Twin Peaks – The Return: Hour Seven

NOTE TO READERSThese weekly posts are meant to recap what happened (SPOILERS AHEAD) and provide conversation starters for fans to comment and share theories. Do not read if you have not watched this week’s hour(s) yet.

HOUR SEVEN:

“I Don’t Know Where I Am”

Jerry Horn (David Patrick Kelly) announces this, while lost in the middle of the woods, to his brother Ben (Richard Beymer) at the start of Hour Seven. But really, it’s an echo of the audience groupthink around the new series, and of perhaps the Good Agent Cooper…who, thanks to those recently discovered pages of Laura Palmer’s diary (alas, a fourth page is still missing!) mentioning that creepy dream from Fire Walk With Me where Annie Blackburn visited her and told her about Cooper, and Hawk’s keen detective work, we communally recognize and confirm (as theorized by many fans) is still perhaps trapped in the Lodge.

Meanwhile…Bad Cooper reveals his unique blackmailing techniques using severed dog’s legs to get Warden Murphy to allow him to escape from prison all easy-peasy at 1am with his henchman and a car…but not before Gordon and Albert talked a hard-drinking, “My attitude is none of your damn business!” Diane (Laura Dern – perfect) to come out to Sioux Falls to interview Coop for herself, leaving her to proclaim broken-heartedly to Gordon that something key was missing from that thing claiming to be Cooper (namely, a heart). Continue reading

Twin Peaks – The Return: Hour Six

NOTE TO READERSThese weekly posts are meant to recap what happened (SPOILERS AHEAD) and provide conversation starters for fans to comment and share theories. Do not read if you have not watched this week’s hour(s) yet.

HOUR SIX:

“Diane?”

While Albert fulfilled the promise at the end of Hour Four and finally delivered us Diane (Laura Dern), it was the actress who played another Lynchian Diane, Naomi Watts as Janey E. Jones, who owned Hour Six, channeling the rage of the 99% and teaching some nefarious tough guys who were after Dougie a lesson about how to treat people and collect debt. Her diatribe was all at once heartfelt, clunky, tough-as-nails, and borderline funny (at one point I expected her to echo the words of George Costanza and explain to them, “We’re trying to live in a society!”), and it left the bad dudes shocked and muttering, “That was one tough dame.”

Weather it was the Neanderthal bookie thugs (who might make harassing phone calls or even break a leg or two…but wouldn’t kill a guy, right?), a psychopathic teenager with the last name Horne (who runs over a kid in the middle of the day!), a “magic man” drug kingpin (Balthazar Getty – last seen flirting from afar with our dear Shelly – a scene viewed as sweet in hour two, that in hindsight now hangs with a pall of sickening dread), or a miniature assassin who brutally murders a woman in her office in cold blood…Lynch and Frost are showing us that sickos not only lurk everywhere…but are now out of the shadows and in broad daylight. But for each deplorable in the basket…there were glimmers of decency…as seen in our dear Shelly, giggly Heidi, and a pie-loving teacher; in the officer who takes a dementia-riddled Dougie home; and in chain-smoking trailer-park Carl (Harry Dean Stanton) who comforts a grieving mother in the middle of the street while others look on with distant horror. It was both the distance and intimacy of that universal sense of horror that Lynch so awkwardly captured in tonally discordant ways this hour…capped off by the most haunting closing song yet at The Roadhouse and a soft yet hoarse velvety guitar playing chanteuse singing about wanting to forget… Continue reading

Twin Peaks – The Return: Hour Five

NOTE TO READERSThese weekly posts are meant to recap what happened (SPOILERS AHEAD) and provide conversation starters for fans to comment and share theories.  Do not read if you have not watched this week’s hour(s) yet.

HOUR FIVE:

“The Cow Jumped Over the Moon”

Well, well, well…where to even begin? So much happened in hour five, yet nothing happened…and with a resurgence of “high-hat-jazz” meets “1950’s grunge” music throughout the hour, this was the closest we’ve gotten to traditional Twin Peaks yet…Yet there was that mondo-bizarro Buenos Aries (yes, that’s right, Buenos Aries!) and Buckhorn, South Dakota stuff too!

So what did we learn this hour?

Under the radar character actor Jane Adams’ Buckhorn forensic scientist apparently moonlights as a comedian. “I think the cause of death was his head was chopped off.” And whose head was it? Well, apparently it was someone whose stomach contained a wedding ring engraved by none other than Janey E. Jones!

Back in Rancho Rosa, that sad-eyed kid with the drugged-out mom watches as some morons accidentally torch themselves after setting off the bomb some other morons set underneath Dougie’s car outside the foreclosed house where he had his trysts with Jade. Cue the scene of Jade (the no-nonsense yet somewhat empathetic Nafessa Williams – quickly becoming a sardonically sexy fan favorite) dropping the Great Northern key that magically showed up in Dougie’s pants (and he dropped in her car) into the mailbox.

Meanwhile, Janey E. Jones (a wonderfully exasperated Naomi Watts) is just about losing her patience with her husband, Dougie (who apparently has psychic abilities that tells him his insurance company comrade, an always slimy Tom Sizemore, is lying).  “Ok, Dougie, you’re acting weird as shit,” she tells him while he gets teary eyed looking at his kid. Yeah, our thoughts exactly, Janey… Continue reading

Twin Peaks – The Return: Hours Three and Four

NOTE TO READERSThese weekly posts are meant to recap what happened (SPOILERS AHEAD) and provide conversation starters for fans to comment and share theories.  Do not read if you have not watched this week’s hour(s) yet.

HOUR THREE:

“Do chocolate bunnies have anything to do with your heritage?”

Andy (Harry Goaz) asks Hawk (Michael Horse) this amongst the spread of old Laura Palmer files, donuts and coffee as he and Lucy try to help the Deputy Chief figure out what the Log Lady meant and what exactly is…missing? “It’s not about the bunny,” Hawk stoically muses, “Or is it is about the bunny?”

Earlier the third hour opened with more Red Room / Black Lodge / Limbo / WhateverAndWhereverTheHellItIs, which every nook and cranny could be described and it would still be as incomprehensible as the craziest dream with Lynch having evolved (or is it devolved?) these manipulated digital photography sequences into moving modern art installations…or, as my wife pointedly pondered, is that vast ocean Cooper looks out over in the opening moments where Lynch goes when he does Transcendental Meditation? Cooper does find his way out…and voila! he’s taken the place of some awwshucks schmuck named Dougie Jones in Las Vegas. Simultaneously the Evil Cooper vomits creamed corn and black poison while overturning his Lincoln outside of Buckhorn, South Dakota. The dazed Cooper in Las Vegas is then dropped off at a casino by his hooker-with-a-heart-of-oh-brother where he proceeds to light-up slot jackpots guided by images of that zig-zag floor topped with a flame over the machines.

Meanwhile, in Philadelphia (YES!), Special Agent Tamara “Tammy” Preston (a chic and slinky Chrysta Bell) is giving Gordon Cole (old Lynch himself) and Albert Rosenfield (Miguel Ferrer) the rundown on that nasty piece of business in New York City (where those two poor kids were indeed mauled to death by whatever came out of that glass box) only to be whisked away by a phone call from someone claiming to have in custody none other than the long lost…Agent Cooper!

Cue the closing Bang!Bang! Roadhouse song and credits.

HOUR FOUR:

“Holy Jumping George!”

And Gordon Cole is right. Hour Four is where this new Twin Peaks finds its groove. What was disjointed and weird in the first three hours congeals into a jazzy-funny-scary tour de force, most of the action this hour bouncing back and forth and forth from our continued re-entry into our hometown through Hawk, Lucy and Andy; Gordon, Albert, and Tammy’s trip to Blue Rose territory and the increasingly bizarre Buckhorn, South Dakota case (where the bad Coop is itching to be debriefed by Cole); and good Coop’s entry into Dougie Jones’ family life. Continue reading

Twin Peaks – The Return: Two Hour Premiere

NOTE TO READERSThese weekly posts are meant to recap what happened (SPOILERS AHEAD) and provide conversation starters for fans to comment and share theories.  Do not read if you have not watched this week’s hour(s) yet.

“The Stars Turn and a Time Presents Itself”

The Log Lady (Catherine Coulson) states this rather matter-of-factly to Deputy Chief Hawk (Michael Horse), part of message for him to go find out in the woods that which has been missing…

Most of the premiere had a tense, occasionally obtuse, and brooding vibe – somewhere between the madness of Fire Walk with Me and the tone of Mulholland Drive. Three main story-lines (along with plenty other tangled threads) were set up for some vast cosmic and physical convergence: Agent Cooper being trapped in the Red Room (for 25 years!); an evil doppelgänger Cooper running amuck in the real-world whose days are numbered and is wanted back at the Black Lodge; and some key players in our beloved hometown gearing up for something.

The two hours both inch along and somehow fly by thanks to Lynch’s uncanny knack to make you feel as uncomfortable as hell knowing that at any moment a long, static shot with stilted actors doing not much of anything could turn into an absurd experimental horror show (witness the truly ghastly special-effects that harken back to Lynch’s art school days in Philadelphia and Eraserhead). I wanted some scenes to end so badly, while at the same time I didn’t want the experience to end. Continue reading

Life is very very Complicated and we’re ready for our Mirror, Mr. Lynch

Bob Cooper Mirror

Life is very, very complicated, and so films should be allowed to be, too. – David Lynch

David Lynch has been saying that the new “season” of Twin Peaks is really just an 18 hour film. And, Jeeze Louise, ain’t the world all kinds of fantastic complicated right now? What better time then for a complicated, complicated film that will last all summer long?

I can’t help but muse upon the context with which we are about to consume this 18 hours, where Bob-willing we’ll get lost in a place both wonderful and strange.

Lynch is a proud Eagle Scout, and his re-entry into the social consciousness couldn’t be more eerily timed as two other Boy Scouts (Comey and Mueller) play detective in an attempt to unearth just what in Sam Hell is going on in the White House these days. Is there a world in more need of Boy Scouts than the world of today?

Be Kind. Be Courteous. Be True. And most importantly…Be Prepared!

Lynch has historically had an uncanny mastery of tapping into…”something”…that may have been unbeknownst to him at the start of the project. What will he accidentally tap into here (what big fish has he caught)? What was it that was so special…so great…about the context in which Twin Peaks enthralled a nation and world over 25 years ago? What is different…or the same… about the context today in which Twin Peaks returns?

What was the original Twin Peaks if not the tale of a Patriarch (Leland Palmer – possessed by Bob) run amok – and a Boy Scout (Cooper) who solved the mystery about what made that mad man tick (but alas, did we ever learn how to make Bob stop)? Weren’t we all Laura Palmer – living under Killer Bob’s tyrannical reign and longing for a way out?

And don’t we all love a good mystery? Don’t we all desire to get lost in those woods again? Can’t you just smell those Douglas Firs? How cathartic does this return to Twin Peaks have the potential to be? What will it say about our shared fears…about the American soul…about aging…about dying…about life?

We all have our hopes up so high…but even if it fails to tap into some sense of what Makes America Great Again…at the very least, I hope this new mystery provides a most pleasant diversion to the turmoil we’ll be roiling in all summer long (and perhaps beyond).

As I immerse myself in this world again, I will try to only report – hour by hour – on what is seen, what is felt. I’ll try to keep politics out of it. But all great art is made greater in equal parts by the baggage both the maker and the viewer bring to it. And, oh brother, we have a lot of baggage to unpack. So Be Prepared!

Don’t let us down, Davy boy…we couldn’t be more ready for complicated if we tried.

And Don’t Forget to Follow the Hour by Hour Spin, Brave Boys and Girls!

I’ve Got a Part You Will Kill in La La Land

la-la-land-mia

“Betty, I’ve got a part…you will kill,” casting director Linney James (Rita Taggart) tells naive ingenue Betty Elms (Naomi Watts) in David Lynch’s self-described “love story in the city of dreams”, the seminal classic, Mulholland Drive.

Fifteen years later, Damien Chazelle has delivered the greatest “love story in the city of dreams” since Mulholland Drive with his swooning, joyous and melancholy musical La La Land…and he’s left the greatest part for us. In his story, we get to play the audience. And, boy, in this year of pop cultural celebrity deaths that has 1980’s children in nostalgia tinted tears and a political wasteland that hath wroth His Orange Emperor, man…we are so PERFECT for this part! We are gonna kill it! And we are going to love La La Land with its toe-tapping musical themes and heart-ringing ballads forever echoing in our collective unconscious to be passed down from generation to generation like our communal love for flickering wonders in the dark and dreams writ large on a silver screen. It’s possibly the defining fluff piece of our times, and it is beautiful.

Like Mulholland Drive, La La Land weaves an archetypal tapestry of dreamers falling in love and getting swept up in the pulse and vibrations of Los Angeles. Here we have struggling actress Mia (almond-eyed, red-haired, fair-skinned, cute-as-a-button and sassy as all get-out Emma Stone in the type of role you wonder if a young actress could ever out-shine) and struggling jazz musician Sebastian (Ryan Gosling at the top of his Gos Game) breaking out into song (hell, and why shouldn’t they?) and literally dancing on air (a feeling anybody who has fallen in love can relate to). Like Lynch’s film, there are moments where you will drift away into the most rapturous of reveries (the opening “drivers-stuck-on-the-LA-freeway-breaking-out-into-song” bit perfectly disembodied, transportive and tone-setting), fall in love, laugh, perhaps cry, and wonder along with our big-eyed dreamers.

Where Chazelle takes the film from beautiful fluff to art is his insistence on not resting on the musical norms while at the same time exploiting them for all their worth. Each wondrously choreographed dance number is breathtakingly dreamlike, both eschewing what we expect (and I normally loathe) in musicals while adhering to the genre’s most universal and transportive tropes. Chazelle employes lyricists who tell the story through the songs, not just put on a show…while the set designers, costumers and choreographers put on one hell of a show.   Continue reading

The Mother of All Others and The Secret History of Twin Peaks

NOTE:  The Secret History of Twin Peaks is presented by the publisher in old-fashioned collector’s edition format. It truly is a beautifully rendered book from a purely physical standpoint. I took a picture below of the book and its dust jacket on the “David Lynch” floors of the house we purchased in June…purchased mainly because we instantly fell in love with those floors!

the-secret-history-of-twin-peaks

Content-wise, the book is built for fans. If you are a novice to Twin Peaks, this is not where you should start. Watch the original series, then read this for some twisted back-story that will shade the colors of your perspective on what you just watched.

And now for the review…

Late in the game of Mark Frost’s fevered construction, Doug Milford (a retired Man in Black?) reveals to his protegé (the author of the dossier being reviewed by an unidentified FBI agent who has presented this “book” to us) that all that spooky weird stuff going on up there in the woods had revealed to him the mother of all others. In a way, Twin Peaks was always about “the others” – the lost souls, the tormented demons both internal and external, the abused, the forgotten, the forlorn, the troubled teens, the Log Ladies…all those spirits whispering in the wind blowing through the sycamore trees and whose sad tales found equal release in the hoots of owls as they did in the sad-sack songs of dreary-eyed chanteuses at The Road House.

In demented fashion, Mark Frost, the co-creator of Twin Peaks (along with the more shamanistically revered David Lynch) has taken a comical character, Doug Milford – the supposedly dumb, rich brother of the town’s eternal mayor who falls victim to a comely little gold-digger played by Robyn Lively – from the marginalia of the series and puts him at center stage (or is it off-stage?) of human kind’s grandest conspiracy.   Continue reading

It is Happening Again

twin-peaks-25-years-later

Did the faithful ever really doubt that we would see them again 25 years later ?

Twin Peaks is Happening Again…on Showtime…for a limited 9 episode run in 2016 to be directed in whole by David Lynch with scripts by Lynch and Mark Frost.  It will pick up exactly 25 years later just as Laura had always promised us.

I really can’t think of any better news or anything else to say.

Get that coffee and pie ready.  2016 is gonna be a damn fine year for television.  Damn fine!

And smell those trees!

(And as a side note, I’d like to think the Flying Spaghetti Monster and I had something to do with this, and by that, I mean we had nothing to do with this)

Check out the official news on Variety.

Now Let’s Rock.

twin-peaks-01

Continue reading

That Gum You Like is Going to Come Back in Style

Twin Peaks - Midget Gum

While the midget (later learned to be Mike’s arm) prattled on about polymer oral treats, twas the girl who looked almost exactly like Laura Palmer who told Agent Cooper in the Red Room who killed Laura Palmer…but as all Twin Peakers know…that was 25 years later. After the series finale, were we to believe Agent Cooper (and/or his doppelgänger?) would be trapped in the Black Lodge all that time until the gum he liked was going to come back in style?

Apparently I wasn’t the only one who thought it would be the cat’s pajamas if David Lynch and Mark Frost would indeed take us back to Twin Peaks 25 years later to see how Coop and Annie and all our friends were doing. Well…it’s been 23 years since we first visited Twin Peaks, which means they have 2 years to get their act together – and naturally rumors abound with Lynch allegedly thinking about returning to TV (hell, isn’t playing Gus the bartender on The Cleveland Show enough for him?) and Frost reminding people how he and David always imagined Twin Peaks as a continuing story. Meanwhile copy-cat shows continue with The Killing still killing on AMC, Bates Motel scaring up viewers on A&E and Netflix attempting to get people hooked on Hemlock Grove.

Thankfully, a new viral campaign to Bring Twin Peaks Back to TV has started over there on the Facebook and apart from the standard fan art, nostalgia, pining and petition signing, they’ve come up with a mondo clever Agent Cooper MISSING Poster Campaign where fans all over the world have been plastering posters every place they can and posting the photographs online.

Continue reading