Twin Peaks, Episode 2.2: Coma

Twin Peaks: Coma

While David Lynch was busy elsewhere for most of “Twin Peaks'” second season, he did stick around long enough to direct the second episode. Ronette Pulaski has awoken from her coma but is still not speaking. When Cooper shows her the sketch of BOB, she reacts violently. Afterwards, Dale continues to ponder the Giant's messages before Major Briggs arrives to give him something like an answer. Meanwhile, Donna has taken over Laura's Meals on Wheels route and encounters some very strange people. This is before Maddie has her own frightening vision of BOB.

With Lynch still directing, “Twin Peaks” continues to pack some indelible images in its second season. Donna's visit with the unusual customers – played by Happy Gilmore's grandma and David Lynch's mini-me – manages to imbue a totally mundane object like cream corn with a certain level of malevolence. Another seemingly normal scene that is made uncanny by Lynch's approach involves James, Donna, and Maddie singing a song together. What makes the scene odd is the very female Julee Cruise - “Peaks'” angelic voiced siren – provides the singing voice for the very male James Hurley. There's very little attempt to disguise this, meaning it's just another part of the show's dream-like world.

Yet no moment in “Coma” is more unforgettable than its final few minutes. In its second season, “Twin Peaks” continues its gradual transformation into a full-blown surreal horror series. Without warning, Maddie sees BOB climb over a couch and approach her. The scene is largely shot from her perspective, making it seem like BOB is going to crawl right out the TV and come after you. This is totally the intent, of course. BOB is the manifestation of sexual menace. He does not respect your personal space. The combination of a classically Lynchian sound design and Frank Silva's glowering, twitching performance further makes the scene a classic.

While David Lynch was “Twin Peaks'” master of strange visions and oddball humor, Mark Frost commanded the show's paranormal and conspiratorial lore. Both of these touches come together in “Coma.” Major Briggs reveals that he works for a government sect devoted to research into possible alien intelligence. This connects with Cooper's visions, hinting at the exact nature of “Peaks'” entities. Leland also discovers a link with BOB. This element, of childhood trauma, will certainly become more important within a few episodes. At this moment, it's just another example of how “Peaks” fuses reality and dreams.

Lynch also continues to include some of his absurdist humor in “Coma.” The kind that is drawn out and very silly. Such as in a scene where Cooper spends a solid minute tinkering with a chair before sitting down. Or Andy getting progressively more covered in masking tape, after attempting the simple task of taping up a poster. My favorite bit of inexplicable humor in the show involves Jerry Horne munching on... Some smoked cheese in the shape of a pig? Instead of asking “Why?,” just chuckle at the absurdity of it all.

As strong as an episode as “Coma” is, we can't forget “Twin Peaks” is still a soap opera. The Shelly/Bobby/Leo subplot continues to move at a snail's pace. Audrey has one good moment in the episode, weaponizing a vacuum cleaner cord, but she still remains stuck inside the brothel. “Coma” begins to set up future subplots too, by briefly mentioning the show's next antagonist. Still, that scene with BOB counts for a lot. It's rare TV summons up that level of malevolence. [8/10]