Twin Peaks, Episode 2.15: Slaves and Masters

Twin Peaks: Slaves and Masters

“Slaves and Masters” is an episode largely devoted to wrapping up two of the plot points that have emerged recently, while other ones move to the forefront. James is framed for murder by the weird couple he's fallen in with but, some quick thinking from Donna, sees that bizarre love triangle resolve itself. Ben Horne's Civil War fantasies reach their logical conclusion and, with the help of some cosplay from his friends and family, he snaps out of it. (Probably the most embarrassing moment that already embarrassing story line has produced.) The more important plot point would be Windom Earle continuing to plot from the shadows, sending taunting messages to Cooper. The FBI agent seeks help from those around him, as he feels a dark cloud approach.

“Slaves and Masters' features one of the more notable directors to step behind the camera on “Twin Peaks.” That would be famous actress Diane Keaton, who had actually directed a couple of things before this. Keaton certainly has a style of her own. There are multiple points throughout the episode where the camera starts out on a close-up on a random object before moving over to another location. She does this with a chess piece and also with a tangled bird's nest. It's a notable visual choice at the very least.

After showing up at the end of the last episode, and being hinted at for quite a while, Windom Earle makes his proper first appearance here. Kenneth Welsh certainly makes an impression, delivering each line with the maximum amount of villainous glee. Clearly, Earle is someone who enjoys plotting his elaborate schemes and enacting sadistic revenge against those he deems unworthy. While not as full-blown terrifying as BOB or the show's other demonic spectres, Earle is certainly a memorably entertaining villain.

Earle's entrance into the show also gives the writers an excuse to consolidate some of the supporting cast members that have hung around. Earle has abducted Leo and outfitted him with a shock collar, forcing the former truck driver to act as his personal henchman. It's definitely a more proactive role for the character than him sitting in a wheelchair, spitting, and mumbling about “new shoes.” It's also a more natural writing decision than the show rather randomly revealing that Pete has been a chess prodigy this entire time. Pete has never mentioned any interest or insight into chess before now. It's clear the show writers were just trying to give Jack Nance something, anything, to do.

The show's other various subplots continue to churn and whirl. I think I've finally figured out why I find the story surrounding Josie Packard so uninteresting. Josie really isn't a good person. This episode begins to hint that she might've been the person who shot Coop at the end of season one. (Yeah, I had forgotten about that technically-still-ongoing mystery too.) Her past is strewn with betrayal, manipulation, and murder. Yet Josie doesn't have the kind of personality that makes such intrigue interesting. She's passive, a constant victim who does nothing but look pretty and sad as everyone else uses or abuses her. Simply put, she's not complex enough to justify why so many people are fascinated with her.

Yet there's never been any mystery as to why I dislike James Hurley's story line so much. James is, on his best days, a sad puppy dog that can easily be pushed around. On his worst days, he's an impulsive, overly emotional, overgrown kid who does nothing but generate romantic melodrama. Making him the center of a meandering side-story, otherwise devoted to characters we've never met and have no attachment to, was a bad choice. At least that revolves here, with some double-crosses and slow motion wails of pain. Let's never speak of it again. [5/10]