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Twin Peaks: The Return (Episode 11)

Twin Peaks: The Return is here and Remi is watching every episode! This time: Episode 11. (And needless to say: Herein are spoilers.)

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There is plenty of interesting stuff going on in this episode, be it the reuse of Angelo Badalamenti’s «Heartbreaking» from Lost Highway or Amanda Seyfried‘s excellent portrayal Shelly’s daughter, Rebecca. (Never mind her almost killing her mother with a car.) My personal favorite scene involved Robert Knepper and Jim Belushi eating cereal together. Classic David Lynch humor, by two… lord, I am saying this about Belushi… great actors.

The episode, named «There’s Fire Where You Are Going», was a juxtaposition of classic Twin Peaks and Fire Walk with Me. On the one hand you had the welcome screen time of classic characters like Mädchen Amick’s Shelly, joined with darker scenes: Cole reaching for a vortex, revealing Woodsmen in a set of… stairs? The diner from Fire Walk with Me?

Speaking of the movie, what is happening in Hasting’s trailer yard? Matthew Lillard once again delivers a stellar performance, all until his head is cut off. What was the deal with the Woodsman doing so? Cole and Albert saw him, as did Diane, yet the two former claimed they didn’t, and Diane shrugged it off. On purpose? Or does the view into the Black Lodge do… something, anything… to those staring into it? The scene was freaky, with more than a touch of Fire Walk with Me.

Back in Twin Peaks, Alicia Witt had one episode in the original run as Donna Hayward’s sister; the odds of her being back as Steven’s — aka Rebecca’s husband — lover seemed slim to none, but there they were, with Rebecca shooting a gun through her door.

The revelation of her being Bobby’s daughter was interesting if for nothing more to show she is also Major Briggs’s granddaughter. For what it’s worth, Major Briggs is the major (oi, no pun intended) character of this season, dead actor be damned.

After learning of the gun incident, Bobby — Dana Ashbrook impresses again — has to investigate an(other) accidental shooting, finding a kid who triggered his dad’s gun in a car. The woman behind in the ensuing traffic jam goes hysterical, with Bobby finding a sick kid spewing what could look like garmonbozia. Maybe. Or something else. (Creepily awful as it was, it was also kind of funny, but that might just be my horrible self.)

Back in Vegas, the Mitchum brothers are ready to snuff off Dougie, who luckily is warned by Mike (projecting from the Black Lodge) about what is about to happen. The solution? Buy a cherry pie (what else?) and present it to the brothers, just as Belushi had envisioned in a dream. Receiving the previously withheld insurance check — I still don’t truly understand why Dougie’s boss changed his mind — they invite Dougie for pie and champagne. (Simultaneously giving the viewers a well-deserved laugh and a well-deserved wakeup call for Dougie.)

In Twin Peaks, Hawk receives another call from The Log Lady, which leads him to show a map to Truman with… well, apparently, you don’t want to know what, but it sure looks like Mr. C’s tattoo.

Dougie is about to change into Cooper sooner than I (at this point) had expected; it’s clear he’s tethering on the brink of the transformation. A fantastic MacLachlan performance, yet again. (Kyle, you deserve pimping your wine like you currently are on Twitter!)

As «Heartbreaking» plays us out, I can’t help but feel this was The Return’s most jarring and most fascinating episode. «Part 11» as it is, really does make more sense of a title in the arc, seeing season three fully is an 18-hour movie.

«Part 8» is still my favorite, but this one was close. Very David Lynch, very Mark Frost, very Twin Peaks.