it’s always been meant to be now with that final cherry on top for these two.
But as usual, there are darker things happening while all the sweetness runs its course.
Pic 2Bad Coop (Kyle MacLachlan) drives down a desolate stretch of road. Similar to how The Return began. Then he pulls up to a place we all know well – the convenience store. Someone waits outside to take him in. Electricity flickers, they disappear.
Im looking for Phillip Jeffries
A dark room. One of the dirty, bearded lumberjack men pulls a switch. Electricity flares. Visions of the Jumping Man (seen previously in Fire Walk With Me). Through a familiar doorway, bad Coop goes into the darkness led by the lumberjack. They head out into a place like a trailer par. Where a woman talks in that backward talk of the Black Lodge. She lets him in through a locked door, into place with a number 8 on the outside. Inside, a light blinks rapidly. Bad Coop finds a strange kettle-like contraption, through which speaks the voice of Jeffries. He answers bad Coop’s questions, they speak of the ’80s, after Phillip showed up babbling about Judy. He says that Cooper’s already met her before. Hmm. A telephone starts ringing, endlessly. And the answer about Judy never comes, as bad Coop’s transported outside after he answers the phone.
Who exactly is Judy, after all? Since Fire Walk With Me, it’s been a lingering question.
Well, this doppelganger then stumbles onto Richard Horne (Eamon Farren), who believes him to be the regular Cooper, gun drawn. He wants to take out the FBI man. Instead, he gets the shit kicked out of him. But he ain’t dead. They’re taking a ride together, now that bad Coop knows this young man’s mother is Audrey (Sherilyn Fenn).
In the background, the convenience store zaps with electricity, pumping out smoke. Creating. Destroying. Manipulating. What all evil spirits do. Eventually, the place disappears, all that’s left is trees.
Pic 2 (1)Out in the forest, Steven Burnett (Caleb Landry Jones) is with his mistress, gun in hand and tripping out. Things are not good right now, not for him. He’s a dangerous, unpredictable dude to be around. He’s in one hell of a bad way. Might not be walking back out of those woods.
And why? Did he do what I think he did? Has he hurt Becky (Amanda Seyfried)? Christ.
At the bar, James (James Marshall) says hello to Renee, but her husband isn’t impressed. So he beats the living shit out of him. Until Freddie (Jake Wardle) and his colossal glove step in to remedy the situation. Now we know he wasn’t joking about the Fireman (Carel Struycken). He really fucked those guys up, James and his buddy are headed for a cell tonight.
In Las Vegas, Duncan Todd (Patrick Fischler) and his assistant are assassinated by Chantal Hutchens (Jennifer Jason Leigh) with relative ease. She and Gary (Tim Roth) head for burgers after, as he rants about the “nation of killers” that America’s always been.
Elsewhere in the city Dougie-Coop (MacLachlan) is still eating, Janey-E (Naomi Watts) continually doting on her simple minded husband. ‘Cause now he’s got a rockin’ bod and the gambling issues are gone. Yet little bits of the true Cooper are there, hiding behind the veil. Just waiting to come back out again. He spies the electrical socket. Fork in hand – uh oh – he crawls towards it. Jamming the fork in, the electricity zaps, his wife screams.
Will it kill him? Or take him back?
Screen Shot 2017-08-20 at 11.03.44 PMHawk (Michael Horse) gets a call from The Log Lady, Margaret (Catherine E. Coulson). She tells him she’s dying. She says: “You know about death. That its just a change, not an end.” This is the last time they’ll speak. She pleads that he remembers what they spoke of in the past. She says to watch for the “one under the moon at Blue Pine Mountain.”
Hawk gets Bobby (Dana Ashbrook), Sheriff Frank Truman (Robert Forster), Andy (Harry Goaz), and Lucy (Kimmy Robertson) together to inform them about Margaret’s death. As it is in a small town, those who knew her many years mourn her sadly.
Audrey and Charlie (Clark Middleton) are going to the Roadhouse. Things are still… strange. What’s going on with them? Instead of going out, though, they get into a bit of an argument. Escalating until she nearly strangles him.
At the Roadhouse, The Veils play “Axolotl” as various people mingle, drink, the same ole same. A young girl’s moved by a couple tough bikers, evidently they sit there often. Instead of getting up, the girl kneels on the floor and weeps, crawling into the crowd on the dance floor. Moments later she starts screaming uncontrollably.
We end on a shot under the credits of that trailer-like courtyard where bad Coop was taken. I wonder if we’ll see more in the last few episodes.
Screen Shot 2017-08-20 at 11.14.50 PMA few slow spots, I still don’t understand Audrey’s whole situation. Still, I feel like the biggest, most important Lynchian/Frostian mythologies are filling out. Eerie and strange Jeffries moments, too. Love those. Only several episodes remaining. I wonder if we’ll be left with some kind of devastating, near cliffhanger moment like Season 2 did 25 years ago. I’m betting yes, and Lynch/Frost will soak it in.

Twin Peaks – Season 3: “The Return, Part 14”

Showtime’s Twin Peaks
Season 3: “The Return, Part 14”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 13, click here.
* For a recap & review of Part 15, click here.
Pic 1Out in Buckhorn, Gordon Cole (David Lynch) calls Twin Peaks. He chats with Lucy (Kimmy Robertson), though between the two of them it’s painfully hilarious. She puts him in touch with Sheriff Frank Truman (Robert Forster). They talk about the “strange” things Deputy Chief Hawk (Michael Horse) found. The stuff from Laura Palmer’s (Sheryl Lee) diary, about the “two Coopers.” Quite helpful, considering what’s been going on lately, what Gordon and Albert (Miguel Ferrer) have been investigating.
1975, a murder in Olympia, Washington. This is the first Blue Rose Case. Albert tells Agent Tammy Preston (Chrysta Bell) all about it, a woman named Lois Duffy. Turns out she had a doppelganger. She was put up for murder, while the doppelganger disappeared. The arresting agents? Gordon Cole and Phillip Jeffries. When the double died she spoke the words: “Im like the blue rose.” We likewise get a mention of the word “tulpa” that comes from a mystic concept, translated from Sanskrit, referring to a thoughtform, something previously non-existent which comes into being through power of the mind. Interesting note.
Afterwards, Diane (Laura Dern) shows up, and Gordon asks her if the last night she saw Cooper (Kyle MacLachlan) he mentioned Major Garland Briggs. When she’s shown the ring found in the Major’s stomach, it clicks: her estranged half-sister is Janey-E Jones (Naomi Watts), married to none other than Dougie Jones.
Oh, my. Things begin coming together.
Gordon talks about a dream he had, of Monica Bellucci (playing herself). He met her in Paris at a cafe. Cooper’s there, too. Only Gordon can’t see his face. Everyone had coffee, then Monica said the “ancient phrasewere like the dreamer who dreams and then lives inside the dream.” Then she added: “But who is the dreamer?”
He sees his old self, from Fire Walk With Me. When Cooper was worried about a dream, the day Phillip Jeffries (David Bowie) suddenly turned up after years. This is when we saw the Jumping Man, as well.
Pic 1ABack in Twin Peaks, Hawk and the boys get Deputy Sheriff Chad Broxford (John Pirruccello) in handcuffs, after finding him out for his criminal shit. However, I worry. Because the dark little places in their town, the drug dealers that frequent their bars, their streets, it might not like if their network is compromised. Either way, it’s good to have out of their way. Hawk, Truman, Deputy Sheriffs Bobby Briggs (Dana Ashbrook) and Andy Brennan (Harry Goaz) head to the woods.
Briefly, we see electrical wires amongst the natural landscape. Crackling. Those evil spirits everywhere, the symbolic evil of modern man set in juxtaposition against the natural, green beauty of the world.
In they head together, through the bush. Bobby talks about his father, his connection to this place up in the forest: Jack Rabbit’s Palace. It’s a huge, ragged stump of a massive tree. A place of memories from Bobby’s younger life. They all put a bit of soil in their pockets, as per the note left. Further on they find a foggy place, electricity sparking. Suddenly there appears a naked woman, her face and eyes just brutal wounds. Isn’t she the one we saw in that strange place ages ago, in that odd industrial-like landscape where Cooper passed through? That other spot beyond the Black Lodge? Above our friends a cyclone appears, like the one Gordon witnessed. Electricity again crackles through its portal opening. They all look deep into it. A bright light burning.
And now, Andy is in that very same place where Cooper was, where the lady came from. The Fireman (Carel Struycken), formerly the Giant, greets him. Raising a hand. Andy looks at something that appears in his hands. A cloud of smoke wisps around him, evaporating up into the porthole light above. He stares silently into it, as it changes to a screen. Showing him images we’ve seen before: the gas station and convenience store, the dirty bearded lumberjack asking for a light, old memories of Laura Palmer, then the two Coops side by side, Lot 6 at the Fat Trout Trailer Park, among others.
Before too long Andy’s transported back, carrying the woman who appeared. He says they have to protect her. People are trying to kill her. Puzzled, though trusting his judgement, the others follow. Although not sure what happened to them.
Pic 2Pic 2AWe see a bit more of James (James Marshall), he works some kind of security job for transport, something like that. He doesn’t have much of a social life. It’s his birthday and even his co-worker Freddie (Jake Wardle) doesn’t know until he’s told. Poor James, always the lonely soul. Freddie wears one rubber glove, just one on his ring hand. He ends up telling a story about being sucked up into a cyclone in the sky, where he saw the Fireman, who gave him instructions to go find a specific rubber glove, in an open package at the store. This gave him a strange power, like an “enormous piledriver” for a hand.
He was also told by the Fireman to travel to Twin Peaks: “There you will find your destiny.” Most might take this as ridiculous. James has lived there all his life. He knows this place is magical, mystical, mythical.
Sarah Palmer (Grace Zabriskie) wanders into Elk’s Point #9 Bar, sitting down for what’s sure to be a long night in the bottle. People whisper as she passes, talking to themselves. Near her at the end of the bar a man approaches, she brushes him off. Guy doesn’t take her seriously, getting particularly nasty: “Its a free cuntry.” He pushes harder, saying she likes to eat pussy. Her reply? “Ill eat you.”
Like her daughter did in the first episode of The Return, Sarah opens her face. Like a mask. Inside is darkness, smoke, electricity. She closes her face, then quickly chomps a bite out of his neck. He falls over, bleeding out. Nobody sees a thing. Only his corpse. God damn. Now we know an evil spirit resides in her. Just a matter of what it means in the grand scheme of things.
And at the Roadhouse, a pair of women talk about a disturbing, bloody scene involving Billy. Y’know, the one Audrey (Sherilyn Fenn) is looking for. Or I assume.
Just another day in ole Twin Peaks, right?
Pic 3Pic 3AMan, I loved this episode. One of my favourites of The Return. Impressive, in many ways. Storylines coming together, mythology expanding and connections to Fire Walk With Me fleshing out. Beautiful stuff. Always great fun when these episodes end with a nice musical performance, too.
Is it next week yet?

Twin Peaks – Season 3: “The Return, Part 13”

Showtime’s Twin Peaks
Season 3: “The Return, Part 13”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 12, click here.
* For a recap & review of Part 14, click here.
Pic 1At the Lucky 7 offices, the Mitchum brothers – Bradley (Jim Belushi) and Rdoney (Robert Knepper) – are prancing around like they’re kings of the world. Marching in to see the boss, along with Dougie-Coop (Kyle MacLachlan), after a nice celebration. Bearing gifts, too. The brothers are quite happy with their big haul.
At the same time, Duncan Todd (Patrick Fischler) chastises Anthony Sinclair (Tom Sizemore), who’s only got one more day to do whatever it is he’s supposed to get done. Sinister stuff, no doubt.
Bradley: “A wrong has been made right and the sun is shining bright
Over at the Jones place, Janey-E (Naomi Watts) receives a new jungle gym set from the Mitchums. Also noticing the beautiful car in the driveway, literally gift wrapped. Quite a change of pace from living with the old Dougie Jones. His wife is certainly thrilled.
Funny, how in parallel with the spirit of BOB, when Cooper came back out from the Black Lodge he became an agent of good, a positive spirit. Making lives better everywhere he goes.
Pic 1AMeanwhile, the bad Coop (MacLachlan) is meeting with a couple bad lookin’ dudes, including old pay Ray Monroe (George Griffith); he of course thought the guy was dead. Seems bad Coop – or Bob Cooper, if you will – is up against a tough arm wrestling competitor named Renzo (Derek Mears). If he loses he’s got to work for Renzo. If he wins, he’d be the boss of their whole organisation. He only wants Ray.
They sit to the table, rules are read out for all to hear. Then, the match begins. Renzo nearly puts bad Coop’s arm flat. But he holds on, he doesn’t let up, much as Renzo, the big brute tries. It’s like the evil entity isn’t even breaking a sweat. It actually becomes scary after a certain point. Especially considering Ray witnessed the weird voodoo shit which brought the guy back. It ends when bad Coop decides to lay the big man’s arm flat to the table, snapping it. He punches Renzo in the face so hard it sends him back, nose and forehead crushed in. Blood spurts from the open hole.
Who’s the boss now, bitch?
He and Ray get a bit of alone time, the latter taking a bullet first before they have a chat. Then he reveals who hired him to kill bad Coop: a man by the name of Phillip Jeffries. Or at least, that’s who the guy says he is, anyways. So, is it the real Jeffries? Or a doppelganger from the Black Lodge? Moreover, Ray was given the owl ring to put on him after he did the deed. Now, he’s made to put it on.
All the while people are watching on the camera in the other room. And who should walk in but Richard Horne (Eamon Farren). Oh, shit. This is a very, very interesting connection. Then before Ray gets a bullet in the eyes he mentions Jeffries, a place called The Dutchman’s. And after he’s dead, the ring disappears, flicking across the patterned floor of the Black Lodge.
Pic 2Pic 2AThe Dougie Jones plot thickens when the streams cross: he’s not just Dougie, he’s also a guy who escaped from a max security prison, as well as a missing FBI agent. Of course the Las Vegas cops laugh that off as total bullshit. Because, really, only in the Twin Peaks universe of David Lynch and Mark Frost would such a mad thing happen.
Sinclair’s got friends around town, including Detective Clark (John Savage), who’s clearly in dirty business with the insurance man. The Dougie plot lines are all going to come together in a spectacular whirlwind of shit by the end of this season. Sinclair has big troubles of his own, he wants to poison Dougie but Dt. Clark says. His cop friends work for his boss Mr. Todd, too. So he’s on a tight leash.
Out for coffee together, Sinclair and Dougie-Coop sit quietly at a table. When cherry pie takes our man away for a moment, his fellow insurance salesman slips a vial of poison in his cup. Luckily some of Dougie-Coop’s strangeness renders Sinclair into a blubbering mess, unable to finish the job. Back at Lucky 7, the boss hears Sinclair’s confession about what he’s done, working for Mr. Todd, so on. I love how Dougie-Coop has become this tabula rasa-type deity, without words – or at least with very few – he helps people get back to their better selves, he helps people get what they deserve, in many ways. This leads towards possibly testimony to take down Todd and his dirty operation.
Pic 3In Twin Peaks at the Double R, Shelly (Mädchen Amick) gets a call from her daughter Becky (Amanda Seyfried). She hasn’t heard from her husband Steven (Caleb Landry Jones). Who knows where he’s gone. Mom cheers her daughter up with the suggestion of cherry pie and ice cream. Yum!
Other things back home are uneasy. Ed Hurley (Everett McGill) has to watch Norma Jennings (Peggy Lipton) move on romantically. Although she’s doing well, Norma’s Double R is a franchise now, turning profits. But neither Ed nor Norma it seems have totally moved on from what they had together 25 years ago. Through her situation with the Double R, we see the modern world creeping into Twin Peaks. Lynch is a guy who loved an age gone by, so it’s fun to watch him and Frost contemplate how this little town’s being sucked in by the rest of the world around them, an inevitability for most small places nowadays.
Elsewhere in town, Nadine (Wendy Robie) has surprised Dr. Lawrence Jacoby (Russ Tamblyn) with a display in a shop window on the main street. She’s displayed one of the golden shovels, as well as her perfected silent runners for the drapes, after all these years! Bless both their hearts. Two fucking crazies.
At the Palmer place, Sarah (Grace Zabriskie) falls further into the drink, smoking more cigarettes than you can even imagine. Electricity snaps somewhere in the background now and then, boxing on the television. The place is like a dungeon. Creepy.
And then there’s Audrey Horne (Sherilyn Fenn), her husband Charlie (Clark Middleton). She isn’t well, screaming at him: “I dont even know who I am.” She also can’t remember where the Roadhouse is, which is very strange. There’s something not quite right about her these days. Remember, we’ve not yet discovered how she fared after the explosion in the bank a couple decades ago, we don’t know what this new situation, this contract of a marriage with Charlie is in truth. I suspect there’s so much more to it than we understand yet. Audrey always was a complicated woman.
Over at the Roadhouse we get a callback performance by James Hurley (James Marshall) playing “Just You” with a couple backup singers onstage, crooning the singer in that saccharine voice of his, as a woman watches him closely, lovingly, tears in her eyes.
Screen Shot 2017-08-07 at 12.03.01 AMLoved this episode. We’re getting bits and pieces that I want more of, specifically Audrey and Sarah Palmer. Some people can’t handle the slow, long build. But for me, it’s part of why Frost and Lynch are so powerful. They don’t have to rush. They don’t have to end each episode on a cliffhanger. They do things at a nice, steady pace, and if you can’t hang on for the ride: don’t.

Twin Peaks – Season 3: “The Return, Part 12”

Showtime’s Twin Peaks
Season 3: “The Return, Part 12”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 11, click here.
* For a recap & review of Part 13, click here.
Pic 1At the Mayfair, Gordon (David Lynch), Albert (Miguel Ferrer), and Agent Preston (Chrysta Bell) have a drink together, doing a toast “to the bureau.” We hear about Project Blue Book, shut down in the 1970s. Stuff we’ve heard of before in Twin Peaks, involving what later became the Blue Rose cases, things the FBI and the military looked into together, top secret, that were left unresolved from the program. This is where their “alternate path” of investigation comes from, and FINALLY WE ARE CONNECTING to Fire Walk With Me even more.
Who were the original agents involved? Phillip Jeffries, Albert, Chester Desmond, and Dale Cooper (Kyle MacLachlan). Makes all the disappearances much more troubling than they are even on their own. So, now Agent Preston’s being inducted into the Blue Rose Task Force, a promotion she proudly accepts. Although it’s one not without its worries.
Diane (Laura Dern) shows up. Gordon and Albert want to deputise her, so she can help using her close knowledge of Cooper, what she’s picked up over the years about the Blue Rose cases. She’s not overly eager, further driving suspicion of her character. Something ain’t right with Diane, man.
Pic 1AIn Twin Peaks, Jerry Horne (David Patrick Kelly) is still running around like a madman in the woods. At the grocery store, Sarah Palmer (Grace Zabriskie) picks up the essentials for her life 25 years on from the tragedy of her daughter Laura (Sheryl Lee), her husband Leland (Ray Wise) – and the essential is booze. She’s a haunted woman, it’s clear just by the look in her eyes. “The room seems different, and men are coming,” she begins raving, sounds of the Black Lodge swirling around her head: “Things can happen. Something happened to me!” She walks out having scared everyone near. But it’s clear Sarah hasn’t been able to get over her past. The spirits won’t allow it.
At the Fat Trout Trailer Park, Carl Rodd (Harry Dean Stanton) asks a tenant if he’s been selling his blood, and wondering why he isn’t getting paid for work he does around the park. Carl’s a good man, he waves the gentleman’s rent and gives him money for chores he does around the place. He’s literally keeping the tenants of the park alive at this point.
Deputy Chief Hawk (Michael Horse) drops by the Palmer place. Upstairs, the fan swings around; remember how the man behind the mask was under the fan, according to the masked boy in Fire Walk With Me? Very interesting image for Lynch to linger on. Are the spirits of the Black Lodge back in the Palmer house? Hawk’s curious about Sarah, realising she isn’t okay. There are bad things happening again in that place.
Sarah: “Its a goddamn bad story, isnt it, Hawk?”
Pic 2Diane gets a text, wondering about Las Vegas. She replies that they’ve not asked. Is this still bad Coop to whom she’s talking? Is it the doppelganger of Jeffries?
Or someone else? Oh, my.
Back home, Ben Horne (Richard Beymer) receives a visit from Sheriff Frank Truman (Robert Forster) about his grandson Richard (Eamon Farren), delivering the bad news that he’s the one who ran down the boy in the road. As well as tries killing the woman who witnessed the hit and run. And she’s about to die, most likely. This brings up the history of Richard, grandpa stating he’s “never been right.” Furthermore, the hotel owner gives over the key belonging to Agent Cooper’s old room, over two decades before, as a memento for the sheriff’s brother. Quite the coincidence, considering the case of ole Dale lately. All roads lead back to the middle again.
At his hotel room Gordon’s interrupted on a date by Albert, clearly with important news. An absurdly comic few moments stretches on and on as the woman gets herself ready to leave the men alone for a chat, becoming funnier with each passing glance, each glare from Albert, every sweet smile out of Gordon as he fawns over her. Literally in tears laughing. Afterwards, Albert relays the recent texts of Diane, keeping them curious about her behaviour.
Back to South Dakota, where Chantal (Jennifer Jason Leigh) and Hutch (Tim Roth) wait with a gun. Cars pull up at a house nearby. A man gets out, then Hutch puts a bullet right through his chest, and another in the back of his head. “Next up, Wendys,” he says and they leave the man’s family to mourn his shot up corpse. One notch in bad Coop’s plan taken care of already.
Pic 3Dr. Jacoby: “Its seven oclock. Do you know where your freedom is?”
I keep wondering about Doc Lawrence Jacoby (Russ Tamblyn) and his internet radio show. We’ve already see those lumberjacks, those dirty, bearded men covered in scorched engine oil, their assault on that town long ago. The voice through the radio. Can’t help be curious if this age’s radio, over the internet, will play a part for the evil spirits once more. Hmm.
We’ve waited so long, now we get to see her again – Audrey Horne (Sherilyn Fenn), baby! She’s searching for Billy, he’s been missing. And lord, has she not lost a bit of excellent attitude since last we saw her, particularly with her husband Charlie (Clark Middleton). They don’t so much have a marriage as much as they have a contracted agreement of a relationship. Aside from that, the disappearance of Billy’s shrouded in mystery. Audrey’s life has become no less complicated than it was as a young woman 25 years prior.
At the hotel bar Diane sits by herself, recalling the coordinates written on the arm of Ruth Davenport’s dead body. She types them in her phone finding they direct right to none other than Twin Peaks.
A conversation in the Roadhouse leads me to wonder if maybe the headlights one frantic man saw on the road were actually the lights of car at all. Perhaps the apparition of something else lurking around Twin Peaks in the woods. Something Project Blue Book never solved.
Pic 4A solid episode because it doesn’t go into much of anything surreal, rather it stays on a plot, sticks to a few core bits. There’s plenty mystery, but Lynch and Frost keep things on an even keel. Interesting, though. A few real interesting moments that speak to large bits from Fire Walk With Me. I like how Frost and Lynch lay the groundwork as they go, coming back to things later on and tying it all together. One of the greatest parts of this revival is that they get to connect things to Fire Walk With Me, which really pull the mythology tighter into a larger, epic scale work of mystery, surrealism, and even drama as the regular lives of the Twin Peaks residents continues to interest all these years later.

Twin Peaks – Season 3: “The Return, Part 11”

Showtime’s Twin Peaks
Season 3: “The Return, Part 11”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 10, click here.
* For a recap & review of Part 12, click here.
Pic 1Over at the Fat Trout, a few kids play catch. When one of them runs to find a stray ball, they see a bleeding woman crawl from the trees. Presumably it’s the woman Richard Horne (Eamon Farren) beat brutally. At the diner, Shelly (Mädchen Amick) gets a call from Becky Burnett (Amanda Seyfried) saying she needs to borrow her car, there’s something wrong with Steven (Caleb Landry Jones). The girl takes off with the car, Shelly tries jumping on the hood but gets tossed into the dirt when Becky spins around. Carl (Harry Dean Stanton) sees it all go down, so he comes out to see if he can help. He calls her a ride with his tin flute. Fucking love this show.
They wind up getting in contact with Deputy Sheriff Bobby Briggs (Dana Ashbrook), to tell him that the young woman has a gun with her, too. At the same time we watch Becky rush into a house, up the stairs in a blind rage, gun in hand. She beats on the door of apartment 208. When nobody will open the door she fires a handful of shots inside. Through the halls we do see Steven with another woman, staring up toward the sounds of the gun. The sheriff’s department gets a boatload of calls about the gunshots, naturally.
Pic 1AOut in Buckhorn, William Hastings (Matthew Lillard) is walking Special Agent Tammy Preston (Chrysta Bell) through his claim about seeing Major Garland Briggs. They’re out at an abandoned shack, along with Special Agent Albert Rosenfield (Miguel Ferrer) and Deputy Director Gordon Cole (David Lynch). Then, a strange apparition out on the property, perhaps similar to the dark spirits we saw reviving bad Coop (Kyle MacLachlan) awhile ago.
Think theres one in there, Albert?” asks Gordon as he and his old pal head inside. Electricity buzzes in the air. Up in the sky a cyclone-like opening appears, drawing everything into it. Albert’s vision goes blurry, Gordon reaches up with his hands doing… something; interacting with the cyclone in the sky, or calling to it, or who knows what. He almost disappears. Only for the fact Albert hauls him back. So what exactly is the thing? Clearly they’ve known of it, they wondered if “one” would be there.
Then they also discover a body lying in the nearby field: the headless body of Ruth Davenport. Ah, the Briggs connection once again. It all comes together in a twisted weave of alternate dimension, as is usual for Twin Peaks. Worse still, the eerie man covered in burnt engine oil is lurking at the car near Hastings. Suddenly, his head basically explodes, the top half gone. The darkness has taken him.
Notice they’re on a street named Sycamore?
Pic 2Pic 2ABecky, Shelly, and Deputy Sheriff Briggs sit around a table at the diner, trying to take care of things in at least a HALF discrete way. Admittedly, Bobby tells Becky if he wasn’t in his position with the department she’d be in cuffs. Luckily no one was hurt; this time. She’s clearly got a toxic relationship going, like a worse version of Bobby and Laura Palmer (Sheryl Lee).
Oh, and Becky’s mom and dad? It’s Bobby and Shelly. I sort of expected that. Just to hear it out loud is sort of stunning, all the same. No wonder the girl is who she is, she’s Bobby Briggs’ kid! Making things sketchier, Shelly’s boyfriend is Red (Balthazar Getty), the insane coke dealing madman who deals to her son-in-law. Christ, Twin Peaks is one hell of a town.
Suddenly a bullet flies through the window of the diner, another one. Deputy Sheriff Briggs goes out into the street to find a kid found a gun in his parents’ van and shot it off. The two parents freak out each other, and Bobby gets the gun out of their hands. He looks at the boy, who has a strange sort of air about him. A woman freaks out in the road beeping her horn, a sick girl in the passenger seat throwing up what looks like bile. Jesus. The whole thing swirls poor Bobby into an absurdist nightmare.
Meanwhile, Deputy Chief Hawk (Michael Horse) and Sheriff Frank Truman (Robert Forster) look at an old map, a Native America piece of hide with symbols on it. One looks of a campfire, Hawk describes it as “modern day electricity” – tying into the Black Lodge’s inhabitants, the evil spirits, how they travel through electricity. They study it using information given to them through Mjr. Briggs. There’s also a symbol of “black fire” that’s meant to be important. There’s yet another symbol, the black orb with the two wing-like pieces on the top; Hawk says Truman doesn’t want to know about that one. Ominous. Hawk also gets another call from Margaret the Log Lady (Catherine E. Coulson), she knew they’d found more. She says “theres fire where you are going.”
Pic 3Gordon, Albert, Tammy, and Diane (Laura Dern) are back with the detective chatting about Ruth’s body. There were also coordinates on her body. Plus, what the hell happened to Hastings in the backseat of the cruiser? They all saw that engine oil-covered lumberjack-like figure creeping around. Except the detective, and Tammy. Then Gordon says he’s seen them before – “dirty bearded men in a room“; is this the convenience store? Does Cole have previous experience with them just like Philip Jeffries 25 years ago?
Back in Las Vegas at the Lucky 7 offices, Dougie-Coop (MacLachlan) is led by a coffee in to his boss for a talk. Turns out he’s helped his boss root out corruption in their business, which the boss believes is why there’s been attempts on his life as of late. He mentions the Mitchum brothers aren’t part of it, apparently. Higher up, it seems. Now the Mitchums want to meet Dougie. The boss has a $30-million cheque to deliver. All sorts of insurance madness that Dougie-Coop goes along with, his true mind elsewhere, locked away.
Speaking of the Mitchums, Rodney (Robert Knepper) hears about a dream Bradley (Jim Belushi) had about killing that “Douglas Jones fuck” and openly anxious to get the murder finished. So much so, his 2:30 PM breakfast is ruined. At the Lucky 7 office, the Black Lodge appears to Dougie-Coop and pulls him toward a coffee shop; toward his old self. Then he’s carted off to meet the Mitchums, his boss telling him to “knockem dead” giving him the one of the ole pretend knockout jabs to the chin. Wonder if our man’ll take that all too literally. Wonder if he’ll need to.
Dougie-Coop’s actually being brought out to a spot in the desert. Typical Vegas gangster move. When our man shows up holding his box from the coffee shop, Bradley freaks out, saying this was the dream he had. That they can’t kill him. “It means hes not our enemy,” he pleads with his brother. Long as what’s in the box is what he saw in the dream. And indeed it is: a cherry fuckin’ pie. Likewise they find their $30-million cheque in his pocket.
When Dougie-Coop goes for a meal with the Mitchums after, toasting to their day, he’s entranced by the music playing. He’s also greeted by the woman who he helped in the casino, the one who calls him Mr. Jackpots. Her life’s changed for the better, all due to him. Everyone sees him as this saint-like, Christ figure almost. Silent, dumb or more so sweet, innocent. He reminds partly of Sellers from Being There in his quiet sweetness.
Another Coopism comes out when Dougie-Coop quips that the pie is “damn good.” Such a perfect moment after the roundabout way in which the old Cooper’s life helped save his latest form’s life.
Pic 4This was a fabulous episode, it took all the beautiful aspects of the series and intertwined them into one weird, fun, silly episode. It’s honestly just such a treat!

Twin Peaks – Season 3: “The Return, Part 10”

Showtime’s Twin Peaks
Season 3: “The Return, Part 10”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Part 9, click here.
* For a recap & review of Part 11, click here.
Pic 1Richard Horne (Eamon Farren) goes to see Miriam, who saw him during the hit and run. She wrote to Sheriff Frank Truman (Robert Forster) to tell him about what she saw. This doesn’t stop Richard from breaking into her trailer, doing something terrible. I’ve got a feeling the FBI might be back in Twin Peaks sooner than later, not just for the ordeal involving Special Agent Dale Cooper (Kyle MacLachlan). ‘Cause Ricahrd, he’s one bad, bad dude.
Over at the Fat Trout Trailer Park, manager Carl Rodd (Harry Dean Stanton) plays the guitar, crooning away to a few chords. Across the way a cup is tossed through a window, inside is Steven Burnett (Caleb Landy Jones) losing his mind at his wife Becky (Amanda Seyfried), surely hopped up on cocaine, or maybe something more. Either way he’s an abusive man. A “fuckinnightmare” as Carl puts it eloquently.
We jump out to Nevada, in Las Vegas with Rodney Mitchum (Robert Knepper). His lady friend Candie (Amy Shiels) cracks him a good one with a remote control trying to get a fly, putting a nice cut in his cheek. Lovely slice of absurdist humour, as usual for Frost and Lynch.
In another part of town, Dougie-Coop (MacLachlan) is finally being taken to the doctor by his wife Janey-E (Naomi Watts). Which probably should’ve been done ages ago. The doc has a bit of a struggle with the child-like man, wondering how Dougie suddenly dropped all the weight, gotten wildly healthier compared to before. A mystery, indeed.
Pic 1ARodney and his brother Brad Mitchum (Jim Belushi) see a news report on Ike the Spike, glad to see him snatched up by the cops. Then, a report on Dougie Jones surviving Ike’s would-be assassination. The news footage is fucking hilarious, with Dougie-Coop trying to reach out and touch the cop’s badge, Janey-E swatting away his hand. But the Mitchum brothers, they’ve found their “Mr. Jackpots” and it’s not as if it was overly hard.
At home, Janey-E is seeing the possibilities of having a brand new husband while believing he’s the same man, seeing him now in such good shape, and y’know, obedient. Even if his Cooper love of food hasn’t stopped shining through. Dougie was sort of the perfect vessel in that way for a guy like Dale, whose love of food and coffee are unparalleled.
Dr. Lawrence Jacoby (Russ Tamblyn) is continuing to preach his madness out into the world, Nadine Hurley (Wendy Robie) and likely other local kooks listening and watching over the internet. Strangely, at the core there’s truth to watch Jacoby’s saying, but as many like him he sounds like an absolute maniac: “Buy yourself a shovel, dig yourself out of the shit, and get educated!”
In Twin Peaks, Lucy Brennan (Kimmy Robertson) notices a bit of curious behaviour out of Deputy Sheriff Chad Broxford (John Pirruccello). He’s been tasked by young Horne to intercept Miriam’s letter. Uh oh. There’s corruption in the ranks of the Twin Peaks Sheriff Department. Meanwhile, Johnny Horne (Eric Rondell) is extra cared for at home after his recent accident, tied up at the table, head padding on. His nephew Richard’s come to see his grandmother, wanting cash. Willing to do whatever he needs to get it. No matter if it’s to a stranger or his own family.
Screen Shot 2017-07-17 at 12.12.51 AMIn Las Vegas, Duncan Todd (Patrick Fischler) – rival and a “bitter” enemy of the Mitchums – has Anthony Sinclair (Tom Sizemore) under his thumb. He tasks him with making sure the Mitchum brothers kill Dougie Jones, or else do it himself.
Out on the town, Gordon Cole (David Lynch) and Special Agent Tamara Preston (Chrysta Bell) revel in watching Special Agent Albert Rosenfield (Miguel Ferrer) actually wining and dining with a woman, local ME Constance Talbot (Jane Adams). Rare for the gruff, often misanthropic Albert. Love to see it!
The Mitchum brothers receive a visit from Anthony. They’re not particularly thrilled with Candie, she’s been acting aloof lately since whacking Rodney with the remote. At the same time they’re curious about the visit. Anthony fills them in about a recent claim for them, taken care of by Mr. Jones; he makes it look as if Dougie did them wrong. Thickening the plot in the Mitchums’ world. Making things more dangerous for Dougie-Coop.
What are Brad and Rod to do? Get even, I’d imagine.
At his hotel room door, Gordon has a vision of Laura Palmer (Sheryl Lee), startling him. Although it’s only Albert calling. He has information about Diane (Laura Dern), the text she received after bad Coop’s escape. Diane returned information about William Hastings (Matthew Lillard). This forces the FBI men to keep a close watch on their old friend. Not to mention Preston brings a picture of bad Coop, photographed in that penthouse with the glass box in New York.
Gordon: “This is something. This is really something.”
Screen Shot 2017-07-17 at 12.21.54 AMScreen Shot 2017-07-17 at 12.25.02 AMBen Horne (Richard Beymer) gets a call from his wife Sylvia (Jan D’Arcy), she tells him about the attack by Richard, asking for more money. Seems grandma likes to stay far away from the rest of the family, or at least Ben and all his bullshit.
Log Lady Margaret Lanterman (Catherine E. Coulson) tells Hawk (Michael Horse): “Electricity is coming. You hear it in the mountains and rivers, you see it dances among the seas and stars, and glowing around the moon. But in these days, the glow is dying. What will be in the darkness that remains?” Furthermore, she tells him that Laura “is the one.”
Lyrics of the closing song are great. Nothing overtly revealing, just fits; naturally, seeing as how it’s partly written by David Lynch himself. Rebekah Del Rio’s wearing a beautiful dress that’s the same colour as the floor in the Black Lodge, a sequined pattern reminiscent of that place as the Roadhouse’s red curtains hanging in the background call it even more to mind.
Screen Shot 2017-07-17 at 12.35.21 AMA fantastic episode, one that’s more linear and adds bits to the plot, strengthening things while also letting our minds relax; soon enough there’ll be more surrealism, count on that. Excited for the next part, this has been a journey of mythic proportions. I have no doubt in my mind Frost and Lynch are going to take us through another gamut of wild, weird, exciting, confusing, gorgeous moments in the back 8 episodes of The Return.

Twin Peaks – Season 3: “The Return, Part 9”

Showtime’s Twin Peaks
Season 3: “The Return, Part 9”
Directed by David Lynch
Written by Lynch & Mark Frost

* For a recap & review of Episode 8, click here.
* For a recap & review of Episode 10, click here.
Pic 1Bad Coop (Kyle MacLachlan), after being resurrected by the dark forces of the Black Lodge, wanders down a country road spattered in blood. At the same time, Gordon Cole (David Lynch), Special Agents Albert Rosenfield (Miguel Ferrer) and Tamara Preston (Chrysta Bell), and Diane Evans (Laura Dern) are flying high in the sky over South Dakota. Gordon gets a call from Colonel Davis (Ernie Hudson) about a case over in Buckhorn concerning Major Briggs. Should be interesting to see how that old “Blue Rose case” gets wound into the rest of the story.
The bad Coop runs across a man named Gary Hutchens (Tim Roth). He needs a “clean phone” and some guns. Also there is Chantal Hutchens (Jenifer Jason Leigh), who’s going to help patch him up proper.
On their flight, Gordon gets a second call from the warden of the prison where bad Coop has flown the coop. Many dangerous things happening, as the doppelganger is also setting further plans into motion. Including having the Hutchens’ go kill the warden, before a “doubleheader” they’ll meet for in Las Vegas. Nasty stuff.
Pic 1ADown at the LVPD, Dougie Jones (MacLachlan) and his wife Janey-E (Naomi Watts) are dealing with the fallout of almost being murdered. An investigation being conducted into the whole ordeal, talking to Dougie’s boss, so on. His strange behaviour is one thing. The fact someone’s blown up his car, tried having him killed, it’s all getting more suspicious. The cops also find out there’s nothing about Dougie before 1997, no proof of his existence. Is it a Witness Protection thing? Or something stranger?
Dougie-Coop has a bit of a moment with the American flag, a pair of red heels on a secretary. As well as an electrical outlet, which gives off a sinister vibe while he stares it down. There are bits of Coop in there, things he remembers – from the coffee to the sound of a secretary’s heels and the flag and his duty as a sworn officer of the law, pieces of his training, and the electricity, the strange horror of the Black Lodge. It’s all in there somewhere.
Ike the Spike (Christophe Zajac-Denek) leaves his motel room only to be confronted with the LVPD, arresting him for arrested murder. The whole bit is surreal, as are the cops in their absurd hilarity, the one giggling constantly at the jokes of his fellow officers. In only a way Frost and Lynch can deliver.
Back in Twin Peaks, Lucy Brennan (Kimmy Robertson) and Deputy Sheriff Andy Brennan (Harry Goaz) have a passive-aggressive conversation over furniture, specifically chairs. Fairly quickly he apologises and gives in to his love for her. Although she orders the one he wanted. Across town Johnny Horne (Eric Rondell) runs himself into the wall, smashing his face and knocking himself unconscious.
And Betty Briggs (Charlotte Stewart) tells her son Bobby (Dana Ashbrook), Sheriff Frank Truman (Robert Forster), and Deputy Chief Hawk (Michael Horse) about the day her husband and Cooper met for the last time. Garland told her to give them a message; in the living room chair she takes out a capsule. Inside, obviously information of potentially great importance.
Screen Shot 2017-07-10 at 12.44.23 AMIn Buckhorn, Gordon arrives to see the body at the morgue. More importantly? The message bad Coop sent earlier from a cellphone arrives on the phone of none other than Diane. Shit. I never anticipated there was possibly something shady about her.
We find out that William Hastings (Matthew Lillard) was publishing a blog about an “alternate dimension” and he’d recently written about “the Zone” where he met “the Major.” This prompts Gordon and Albert to wonder about the connections between Garland Briggs and Special Agent Dale Cooper. Not to mention there was a ring belonging to Dougie Jones in the corpse’s stomach at Buckhorn. Hmm. There’s further connection considering there aren’t any records on Mr. Jones prior to ’97, which is not that long after Briggs supposedly died, and the events in Twin Peaks 25 years ago. The plot thickens!
At the station, Bobby says his dad brought home one of those capsules before, he knows how they open. He takes Hawk and Sheriff Truman outside where he tosses it against the  pavement, it makes the thing ring with a strange noise, then he tosses it again and the capsule opens. It has a small drawing of the towns titular peaks, symbols above them, dates and times, instructions. Alongside the mystery, it’s fun to see Bobby connecting through time and space with his father, the clues having relevance to him personally. With the drawing is also a cutout of the correspondence Briggs once got, from his THE OWLS ARE NOT WHAT THEY SEEM message between matrix code. And the COOPER written twice. Hawk deciphers it clearly in line with the plot: “Two Coopers.”
Everything Twin Peaks comes full circle.
Screen Shot 2017-07-10 at 1.02.45 AMGordon wants to chat with Hastings, who’s in no fucking shape to do anything, crying and moaning in the interrogation room. Special Agent Preston goes in first, asking about the Zone, the other dimension. He talks of going with others to where the Major was “hibernating” in this place, asking them about “important numbers.” When they brought the numbers people came for Hastings, asking about his wife. After which she turned up dead. The Major also disappeared, saying “Cooper, Cooper” as he went. When Preston shows him a six-pack of faces, he correctly picks out Mjr. Garland Briggs. Although we get bits and pieces, connecting back with the original series, so much still is unknown. Love it.
Back in Twin Peaks, Ben Horne (Richard Beymer) and Beverly Paige (Ashley Judd) are consistently on the case of the odd hum coming from the room in the Great Northern, unable to figure it out. A ringing tone, less sharp than tinnitus. What’s more, Ben and Beverly have more than a working relationship.
Screen Shot 2017-07-10 at 1.11.25 AMAt the Roadhouse, a couple women meet over beers. They both look and seem down on their luck. One has a nasty armpit rash that’ll make you cringe as she scratches. They talk in code about a “penguin” and a “zebra” amongst talking about their bummer lives. Meanwhile, Au Revoir Simone plays in the background, a sharp contrast from the two women and their drug ravaged teeth.
Another solid chapter! Adding to the mysteries of Twin Peaks as a whole. Excited for more next week, love the building momentum that takes steps back, forward, back, then big time forward again. Wouldn’t expect any less.