Twin Peaks – The Return: Hours Three and Four

Twin Peaks – The Return: Complete Hour by Hour Guide

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

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Twin Peaks – The Return: Two Hour Premiere

Twin Peaks – The Return: Complete Hour by Hour Guide

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.

HOURS ONE and TWO

“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