Twin Peaks, Episode 3.18: The Return, Part 18

Twin Peaks: The Return, Part 18
What is Your Name?

After twenty-five years, here we are again: At the end of “Twin Peaks.” After Laura's disappearance in 1990, Dale Cooper sits once again in the red room. He steps out and is greeted by Diane. The two drive to the coordinates given to Cooper by the Fireman, entering a portal together. The next morning, Dale awakens alone. He discovers a woman in Odessa, Texas who looks a lot like Laura Palmer but claims complete ignorance of the name. Carrie Paige, as she calls herself, only goes with him to escape troubles of her own. He drives her to Twin Peaks, takes her to the former Palmer home, but encounters only more strangers. Amidst screams and fading lights, we go into the night once more.

As the show frequently did, “Twin Peaks” left us asking the question: What the hell do we make of all this? From a narrative perspective, this is not a mystery that takes too much unraveling. As in many time travel stories before, the hero's attempt to go backwards and prevent a tragedy results in a tangent timeline in the present. Fuck with the space/time continuum, weird shit happens. Further more, this last hour is packed with secret signs and cryptic clues. The mysterious words the Fireman said to Cooper in “Part 1” of “The Return” crop up again here. As do discreet appearances from the White Horse of Death, the name Judy, apparent relations to the Chalfont/Tremond family, the number six, and probably a couple others I missed.

More than anything else, “Part 18” allows at least one piece of the “Twin Peaks” phenomenon to come full circle. It visits the show's long-lasting fascination with doubles on Laura Palmer herself and the town of Twin Peaks. Whether through timeline fuckery or alternate dimensions, “Carrie Page” is a mirror image of Laura: From the south and (apparently) a murderer, instead of a murder victim. Yet, even in the mirror, some things remain the same. She is still a woman in trouble, someone trying to outrun something. The final scene takes us to a place called Twin Peaks, that looks like Twin Peaks, but it is not the Twin Peaks we know. Doubles within doubles.

Before we go any further, let's stop to pause on something this show has always been great at: Engineering unforgettable sequences. Once they cross through the portal and settle into a hotel, Dale Cooper and Diane finally consummate their relationship. The love scene that follows is anything but erotic or sensual. It is, instead, overflowing with unsettling power. It seems, in this one moment, Lynch has recast his hero and heroines as protagonists in their own noir. Not all is as it seems, which might as well be the mantra of this whole show. And before it's all over, at least we get one more scene of Coop kicking some ass. Thanks to some cowboy hooligans in the Odessa dinner, he gets to put that FBI special training to good use one more time.

Ultimately, “Part 18” can't help but feel a little bit like another finale designed to frustrate fans. After coming all this time and distance, Dale Cooper still ends up failing. Laura Palmer isn't saved, so much as transported, and her fate still feels very ominous indeed. We end in the town of Twin Peaks but not, seemingly, one occupied by any of the beloved figures we know. In fact, none of the regular inhabitants of the town appear in this episode at all. There are certainly more than a few plot points left unresolved by these final minutes. It's nearly as egregious a cliffhanger as the season two finale.

Did David Lynch and Mark Frost screw all the loyal “Peaks” freaks over again, turning “The Return” into an elaborate eighteen hour prank that we waited two decades for? Only if you were ever looking at this like a regular piece of television. “Twin Peaks: The Return” never had a comfortable relationship with nostalgia. Any time it gave us moments of crowd-pleasing fan service, it made us wait for them. Only Lynch and Frost would have the audacity to leave the show's darling hero a drooling fool for most of its third season. Instead, by returning to the town of Twin Peaks and the image of Laura Palmer, but in a twisted form, “The Return” seems to be commenting on its own existence. Those who are expecting a happy return to a familiar place are doomed to scream in darkness. This place that looks comfortable and quint was always hiding horrible secrets inside of it all along.

It is, if nothing else, an ambitious and beguiling end to “Twin Peaks.” Assuming, of course, this is the end. There are plenty of questions left unanswered, even beyond what predicament Cooper, Diane, and “Carrie Page” found themselves in now. What is Judy's exact nature? Where does Laura Palmer fit into the White Lodge's plan? Why did Sarah Palmer have a shadowy horror show under her face? What the hell was going on with Audrey? And Jerry Horne's foot? All in all, David Lynch and Mark Frost created another mystifying piece of television-as-film, film-as-music, and music-as-art that is simply unlike anything else to exist on TV. Its last episode is as bold a statement as anything broadcast from a television box. [9/10]

David Lynch, one must remember, is always unpredictable. In the lead-up to “Twin Peaks: The Return,” the director said that he never intends to make another feature film. Yet, as definitive a statement as this is, it's not like any of us ever expected “Twin Peaks” to come back from the grave twenty-five years later. Lynch, ever the eccentric artist, is far from done. In fact, he's recently been creating a lot of weird stuff, posting new and old shorts to his Youtube channel, along with his daily weather reports. It remains to be seen what form Lynch's next project will take, whether it'll be a movie or some other unexpected thing. (Assuming you can even agree on what a movie is these days.) It might even be more “Twin Peaks,” as there's been the occasional rumble of a fourth season. If this is to happen, it hopefully won't take another two decades to arrive... America's most reliably eccentric cinematic artist will, clearly, continue to baffle and beguile with new artwork of some sort or another for at least a little while longer.

Thank you for reading. I'm sorry this took three months.

Twin Peaks, Episode 3.17: The Return, Part 17

Twin Peaks: The Return, Part 17
The Past Dictates the Future

We have arrived at our destination. Or, at least, the two Agent Coopers have. The Doppelganger arrives at the portal in the woods outside Twin Peaks, before being teleported right outside the Sheriff Department's building. Everyone assumes him to be the FBI agent but the real Dale calls not long afterwards, alerting Sheriff Truman to the deception. Gordon Cole and the FBI is right behind them, having finally figured out what is going on. As the Doppelganger lays dying, the spirit of BOB escapes, leading to a physical fight with Freddy and his super-powerful fist. Yet our story does not end there, as Cooper enters the basement of the Great Northern... And heads off for the past. For the night Laura Palmer was murdered.

Among the great moments in “Part 17” – there are several – the defeat of BOB certainly stands above the others. “Twin Peaks'” most terrifying villain receives about as bizarre a death scene as you'd expect. The struggle between BOB – Frank Silva's forever-grimacing face floating inside a CGI orb of black ooze – and green-handed Freddy is another chance for Lynch to create an incident of surreal horror. Which it certainly is, the spasmodic camera movements, strange special effects, and unexpected events leading to an heady blend of strangeness. Notably, even after the demon is defeated, the feeling of dread never quite subsides. BOB may be gone but the scars of his evil acts will never quite heal.

Lynch's direction all throughout “The Return” has been, of course, fantastic. Yet special attention must be paid to the wonderful visual design of “Twin Peaks'” penultimate episode. After the defeat of BOB, an image of Cooper remains frozen on-screen. It stays there throughout the following scene, giving a particular off-kilter feel to everything that follows. Yes, watching Lucy finally understand how to use a cell phone after killing off the Doppelganger, seeing Coop reunited with Gordon Cole and the rest of the gang... It's all great and rewarding. But that extra image over top – another double – let's us know that something uncertain is still in the air.

“Twin Peaks'” obsession with doubles – an extension of David Lynch's own obsession with doubles – just builds and builds over the years. In “Part 17,” we see the two Dale Coopers come face-to-face, however briefly. One is our series' hero, one is its villain, and yet both represent different sides of the same image. Sheriff Truman – one of two Trumans – seems aware of the deception immediately, as he greets the Doppelganger by repeating Cooper's name. From there, the audience can't help but notice further double imagery. Like the diamond shape – two triangular shapes connected – Jeffries presents to Coop. The diamond then becomes a figure eight, which is two circles atop each other.

A figure eight isn't just a double image but also a continuous loop. This is our first clue – one of, perhaps, many we should've taken note of sooner – that “Twin Peaks” is as much a Mobius strip as Lynch's other films. “The past dictates the future,” as Cooper gravely intones early on, before he heads into the past to save Laura Palmer. Not only does “The Return” belatedly answer the question of what Laura was screaming at in “Fire Walks with Me,” it brings yet another meaning to a key phrase: “It is happening again.” Despite Cooper's best efforts, which literally has him folding time, Laura is still lost. Julee Cruise's “The World Spins” still plays and the homecoming queen still disappears into the night. Some events can not be avoided, no matter how many times you repeat (and, in the process, double) them.

Even as its end approaches, “The Return” is not done presenting us with further mysteries. In the first scene, Gordon Cole explains what the often mentioned but never clarified Judy is. Some sort of ancient and possibly evil entity, Judy – a modernization of the word “Jowdy” – is apparently central to much of the FBI's involvement in “Peaks'” story... But what does that mean, exactly? Is Judy the force behind BOB and the other entities inside the Black Lodge? Is she the evil counterpart to the god-like woman inside the White Lodge? Is, perhaps, the faceless gray female creature seen in the first episode, that vomited BOB up in Part 8, Judy? The season is about to end and “Twin Peaks” is still firing the imagination.

Whether or not answers to these lingering mysteries are given – I'm not really expecting that – in the final episode, “The Return” seems determined to keep us in the unknown, even as its final hour draws nearer. All that aside, “Part 17” sure is one hell of an hour of television. When Laura Palmer's dead body washed up on shore in 1990, did anyone expect it to be the seed for an experiment this weird? [8/10]

Twin Peaks, Episode 3.16: The Return, Part 16

Twin Peaks: The Return, Part 16
No Knock, No Doorbell

With the end in sight, “The Return” revolves some plot points while branching off into some new directions. Thrown into a coma after shocking himself last time, “Dougie” sees a vision of MIKE and Dale Cooper's personality fully re-emerges. After saying his good-byes to Janey-E and Sonny Jim, Cooper begins to journey back to Twin Peaks. The Doppelganger is seemingly also headed in that direction. He says good-bye to Richard before continuing onward. Diane confesses to Gordon Cole and Albert what the bad Coop did to her before a secret of her's is also revealed. Other mysteries are afoot in Twin Peaks.

“Part 16” gives us the moment we've been anticipating all season. Agent Cooper is back, y'all. The show itself is all too aware of how momentous this occasion is. Even the character himself says “Finally!” After awakening, Cooper immediately leaps into action, in that hyper-active but hyper-focused way that fans are familiar with. As he peels off in a sports car, the yearning strings of “Falling” start up on the soundtrack, and fans feel twenty years of waiting fulfilled. Did the show need to keep us waiting so long? Maybe, maybe not. But it sure made that moment even sweeter.

As Part 18 fast approaches, “The Return” is also seeing that other lingering stories are wrapped up. In some ways, rather brutally. The pair of assassins that have been floating around the main plot for a while meet a grisly and untimely end. Dale bids adieu to Dougie Jones' wife and son, seemingly resolving their role in this on-going saga. Sometimes, I feel myself frustrated that these characters were introduced at all, just to be hastily cleaved away later on. Did these guys need to be involved at all? Did Lynch just really want to work with Tim Roth and Jennifer Jason Leigh? It's a question I've found myself asking all throughout “The Return.” Either way, it's done now.

“Part 16” also clarifies another dark fear that has been floating throughout “The Return.” Yes, Cooper's Doppelganger did rape Diane. Her tearful confession of these events allows for another stunning display of acting from Laura Dern. (In what feels like a direct continuation of her work from “Inland Empire.”) This won't help the case that David Lynch maybe has some hang-ups about women... But it does lead to another deliriously bizarre sequence in the Black Lodge. By now, it is clear that all those weird shorts Lynch did for his website, of playing around with Photoshop, was to prepare for “The Return.” That aesthetic finally finds a fitting home here.

For every question or hanging thread “Part 16” resolves, yet more are created. Richard Horne is also bluntly, brutally done away with. The exact circumstances of how and why remain mysterious. What the hell exactly has been happening with Jerry Horne is also still up in the air. Lastly, it soon becomes apparent that something very unusual is happening with Audrey. It would seem the entire Horne family is cursed. Whether or not the show is actually going anywhere with this business, or it's just more patches in the pattern of mysteries that is “Twin Peaks,” remains to be seen. But it sure ain't boring.

As I've said before, “Twin Peaks: The Return” has largely avoiding placating fans with easy nostalgia. When it has dipped its toes into that profitable pool, it's been well-earned. Such as Coop's proud return here. Or Audrey dancing on the floor of the Road House to her theme song once more. It's gratuitous, sure, but what can I say? I'm an easy mark for nostalgia and “The Return's” off-beat approach to it has made us wait for these glorious pay-offs. [8/10]

Twin Peaks, Episode 3.15: The Return, Part 15

Twin Peaks: The Return, Part 15
There's Some Fear in Letting Go

In a roundabout, “Twin Peaks” kind of way, “Part 15” of “The Return” actually answers some long simmering questions. The Doppelganger ventures to the Dutchman, an inter-dimensional night club accessible above a particular convenience store. There he meets Philip Jeffries, who claims he did not order his murder. Outside, he encounters Richard Horne – his son – before clobbering the kid and taking him with him. In Twin Peaks, the Sheriff's Department get a final message from the Log Lady while Norma and Big Ed finally commit to one another. In Vegas, “Dougie Jones” continues to recall details of his previous life.

Once again, “The Return” is at its most fascinating when venturing into the surreal shadow worlds that its unearthly entities emerge from. The journey to the Dutchman's Club – the place above the convenience store that One-Armed Mike referenced twenty-five years earlier – is another intoxicatingly Lynchian journey into the night. Upon arriving, Lynch uses his tried-and-true method of mixing the mundane and the otherworldly to create an effectively surreal atmosphere. And this is all before Philip Jeffries, transformed from David Bowie into a giant tea kettle that produces bubbles of glowing light, reappears. While the references to the mysterious “Judy” remain as cryptic as ever, the entire sequence is so delightfully surreal, I can't help but love it.

Bowie opted out of appearing in “The Return” due to his cancer diagnosis, which was still a closely-guarded secret at the time. So Jeffries' transformation proves to be another off-beat tribute to one of “Peaks'” late participants. “Part 15” features another such tribute. Catherine Coulson was clearly ill when she filmed her scenes for “The Return.” She makes her final appearance here, the Log Lady announcing her own death to Hawk. The characters pause and give her a moment of silence, which might as well be Lynch mourning the lost of his long-time friend. It has become increasingly clear that “The Return” was as much a chance for Lynch to eulogize his passed collaborators as it was a chance to continue the story.

Emotion was clearly on David's mind throughout “Part 15.” Lynch has always been a master at pairing music with images, a skill he shows off once again here. Otis Redding's “I've Been Loving You Too Long” scores the scene where Big Ed and Norma finally – finally! – get together. While far from my favorite of “Peaks'” various entanglements, seeing that love story climaxes after so many years is absolutely satisfying, especially when paired with such a perfectly longing song. “Part 15” concludes with an image of Charlane Yi, another of “The Return's” high-profile guest stars, struggle to get off the floor of The Roadhouse while “Axolotl” by The Veils wails away. It's not a series of images with any particular meaning but the girl slowly building up to a blood-curdling scream certainly provides a certain feeling, of discomfort.

Still, even as it pulls into its final third and things really pick up, “Twin Peaks: The Return” continues to struggle with some of its lesser story lines. In fact, it bluntly resolves two here, as if the show itself could hardly be asked to care. Becky's drug-addled husband seemingly meets his end, while Duncan Todd in Las Vegas is blasted away by the Doppelganger's assassin friends. That's resolved, I guess. What saddens me the most is how Audrey Thorne has been so wasted this season. All she's done is scream at her diminutive husband and worry about her lover. It seems like she's still getting the shaft, all these years later.

Despite some flaws, “Part 15's” parts are greater than its whole. Those individual moments of Lynch-produced dream logic are absolutely worth the ride. Once again, this show produces sights and sounds like nothing else seen on television, before or since. [8/10]

Twin Peaks, Episode 3.14: The Return, Part 14

Twin Peaks: The Return, Part 14
We Are Like the Dreamer

The heroes of “Twin Peaks” move closer to untying a riddle. Sheriff Truman informs Gordon Cole of the missing pages of Laura Palmer's journal they found. This, combined with a dream Cole had the night before, causes them to begin to suspect that there are two Coopers. Meanwhile, Diane provides the clue needed to connect Dougie Jones with the still missing Dale Cooper. In Twin Peaks, the sheriff department heads into the forest to the location specified by Major Briggs' clue. They discover a eyeless, naked woman – who Dale previously met in Part 3 – and Andy is sucked briefly into the White Lodge. And yet more strange things are happening in the Pacific Northen.

Once again, “The Return's” story leaps forward suddenly after screwing around for several episodes. It's not a structure I like but, I'll be damned if it doesn't make you happy when things actually start to move again. After nearly an entire season, the FBI finally realizes the connection between the “Dale Cooper” they know and this Dougie Jones guy in Las Vegas. The sudden reveal that Diane is Janey's half-sister even makes this information come off as rather natural. The events of “Fire Walk with Me” and Laura's secret journal all begin to actually influence the plot. All I can say is: Took 'em long enough.

As always, “Twin Peaks” is different from most detective shows for the role dreams and visions play in uncovering its mysteries. This becomes more important than ever in “Part 14.” Set to a soundtrack of an electric buzzing, Cole narrates a dream of meeting Monica Bellucci – the actual Monica Bellucci – in Paris. What I love about this scene, aside from it working beautifully as a stand alone short film, is how it sounds like an actual dream David Lynch might've had. Did he already know Monica Bellucci before working on “The Return?” Or did his subconscious just summon her to the role? Either way, it's such a brilliant scene.

It's far from the only vision in “Part 14.” Of all the members of the Twin Peaks Sheriff's Department, Andy is the one chosen by the White Lodge to learn the secrets of the universe. Even though this scene is not telling us anything we didn't already know, it's still beautifully assembled. There's something poetic about a simple-minded person like Andy, someone who will understand intuitively and act accordingly, being the one to receive this information. If the repeated good fortune that has come Dougie Jones' way is any indication, Lynch seems to think the simple are blessed in their own way, lacking in intellectual niceties but possessing a clearer foresight than most.

Even with these two examples, these are far from the only memorably surreal moment in “Part 14.” An act of utterly surreal horror unfolds in the final minutes. Sarah Palmer, when accosted by a vulgar truck driver, removes her face – revealing darkness and shifting shapes underneath – and tears out the man's throat, like a cobra striking. Once again, Lynch uses sudden, random, bloody violence as a powerful punctuation. Especially when paired with such surreal, ominous images. Though it's still a bit surprising to see Lynch rely more on ultra-violence. Outside of “Wild at Heart,” and despite his reputation, he hasn't used gore that much before this.

“Part 14” does represent a minor story telling bump, one that bothers me from a structural level. This episode introduces Freddie, a friend of James', who was gifted super-strength in one hand via a magical green latex glove he can never remove. (This is about the origin story I would expect from a David Lynch superhero.)  Despite my best efforts to avoid them, I have seen some spoilers for season 3 of “Peaks,” so I know Freddy has a pretty significant role to play in the upcoming episodes. While this plot point sheds further light on the way the White Lodge influences the human world, I'm a little confused as to why Lynch and company waited this late into the season to introduce a relatively pivotal character. Especially considering all the other, seemingly superfluous subplots the season did devote time to.

“Part 14” is also enjoyable for the way it continues to expand on the “Twin Peaks'” lore. While accepting Tammy into the fold, Albert explains the origins behind the Blue Rose organization. For hardcore “Peaks” nerds, it's all fascinating stuff. After a couple of weak episodes, “The Return” swings back towards greatness by re-centering its plot and focusing even more on surreal visions of other places. [8/10]

Twin Peaks, Episode 3.13: The Return, Part 13

Twin Peaks: The Return, Part 13
What Story is That, Charlie?

Despite the subtitle, “Twin Peaks: The Return” has been fairly stingy about returning us to Twin Peaks. “Part 13” actually sees some familiar faces in the old town coming back to the forefront. But before we can get to that, the show has some other business to deal with. Cooper's Doppelganger catches up with Ray, his traitorous former partner. He brutally gets the information he needs and begins planning his next move. In Las Vegas, Anthony Sinclair is blackmailed into attempting to kill Dougie Jones. However, Dougie's intuitive, sweet manner disarms him and gets him to confess his crime.

“Part 13” really gets our attention by opening with an especially intense and violent sequence. Upon arriving at the criminal hideout, the Doppelganger is put into an arm wrestling match with former Jason, Derek Mears. The Doppelganger quickly begins toying with the intimidating man, the wrestling match escalating in intensely before concluding sharply, suddenly with a shocking act of violence. It's an expertly staged sequence, another example of how “The Return” subverts expectations by striking with graphic gore when least expected. It's also seemingly a sign that the Doppelganger, and the show, are done fucking around. (At least for now...)

While that visceral explosion of violence is, by far, the highlight of the episode, “Part 13” also features another stand-out scene. Tom Sizemore's Anthony Sinclair gives a tearful confession, once Dougie manages to uncover his deception completely by accident. Sizemore is an actor that is frequently misused by directors. By tapping into his vulnerable side, exposing the sadness behind Sizemore's usual bravado, Lynch managed to get one of Sizemore's best performances out of him. There is, of course, an absurd humor to Dougie Jones once again getting such an intense, emotional reaction out of someone with only his simple-minded, repetitive actions.

Yet “Part 13” will probably be most well remembered for revisiting some classic “Twin Peaks” characters. We return to the Double R Dinner. At first, the show seems to deliberately tease us with the idea that Norma and Big Ed are still together... Before it introduces Norma's new husband. Not long afterwards, Nadine and Dr. Jacoby have a little conversation outside her drapes store. Thus far, “The Return” has resisted easy, nostalgic moments like this. The revival has been just as, if not more, about subverting fan expectations than feeding into them. Yet it's also nice that “The Return” is indulging in a little fan service, after so much teasing. “Part 13” even has James sing his old song at the Roadhouse.

Still, I'll admit, I'm a bit baffled by some of the decisions the show is making at this junction. A long scene is devoted to the reveal that Norma has franchised out the Double R Dinner name. Which, okay, that's mildly interesting. But it's an odd bit of information to focus on at this point in the show. Where Audrey's subplot, with her manipulative husband, is going remains to be seen. Right now, those moments are a bit hard to follow. Lastly, I'm still struggling to care about Betty and Shelly. I hope that particular story line actually amounts to something.

If all of “Twin Peaks: The Return” had been more like “Part 13,” it might've been a more satisfying series. It also would have, definitely, been a far less interesting show. Perhaps more of a balance should have been sought. Either way, I'm awfully glad “The Return” took some time to catch up with some old characters before moving forward with its far-out story. [7/10]

Twin Peaks, Episode 3.12: The Return, Part 12

Twin Peaks: The Return, Part 12
Let's Rock

Here's the actual plot relevant details of Part 12 of “Twin Peaks: The Return.” Gordon Cole and Albert Rosenfield officially induct Tammy into Blue Rose, the FBI's secret program dedicated to investigating unusual mysteries. They also keep a close-eye on Diane's secret correspondence with the Doppelganger. She types in the coordinates found on the dead body last episode... Only to discover they lead to Twin Peaks. Meanwhile – there's a lot of meanwhile in this episode – lots of other things are happening. Sarah Palmer has a nervous breakdown after seeing some turkey jerky at the grocery store. Sheriff Truman breaks the bad news to Benjamin Horne that his grandson is a murderer, that the witness he brutalized is in critical condition. Another Horne reappears as well.

Yes, after eleven episodes, Audrey Horne finally makes her first appearance on “The Return.” Among the original series' most popular characters, I've been wondering when she would show up again. Audrey's big return has her arguing vehemently with her husband – a dwarf of the non-dancing variety – about her lover. It's not the most exciting way to reintroduce the beloved character. The fate of her missing lover, Billy, is not among the “Return” subplots I am most invested in. However, it's really nice to see Sherilyn Fenn again. She bites into the vulgar dialogue with a lot of gusto, saying things Audrey certainly never could've said on ABC.

If “Part 11” was an episode largely elevated by moments of surreal horror, “Part 12” is held together by amusing comedic moments. The sole appearance from Dougie Jones this time has him attempting to play ball with his son, who just pitches a softball right into his forehead instead. Dr. Jacoby gets to go on another profane rant in his internet host persona, Russ Tamblyn clearly enjoying the chance to cut loose like that. A long, amusing digression involves Gordon Cole's French speaking girlfriend. It's a scene that doesn't add a single thing to the story but seeing Gordon Cole being so flirty, and the oddball woman's reaction to it, is pretty funny.

Don't think the focus is only on comedy here. This is “Twin Peaks,” after all, so some dream-like dread is necessary. In fact, “Part 12” even features some callbacks to classic moment from the show's original run. Before we see Miriam, Richard's victim, on life support, there's a long and ominous shot down the hospital hallway. This recalls a specific moment from “Coma,” Lynch's second season two episode. Earlier, a meeting with Sarah Palmer is proceeded by a shot of a whirling ceiling fan. We certainly saw similar moments in the original show. Speaking of Sarah Palmer, her freak-out over packs of turkey jerky is certainly another moment of “Twin Peaks” combining the unnerving and the every day.

All of that is fine and good but my favorite moments in “Part 12” are little moments of pathos, between two characters as they talk. Harry Dean Stanton's Carl has certainly grown from the brief view of him we got in “Fire Walk with Me.” A heartfelt conversation he has with one of his trailer park tenants is awfully touching. Benjamin Horne's recollection of his father giving him a bike is another interestingly nostalgic moment from that character. Perhaps most touching of all is Gordon Cole's reaction to Albert greeting his corner joke with silence. This was the last scene Miguel Ferrer filmed for the series, meaning it's the last bit of acting he did before his untimely death. So David Lynch saying he “worries about” his old friend can't help but have a double, bittersweet double meaning.

“Twin Peaks: The Return” is continuing to do things in its own defiant way. Of course it is. Even though the story is still progressing very slowly, I can't complain too much this time. “Part 12” has all the stuff in it I like about this show. [7/10]

Twin Peaks, Episode 3.11: The Return, Part 11

Twin Peaks: The Return, Part 11
There's Fire Where You Are Going

The weirdness continues in Part 11 of “The Return.” In South Dakota, Gordon, Albert, and Diane continue to investigate William Hasting's information. What they find is a strange house, a vortex overhead, visions of shaggy men, and a woman's headless body... Right before Hasting's own head explodes. In Twin Peaks, Sheriff Truman and Hawk intend to head into the mountains, the Log Lady giving them a warning beforehand. This is just some of the drama happening around town. In Vegas, “Dougie Jones'” life is in danger from the Mitchum Brothers. However, a dream, a vision, and a cherry pie end up saving him.

After several episodes that finally moved the story forward, “The Return” resumes its snail's pace with “Part 11.” All of one scene in the entire episode is devoted to the on-going investigation in Twin Peaks. Frustratingly, it's largely devoted to Hawk delivering some exposition. Cooper's Doppelganger isn't even in this one. Meanwhile, “Dougie's” progression is continuing to go so very slowly. I'm sure – I'm even expecting – that the show will eventually bring all these disparate plot lines together in a satisfying, surprising way. But, I'm afraid to say, my patience is starting to fray just a little.

But let's talk a little more about Dougie Jones. Though David Lynch's protagonists are often morally gray individuals, occasionally he'll go out of his way to depict one as exceptionally good. Despite his flaws, Dale Cooper's schoolboy-like enthusiasm for pie and trees, ability to love so purely, and exceptional sharpshooting skills all distinguished him as a warrior of good. Even though Cooper is not himself these days, the show still feels the need to do this. The gambling addict from the third episode reappears to thank him, saying he changed her life for the better. This combines with the typically “Peaks” element of dreams, intuition, and dumb luck playing a role in a solving a mystery.

That's certainly very interesting, even if I wish “Dougie” would get back to normal sooner. Yet “Part 11's” best moments are some more bits of graphic, nightmarish horror. The sequence of a vortex opening up over Gordon Cole's head, bringing with it visions of the Woodsman, is a good dose of “Peaks”-like surrealism. The show's sudden interest in horror movie gore, with the influx of exploding heads, is surprising. I'm still not sure how I feel about that. This episode's scariest moment actually has nothing to do with its central mystery. The sight of a sick girl rising out of the darkness of a car, bubbling vomit from her mouth and trembling, is utterly terrifying. (Especially when sandwiched by screaming and a car honking.)

Still, another reason I'm frustrated with “Part 11” is how it returns to probably my least favorite on-going “Twin Peaks” subplot. Becky is still having a very tense relationship with her husband. Despite Shelly's attempt to reel her back in, her daughter remains as impulsive as her mother once was... Or still is, if the moment where she runs off to make-out with her new boyfriend in the middle of a family meeting is any indication. Here's the truth: Shelly is awful. She's always been awful. I've never liked her. She's a selfish, petty person who does nothing but generate melodrama. Her progeny is equally unlikable. “The Return” deciding to focus on Shelly over some of the town's other residents is frankly baffling to me.

So it's another mixed bag. For every moment of expertly handled weirdness or oddball comedy, there's an incident that slows the pacing or drags down the audience's good mood. Of course, “Twin Peaks” has always been like this. The good still far outweighs the bad. I'm hopeful it'll all come together in the end. But right now it's hard for me to rate this episode any high than a six. Sorry, Dougie. [6/10]

Twin Peaks, Episode 3.10: The Return, Part 10

Twin Peaks: The Return, Part 10
Laura is the One

After two excellent episodes, “The Return” becomes entangled in subplots again. With the capture of Ike the Spike, more forces turn to pin the blame on Dougie Jones, in hopes of eliminating him. “Dougie” and his wife are unaware of the danger they are in. Instead, they are getting a lot closer to each other. Deputy Hawk receives another mysterious hint from the Log Lady. Gordon Cole and Albert Rosenfield begin to have suspicions about Diane, after she receives an unusual text. Richard Horne attacks his grandmother and steals her money, soon to be on the run from the cops.

In the worlds of David Lynch, evil is frequently not subtle. Often, it is Frank Booth or Bobby Peru. Men who scream, sweat, commit acts of horrible violence, and are motivated almost totally by the most selfish reasons imaginable. Into this pantheon enters Richard Horne. Despite having flattened a child recently, Richard is only concerned for protecting his own tail. He seemingly murders a witness and plots to protect himself. What follows in an intensely uncomfortable moment where he attacks his own grandmother. Richard screams profanity, beats her, steals from her. As if this scene wasn't uncomfortable enough, Lynch scores it to the sound of the strange talking teddy bear Johnny Horne – Richard's autistic uncle – was previously watching. It repeats the same banal phrase over and over again, as this act of awful domestic violence plays out.

If that moment is too unbearably grim for you, “Part 10” also includes some light-hearted comedy. Dale Cooper, in the persona of Dougie Jones, emerges more and more as a Chauncy Gardner-like figure. He still barely talks, often just mumbling words back at people. Yet they tend to see what they want in his child-like antics. When Janey-E sees Dougie's – actually Dale's – muscled physique, she suddenly feels lusty. The frisky love scene that follows is pretty hilarious, Dougie's arms flopping around, his face conveying a mixture of glee and confusion. The genuinely sweet scene that follows further nails home the idea that, while “Dougie” might be simple-minded, everyone's perception of him is anything but. (This isn't the only comedy in the episode, as there's a typically Lynchian moment of absurd humor involving a fly and a remote.)

Sadly, the subplots I care the least about take up a lot of time in “Part 10.” Mostly, all the intrigue in Las Vegas doesn't draw me in too much. The various gangsters and insurance lawyers are plotting against each other, using Dougie/Dale as the central point of their plan. Sure, it's fun to watch Jim Belushi and Robert Knepper ham it up as the Mitchum brothers. Their group of cocktail waitress sidekicks are a nice, classically “Peaks” touch. Tom Sizemore even gets a stand-out monologue to himself, as he attempts to talk the brothers into killing Dougie. Yet this feels so disconnected from the best parts of “Twin Peaks,” that I'm having trouble maintaining interest in it.

Still, this is “Twin Peaks” and this show is never entirely disappointing. “Part 10” includes a moment of wonderfully weird horror, when Gordon Cole opens a door and is face with an image of Laura Palmer's screaming face. Why does this happen? That I do not know but it's certainly a memorable scene. We also get to see a little more of Nadine, apparently a faithful watcher of Dr. Jacoby's internet show, and now owner of a drapes store called “Run Silent, Run Drapes.” I'm glad to see she achieved that dream. Seeing these characters again is always nice.

“Twin Peaks” has always been a show that balanced surreal horror, fascinating mystery, soap opera nonsense, and over-plotting. Sometimes in frustrating ways. After the heights of Parts 8 and 9, “The Return” is consumed by these impulses more in Part 10. If not for that glorious moment of Dougie Jones' sex life or the brutal horror of Richard Horne's douchebaggery, I probably wouldn't like this episode much at all. But I will continue to try and be patient and see the big picture of where all of this is going. [7/10]

Twin Peaks, Episode 3.9: The Return, Part 9

Twin Peaks: The Return, Part 9
This is the Chair

“Twin Peaks” returns to the present, in “Part 9.” Cooper's Doppelganger survived getting shot. He plots his next move. Gordon Cole and Albert Rosenfield – with Diane tagging along, quite unwillingly – discovers the mysteriously headless body of Major Briggs, the corpse uncovered in “The Return's” premiere. This soon leads them to William Hastings, who ran a conspiracy theory blog in his spare time. He relates a very strange encounter with the Major to them. Meanwhile, Sheriff Truman and Hawk meet with the late Major's wife, who also gives them a clue. Lastly, the police try to figure out why "Dougie Jones" is such a target and capture Ike the Spike. Got all that? These hours sure are dense, aren't they?

Even though they contained details of their own, I did complain that the first six episodes of “The Return” dragged a bit. Now, nine episodes in, I'm almost mad to report that many of the subplots are coming together in a smooth, satisfying manner. The investigation of the headless body in South Dakota, which seemed like one of the more superfluous subplots up to this point, links up with the FBI's own investigation here. That it resolves one of the other lingering mysteries of the original series, what happened with Major Garland Briggs, makes it all the more satisfying to see. One tiny piece of paper, referenced twenty years earlier, reveals a deeper meaning now. I guess, as frustrating as it is to admit, the show was right to play the long, slow game.

If Leland Palmer – or, at least, Leland Palmer when possessed by BOB – represents a horribly abusive father, it's nice that “Twin Peaks” also provides us with a wonderfully loving and wise parent in the form of Major Briggs. Even after he's gone, Bobby's dad is still giving him answers. Hidden inside a chair is the next hint in the Twin Peaks Sheriff Department's investigation. It turns out Major Briggs knew what he was talking about all along, once again things the second season set up two decades prior coming full circle only now. It's certainly a touching send-off to the late, great Don S. Davis, who passed in 2008.

In fact, Major Briggs' head floating through the sky in the third episode was a precursor of what was to come. “Part 9” features another memorable moment involving this subplot. The FBI goes to interview William Hastings. When pressed, he delivers a tear-soaked confession of his meeting with the Major. What follows isn't just a wonderful bit of acting from Matthew Lillard – who knew he could cry so well?! – but something more. Hasting's bizarre, rambling confession includes talk of mysterious men attacking him and a body floating into the air. It recalls the kind of traumatized memories and encounters that alien abductees report. This can't help but feel like another one of Mark Frost's nods towards America's esoteric history.

All of this is pretty great and satisfying but what I like the most about “Part 9” are the smaller moments. Diane shares a cigarette with Gordon Cole, who quit smoking years earlier. Lucy and Andy have an adorable interaction where the wife subtly gets her way, concerning a chair she wants to buy. (Chairs are obviously an important part of this episode.) Ben and his secretary get closer but, showing the hotel magnet's character development hasn't backslid any since season two, he stops himself from going any further.

“Part 9” has plenty of other odd little moments inside. Jerry Horne's foot talks to him. “Dougie Jones” stares at a flag, more of his previous life as Dale Cooper slowly coming back to him. And, of course, there's yet more intrigue involving the Doppelganger. (Plus a cameo from Tim Roth.) Over all, it makes for a hugely satisfying hour of television. “The Return” is really starting to move. [8/10]

Twin Peaks, Episode 3.8: The Return, Part 8

Twin Peaks: The Return, Part 8
Gotta Light?

After a down-to-earth (relatively speaking) episode of “Twin Peaks: The Return,” the series heads off in its most aggressively eccentric direction yet with “Part 8.” Now out of prison, the Doppelganger is betrayed by his partner, Ray. Shot and seemingly dead, a group of spectrel lumberjacks appear and try to tear the spirit of BOB from the Bad Cooper's body... And then “Part 8” goes back in time, to 1945, New Mexico. In its own unforgettable way, “The Return” then provides an origin story for the entire “Twin Peaks” universe. The short version: The first nuclear bomb test in 1945 opened a rift between our world and the phantasmatic Black Lodge, the extra-dimensional forces of good and evil beginning their conflict and using Earth and its inhabitants as pawns.

Among the many things I had heard about “Twin Peaks: The Return,” before finally sitting down to watch the show, was that episode eight would absolutely blow your mind. And, no joke, this is an hour of television unlike anything else, even blowing pass “Peaks'” previous and considerable tendency towards weirdness. Most of “Part 8” is in black-and-white and features many stretches without any dialogue. Long scenes are devoted to particles dancing on-screen, spinning blurs of color, and liquid-like substances pulsating towards us. Many strange figures and entities, some of them familiar and some not so much, go about their mysterious business. This is before “Part 8” heads towards full-on surreal, and shockingly bloody, horror. It's mesmerizing.

Moreover, the episode answers a lot of questions... In “Peaks'” typically oblique manner anyway. “Part 8” explicitly links its malevolent beings from another place with the beginning of the Atomic Age. This isn't just Lynch and Frost indulging their loves of fifties nostalgia and conspiracy theories, respectively. “Twin Peaks” is, fundamentally, a story about the death of innocence: Laura Palmer's literal death and the death of the innocence inside her when she was first raped. By beginning its story with the first nuclear bomb detonation, “Twin Peaks” reveals itself as about the death of the innocence of our entire world. The bomb ended one era in Earth's history and began another.

Saying the pre-atomic age was innocent is, of course, incorrect. Yet there's no doubt that the start of the Cold War turned America into a very different place. It gave birth to the picket fences and suburban neighborhoods that “Peaks” celebrates and Lynch loves... But also a deeper age of paranoia and apocalyptic anxiety, the dark side of the same equation. “Part 8” of “The Return” links the origin of “Twin Peaks” with the origins of everything David Lynch has been talking about throughout his entire career. It connects the series' weird mythology with the historical metamorphosis of the American condition.

Moreover, “Part Eight” confirms something that's been long implied. Did you realize “Twin Peaks” is an alien invasion story? Maybe its entities aren't aliens from another planet but they are surely aliens nevertheless. Now we know why Project Blue Book is part of the show's conspiratorial DNA. The connection is unavoidable. “Part 8” recalls 1950s bug-eyed alien movies with its black-and-white photography and scenes of wholesome teens heading home after a date. It brings the Betty and Barney Hill Abduction – the origins of the modern fascination with extraterrestrials – to mind, when a married couple in their car is stopped on the road by the extra-dimensional lumberjacks. Now we know the gray-skinned female creature seen in the first episode, reappearing here, resembling a classical gray of UFOlogy was no mistake.

The Woodsman then descending on the town, gorily crushing the heads of whoever get in their way and planting an otherworldly seed, makes the “invasion” part of the alien invasion equation all the more explicit. Ultimately, the second half of “Part 8” is about a small town attacked by monsters. (Monsters, granted, that are like no other extraterrestrials to appear in pop culture.) The show even sets this scene in New Mexico, though quite a many miles away from Roswell and several years after the supposed flying saucer crash.

It all feels like it is coming together in these moments. And so to is the scene where a creature, that looks like both a frog and a giant bug, hatches from an egg and crawls into a sleeping girl's mouth. This is probably the moment in all of “Twin Peaks” that most resembles a typical horror movie. But it's something else too. It's an image of bodily invasion, of something forcing its way into somebody else's body. In other words, a symbolic rape, an assault, an unwanted entrance that changes a person forever. Is this the mythological origins of BOB? That remains to be seen but it's certainly another example of “Twin Peaks'” on-going fascination with the violation of safety, of the human body.

Through it all, David Lynch never sacrifices his particular approach to visuals and sound. “Part 8” is an unforgettable exercise in utterly dream-like horror. The sequence following the nuclear bomb exploding – of incredible music, flashing colors, and shifting particles – truly feels like the audience is traveling through a wormhole. The Woodsman blinking in and out of existence around a convenience store, or a monster floating in space and vomiting slime, is something else. The Woodsman speaking in distorted voices, repeating lines of dialogue, is a distinctly Lynchian approach to horror: The bizarre and the mundane combining to make something truly unnerving. Even the earlier scene, of Nine Inch Nails' long performance at the Road House, is an example of the director's complete mastery of sound design and visual construction.

“Part 8” of “The Return” really feels like “Twin Peaks” bringing together everything its always been obsessed with in an effortless manner, using its surreal atmosphere to blend divergent elements of the second half of the American 20th Century into a tantalizing whole. It's a culmination of twenty-five years of waiting and wondering. The hype was no lie. “Part 8” sees “The Return” elevated to a whole other level. It is one of the most mind-expanding things David Lynch has ever done, operating on several levels while also being an utterly captivating hour on its own. And it's all so typically “Peaks” too, with Carel Strucklyn, Laura Palmer, 1950s lounge aesthetic, and mysterious horses all putting in appearances too. In other words, if there was ever any doubt that “Twin Peaks” is one of the best TV shows of all time, let “Part 8” put that to rest. [9/10]

Twin Peaks, Episode 3.7: The Return, Part 7

Twin Peaks: The Return, Part 7
There's a Body All Right

Part seven of “The Return” sees the show's various plot points making big leaps forward. The paper Deputy Hawk discovered in the bathroom stall door are the missing pages from Laura Palmer's diary – possibly stashed there by Leland, two decades earlier – detailing a dream she had where she learned the Good Dale is in the Lodge, while the Bad Dale escaped. After police asked “Dougie Jones” about his exploded car, the still dazed Cooper unexpectedly leaps into action against an assassination attempt by Ike the Spike. Gordon and Albert talk Diane into visiting the Doppelganger in prison, which unnerves her. Afterwards, he blackmails the warden into letting him go. Also: Andy investigates the truck that ran down the little boy last episode, Benjamin Horne looks for an odd humming noise at the hotel, and the Project Blue Book people's goals become more clear.

In its seven episode, “Twin Peaks: The Return” becomes the show fans might have been expecting. (At least, if David Lynch fans didn't know better than to expect the unexpected.) The revival season finally picks up on plot points from season two's finale. Via a surprise appearance from a wizened but still kicking Dr. Haywood, we finally learn more about what happened after that infamous cliffhanger ending. The reference to Laura's journal, the dream she had in “Fire Walk with Me,” and Annie Blackburn also establishes further continuity with the original one. Even if Sheriff Harry Truman is kept off-screen, it's nice that he's still involved, thanks to a phone call from Frank. In other words, as much as I love the absurd humor and aggressive weirdness of “The Return” up to now, it's really nice to see season three finally connecting more with the original run.

Yet don't get the impression that “The Return” has stopped confounded expectations. After her brief appearance last episode,  we finally get to learn more about the mysterious Diane... And she's hardly what you might've expected. Played by Laura Dern, the quintessential Lynch muse, the silver-haired Diane comes off as bitter and serrated-in-tongue. Even the otherwise unshakable Albert is put off by her rough edges. As the episode goes on, we get the impression that there's a probable good reason why Diane is so frosty towards the FBI and Cooper in general. While why Dale Cooper once recorded each message to Diane is still unknown, Dern's depiction is at odds with the whimsical humor that idea suggest. Which fits “The Return's” habit of zig-zagging fandom hopes.

Even if “Part 7” feels more like what you'd expect from classic “Peaks,” the unerring undercurrent of dread and darkness that has been present throughout the whole season is still here. We finally get a fuller idea of just how purely evil the Doppelganger is. Doc Haywood says “Dale,” back in 1990, paid Audrey Horne a visit while the teenage girl was in a coma. Combined with the sheer terror he creates in Diane, we are forced to confront a horrible, unavoidable truth. Cooper's Doppelganger, most likely, committed several sexual assaults. In-universe, Dale Cooper went from being a staunch defender of good to the most vile of criminals. And, thus, “Twin Peaks” applies its favorite theme – evil existing inside good, just beneath the surface – to its heroic protagonist. (If this wasn't clear enough, the episode also reveals the Doppelganger has reversed finger prints. He's literally a perverted, inverted image of upright, good guy Dale Cooper.)

The darkness inherent in this idea is certainly boosted by the utterly sinister way “The Return” continues to depict the Doppelganger. The calm way he shakes Diane's confidence or smoothly intimidates the warden is a testament to the character's malevolent power, as well as Kyle MacLachlan's performance. His midnight escorting out of the prison is another “Peaks” moment that is made far creepier simply by the sound design and visual presentation. Yet there's also plenty of humor in “Part 7.” Seeing “Dougie Jones” leap into action and karate chop a short assassin in the throat is ridiculous and hilarious. So is the disbelieving reactions of everyone around him.

Like I said last time, “The Return” was starting to frustrate me with its slow pacing and its favoritism of surreal asides and absurd humor. Perhaps that was all by design, as “Part 7's” newfound commitment to moving the story forward could not be more satisfying. Perhaps those first six episodes, deeply weird and agonizingly slow at times, where necessary to get us to this point. I'm not one to doubt the shamanistic visions of David Lynch, at least not too often anyway. [7/10]

Twin Peaks, Episode 3.6: The Return, Part 6

Twin Peaks: The Return, Part 6
Don't Die

In its sixth part, “Twin Peaks: The Return” continues to show us some very unusual things. Dale Cooper, still living as Dougie, receives more visions from MIKE in the Black Lodge, some intuitive sense of knowledge possibly slowly returning to him. Janey-E, Dougie's wife, deals with his money issues in a very direct manner. Albert Rosenfield tracks down the often-referenced but rarely seen Diane, in hopes that she will help the FBI sort out what's happened to Cooper. Deputy Hawk makes a possible breakthrough with the Twin Peaks Sheriff Department's own investigation. Just to give you a few examples.

“Part 6” features what is, perhaps, the most viscerally upsetting moment in all of “Twin Peaks.” (If not in all of Lynch's entire filmography.) Richard Horne, still unidentified, attempts a drug deal and is humiliated by a parlor-trick playing dealer. Enraged and high out of his mind, he tears through the town in his truck. Meanwhile, a mother and her young son playfully prepare to cross the street. Do you see where this is going? The little boy is flattened by the speeding truck, Richard never looking back. Lynch focuses on the dead child and his mother's agonized wails, as she cradles his body. It's one of those cinematic moments that just make you shout in disgust and disbelief. Partially becomes there's nothing fantastical about this event. It is an every day, all-too-plausible form of horror. Fittingly, Lynch cuts away most of his surreal touches in this moment, presenting the horrible sights directly and honestly.

Lynch does not indulge in this grotesque display simply for shock value's sake. The young boy's brutal death is yet another manifestation of “Twin Peaks'” obsession with loss and grief. The woman screaming for her dead boy, cut down in a totally senseless fashion, certainly recalls Leland Palmer's cries over the dead Laura. “Peaks” is, after all, a story rooted in the unbearable pain of a parent loosing their child. It's a horrible, unsettling scene and certainly fits into the tapestry of the feelings and events “Twin Peaks” has always been about.

What makes the death of the little boy all the more surprising is the radically different approach to violence Lynch takes elsewhere in this episode. Another bizarre character introduced to “Peaks'” growing cast is Ike the Spike, someone who is a little person, a bodybuilder, and a professional hitman. He brutally stabs another accomplice of Dougie's to death with an ice pick. The gore in this moment is exaggerated and fake-looking, like something out of a Herschell Gordon Lewis movie. Combined with the bizarre qualities of the killer, this is a scene obviously meant to make us shout in comical disbelief. In case there was any doubt, the sequence ends with the Ike upset that he bent the tip of his beloved ice pick.

Why does Lynch throw these equally graphic but wildly different approaches to violence into the same hour of television? That's a question I can't answer. However, Ike the Spike's farcical murder is far from the only moment of comic relief in this episode.  One of the funniest moments we've seen in “The Return,” so far, concerns Janey-E chewing out the men blackmailing Dougie. While handing them the money, she gives them a piece of her mind. Naomi Watts' maintains a perfectly self-righteous tone, treating the criminals as if they were misbehaving children. It's a shame “The Return” came a few years before “Karen” entered our popular vernacular, as this moment is a perfect example of such behavior. 

When not blindsiding us with graphic violence or making us laugh with oddball comedy, Part 6 of “The Return” remembers that it's a mystery. A quarter rolling under a bathroom stall finally provides Hawk with the lead he's been searching for the last six episodes. Once again, this shows Lynch's atypical approach to the detective genre. Happenstance and intuition continues to be the most useful tools in this universe, when it comes to resolving a mystery of some sort. This moment even sees Hawk dismissing another officer calling out for more traditional police work.

While I'm still frustrated that the pace is only crawling along, “Part 6” continues to prove that there's simply no other show on TV like “Twin Peaks.” I can't imagine any other series springing so wildly from the deepest, most real sense of loss and death and then over to absurd bits of goofy dialogue. [7/10]

Twin Peaks, Episode 3.5: The Return, Part 5

Twin Peaks: The Return, Part 5
Case Files

As we roll into part five of “The Return,” Dale Cooper continues to live under the identity of Dougie Jones, his brain still utterly scrambled. Through his dumbfound stares, vague traces of his old personality start to shine through. Dougie clearly has secrets of his own, as strange men are still pursuing him. While incarcerated, Cooper's doppelganger gets his one phone call... Which does not go the way that's expected. Meanwhile, various investigations – including those in Twin Peaks and else where – continue to move at a snails' pace.

The best moment in “Part 5” are those most concerned with freaking out the audience, something David Lynch usually does a good job with. The doppelganger glares into a mirror, revealing BOB's face staring back at him. It certainly only felt like a matter of time before “Twin Peaks'” most infamous villain made a proper appearance. Even if it's only in the form of a CGI recreation of Frank Silva's face, seen reflected in a mirror. This leads up to the episode's proper climax, when the doppelganger short-circuits the prison's entire electric system with a phone call and a few words. Where it's all going or what the hell it all means is something I'm still not sure but it's cool to see.

Yet most of “The Return” is still occupied with Cooper's strangled attempts to navigate Dougie Jones' life. He repeats certain words, stares at a statue of a cowboy, and still can't go to the bathroom without some assistance. It's past the point of being tedious but I think I'm slowly starting to get it. It's not just Lynch's weird sense of humor. If “Twin Peaks,” as a whole object, is meant to be an examination of grief then Cooper's traumatized, dilapidated persona is a reflection of someone totally broken by years of trauma and unresolved pain. Though Laura's killer was revealed and caught, clearly the pain her death caused has never been settled. Perhaps all of “The Return” is a manifestation of that agony. We'll see soon enough.

Still, even in its revived form, “Twin Peaks” is “Twin Peaks.” By which I mean, this show still has several subplots I don't give a shit about. Shelly has a daughter, Becky, played by Amanda Seyfried. She has a boyfriend, a perpetually strung-out wannabe named Steve. (Who, in another connection to “Peaks” lore, works for Mike Nelson. Remember Mike?) Clearly, they are both troubled and Shelly knows it. Where is this subplot headed and will I care about it at some point? Hell if I know but the shot of Becky's face as they drive off, after getting high, is pretty cool. Whether Sheriff Truman's wife complaining about leaky plumbing or a creepy motherfucker – soon to be revealed as Audrey Horne's son – sexually menacing a girl at the Road House will manage to interest me at some point in the future remains to be seen.

Still, a big reason why “The Return” was such an event series in 2017 was a chance to revisit some familiar faces. This time, Dr. Jacoby gets a big scene all to himself. Apparently, in the years since we last saw him, the doctor has reinvented himself as an internet personality. He rants on a live stream and hocks schlocky products, in a fashion clearly inspired by Alex Jones and similar people of that ilk. While this is a bit of a surprising development, it is fun to see Russ Tamblyn ham it up to this level.

In its fifth part, “The Return” continues to frustrate and fascinate in a way that, I suppose, should be totally expected of David Lynch. I do wish the narrative was progressing in a slightly speedier fashion. That the series lived up to the intense surreal horror of those first three episodes. Yet there's obviously still thirteen hours left to go here, so I'm willing to grant Lynch some room to play around. The pros are still definitely outweighing the cons here. [7/10]