Episode 24

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LostInTheMovies
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Episode 24

Postby LostInTheMovies » Tue Feb 10, 2015 5:34 pm

I really like this episode - most of it anyway. For all the flaws, something about it just seems fresh and appealing to me and I can't exactly put my finger on why although I can point out some things I like about it.

In Brad's book, Kimmy Robertson mentions feeling relieved when James Foley got on set, like he really "got" Twin Peaks in a way some of the previous directors hadn't. This quality really shows onscreen: there's a confidence and energy to the proceedings that has been absent for the longest time. I love the way he shoots every scene, usually moving the camera in subtle ways and hardly cutting at all. It's smooth and efficient, while feeling very cinematic.

There seems to be some controversy over which episode is the "comeback." A case could be made for 23, 24, or 25 (some would also argue 22 but I'm not going to go there).

23
PRO: Bob & the Little Man appear for the first time since Leland's death, the drawer pull is the most Lynchian touch since he's directed, the conclusion of Josie's story provides narrative momentum that has been lacking, Josie & James' goodbye signal that tired old storylines are ending, the 1st mention of Annie, the arrival of JJW, "good Ben" & Windom's note signal that new storylines are beginning - although one could argue these are not the most promising stories (especially JJW) they are still narrative turning points, Windom begins threatening townspeople instead of just Cooper, bringing the town of Twin Peaks back as a character and drawing together different storylines.
CON: Despite all of that, we haven't ended Josie's story and that more than anything suggests that this belongs to the previous patch of episodes and not some new one; plus there is arguably a plodding, tying-up-loose-ends feel to the episode as a result, and let's be honest: Bob/Little Man are more reminders of what we're missing than they are effective callbacks.

24
PRO: The Log Lady & Maj. Briggs' tattoos launch a stretch in which the mythology will actually come into play, Windom starts actually visiting townspeople, Annie's romance with Cooper begins & Miss Twin Peaks is introduced - whatever one thinks of these storylines they are the major arcs of late season 2 suggesting that we've turned over a new leaf, meanwhile ALL of the mid-season story arcs (except for the chess game and Coop's suspension/flannel) have officially ended, Foley brings a freshness and energy to the proceedings that has been absent for a while, plus the fact that this episode came after the hiatus makes it feel like a natural new start (although that is probably just a coincidence of timing).
CON: Coop's still in flannel! Aside from narrative turning points, in terms of quality the pine weasel riot and JJW's serenade suggest that we aren't out of the woods yet.

25
PRO: Gordon Cole/David Lynch is back! Cooper is in a suit and out of flannel! His romance with Annie begins in earnest, Windom finally fuses with the mythological plot & Miss Twin Peaks (threads are really coming together now), Owl Cave cements the new mythological direction - did I mention Cooper's not in flannel anymore?
CON: By this point, we've either turned a corner, or we aren't going to (some would argue the latter, not counting Lynch's finale). But the turning point may have come already, meaning this belongs to late season 2 but isn't the "beginning" of it.

Laid out like this, ep. 24 theoretically seems like the least likely turning point. Yet for me, every time I rewatch the show or even just this episode in isolation, it just intuitively feels like a breath of fresh air. It really seems like we're out from under something. That said, once we get into the fashion show the episode sinks and that old obligatory, we're-doing-this-even-though-we-don't-want-to vibe returns (although at least in this case it's for a one-off event rather than an ongoing story). But the earlier cheesy stuff somehow works for me, or at least I don't mind it.

Truman's grief is ridiculous but sort of enjoyably so (in general, I think Michael Ontkean's fine as Truman, but when he starts shouting - especially "That's the good thing about the law IT DOESN'T BREATHE YOU CAN'T KILL IT!" - I start laughing uncontrollably). Nadine & Mike's "Graduate" scene with the hotel clerk (Mike's buttoned-up middle-aged 50s outfit clashing with his 80s teenage classmate) I actually find genuinely amusing, the bleary early 90s whiskey glass montage is a guilty pleasure (reminds me a bit of the atmosphere of Foley's Glengarry Glen Ross), even the picnic scene with Audrey & JJW has some interest, not just the nice locale but her own expression of insecurity (as well as hints that Cooper is still on her mind, which I love).

And of course who can resist the Log Lady & Maj. Briggs linking up again and pushing the mythology further than it's ever gone up to this point (it's a nice unexpected surprise). I also really like the Donna/Windom scene for some reason. It's deceptively casual, allowing the creepiness to sneak up on you - it really feels like an old family friend is visiting, even though it's clearly Windom, because it's played so straight. It also helps that this is the same angle from which we saw Bob climb over the couch to attack Maddy (I like that Foley holds the shot, pushing in ever so slightly). And there's even a suggestion that maybe he is leaving a bomb with Donna. I also love that shot of Donna with the coke bottle later on. Somehow it captures the whole "springtime in Twin Peaks" vibe of this episode to me, and has a nice 50s iconographic quality to it.

Yeah, this is an episode I just like instinctively even though I can see why others would fault it. It definitely feels like the turning point to me.
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Twin Peaks Out of Order #22: Episode 24

Postby LostInTheMovies » Sat Oct 10, 2015 5:15 pm

Re-watching Twin Peaks from my least favorite to favorite episode...

Previously: Episode 18 (http://www.dugpa.com/forum/viewtopic.php?f=24&t=2814&p=42872#p42872)

Is this the "comeback" episode? Is it a turning point in the series, and a turning point even in this achronological rewatch? Does it lead away from the meandering trivialities of the mid-season and towards the more exciting, engaged Twin Peaks of the final stretch (and, in our case, eventually the more dynamic first half of the show)? Sort of. I've always characterized 24 as a breath of fresh air, as "springtime in Twin Peaks," now that the least compelling subplots are out of the way and some momentum is starting to build in the Windom Earle and mythology storylines. But truthfully this is more like a breather between two big episodes, even if it isn’t sandwiched between them on this rewatch. There is no single moment that stands out above the rest (I do like the Log Lady and Maj. Briggs reuniting to debrief Cooper about the mysteries of the woods, but the scene’s charms are brief and slight). Instead, the whole episode has a kind of relaxed ambiance about it, thanks mostly to James Foley's graceful, uncluttered, energetic direction: lots of long takes and subtle camera movements to grease the treads, moving us into position for the show's final arc. There is some junk too: the fashion show drags even before the notorious "pine weasel riot" (leading many viewers to rank this episode far lower than I do), and even after all these viewings the John Justice Wheeler-Audrey Horne romance still does absolutely nothing for me. On the other hand, call me crazy but I find Cooper's awkward courtship of Annie charming and - despite its transparently artificial last-minute set-up - kinda believable. I like their first meeting here and the buoyant mood is well-prepared by Shelly’s hilarious send-up of the Miss Twin Peaks charade (if only the writers had listened to her). I am usually just as fascinated by Windom Earle's deceptively low-key housecall on Donna, but for whatever reason (the too-jovial music perhaps) it left me cold tonight. Such are the perils of resting your reports on subjective whims. To flip that script, I usually laugh off Truman's grief-stricken non sequiturs ("that's the good thing about the law it DOESN'T BREATHE YOU CAN'T KILL IT!!!") but tonight I watched his morose temper tantrum with a lump in my throat. Partly due to the sad news of Michael Ontkean's recent depature from the new series and partly because I’ve been more taken with Josie’s story on this rewatch. The yelling still feels a bit goofy but Ontkean's croaking delivery of his follow-up lines (“She came to me!”) hit the spot, as does Truman's bewhiskered, whiskey-soaked hugout with best buddy Cooper. He has lost his lover, but he's still got his soulmate.

Next: Episode 26 (http://www.dugpa.com/forum/viewtopic.php?p=42966#p42966)
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Re: Episode 24

Postby David Locke » Sun Jun 12, 2016 11:15 pm

This episode kind of feels like one step forward and yet a half-step back. On the positive side, there's a newfound sense of purpose and a sense of casting away the tired old plots and bringing in fresh ones, which is... well, refreshing. There's also some good scenes: Earle's visit to Donna is creepy, as is the Hayward's reaction at discovering his fakery and phoning the cemetery, though I do agree that the use of Audrey's Dance is very out of place. But we also have the Pine Weasel stuff, JJW singing to Audrey on a picnic (truly awful), and I'm not sure if I like Harry's scenes for much more than unintentional comedy. Regardless, one can tell that the show is beginning to get a spring in its step, it is not running in place anymore.
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Re: Twin Peaks Out of Order #22: Episode 24

Postby Mr. Reindeer » Wed Apr 26, 2017 9:52 pm

LostInTheMovies wrote:To flip that script, I usually laugh off Truman's grief-stricken non sequiturs ("that's the good thing about the law it DOESN'T BREATHE YOU CAN'T KILL IT!!!") but tonight I watched his morose temper tantrum with a lump in my throat. Partly due to the sad news of Michael Ontkean's recent depature from the new series and partly because I’ve been more taken with Josie’s story on this rewatch. The yelling still feels a bit goofy but Ontkean's croaking delivery of his follow-up lines (“She came to me!”) hit the spot ...


Agreed! That "drunk Truman" scene (justifiably) gets shit on a lot -- some people seem to use it as a shorthand to diminish Ontkean's entire contribution to the show. While not a "great" actor (many Lynch collaborators aren't), Ontkean generally brings exactly what the role demands to the table. The only times I can recall his acting falling on its face are the moments when he yells really really loudly (see also: telling Josie to drop the gun at the end of Episode 23).

The Episode 24 script doesn't specify Harry yelling his lines. I really have to wonder what the breakdown of blame is between Ontkean and Foley for this truly unfortunate acting choice. (It's also worth noting that while the yelling wasn't scripted, the dialogue for the scene is overall pretty awful...so maybe the actor and director just did a misguided job of trying to inject some life into nonsensical cliched writing.)

But then we get the moment you mentioned: that one sobbing, genuine moment of a truly broken man, feeling raw and honest.......and THEN go right back to overwrought yelling again. It's jarring. I imagine there has to be more of that raw, raspy take. Did they try the full scene both ways, I wonder? I really wish more footage in that vein had ended up in the final episode. That one shot is IMO some of Ontkean's finest work on the entire show, buried right in the midst of his absolute worst performance.
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Re: Episode 24

Postby Mr. Reindeer » Thu Apr 27, 2017 12:52 am

Also, as great as the Garland/Margaret stuff always is, it's sort of absurd that Briggs says in Episode 21 that he will be "in the shadows".....and then he pops up three days later nonchalantly chomping pie in the Double R.
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Re: Episode 24

Postby David Locke » Thu Apr 27, 2017 6:13 am

I have a soft spot for this episode which admittedly is almost entirely down to 1) James Foley's beautiful direction, and 2) Harry's scenes. (Also Donna/Earle's visit, to a lesser extent).

I mean, I wouldn't argue with the idea that Ontkean is doing some "bad acting" here, but there's a rawness to his anger and pain (when he does release it - not often) which I find very effective even as it's awkward as hell. Maybe the best example of this is the scene he shares with Hank in Episode 23. I find him very convincing there. And I don't mind his delivery in the Josie-death scene at the end there either, even as I recognize it's a bit strained. So here, when it all comes out, I can't help but enjoy - seeing an actor attempt something and not quite get it, perhaps, but still do a commendable job along the way. There is real power in some of those moments, but as noted, it's not all pieced together as one would wish, and so we get some pretty cringe-y line deliveries as well. But even those are amusing on a different level... I just kinda like the whole plotline here, it's a good way to add depth to a fairly flat character.

And the rest of the episode (the picnic, the pine weasel/fashion show) is pretty... not great. I mean the fashion show alone takes up a ridiculous amount of screentime. But even though there's a lot of silliness here, I've come to fall for this episode despite recognizing its flaws. Foley's direction is so economical, smart, luxurious and pleasing in its use of longer takes that are never long for the sake of long... he just really brings a great rejuvenating energy to everything. Lost puts it perfectly here, as to why this episode is so appealing. I wish Foley would have done another one.
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Re: Episode 24

Postby Mr. Reindeer » Fri Apr 28, 2017 2:44 pm

Also, BOY does Ben's "rah rah environmentalism" speech go on for a long time. There's not even anything interesting about it, it feels exactly like the sort of speech you'd expect at such an event. As someone who generally welcomes any opportunity to watch Richard Beymer do his thing, I found that to be an excruciating minute and fifty seconds (yes, NEARLY A FULL TWO MINUTES). I was almost grateful to see Dick Tremayne by the end of it.
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Re: Episode 24

Postby TwinPeaksFanatic » Sun Apr 30, 2017 3:45 am

Major Briggs and the Log Lady discussing their symbols, especially Margaret discussing her childhood disappearance was particularly interesting to me. This recent arch of episodes is clearly a point of inspiration for Mark Frost's book, The Secret History of Twin Peaks. I wrote a recap for the this episode here ---> http://twinpeaksfanatic.blogspot.com/20 ... de-24.html :D
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Re: Episode 24

Postby Gabriel » Mon May 01, 2017 5:05 pm

20 minutes of great material; the rest is chaff.

The good includes Ben's visit to Eileen, the Major and Margaret, Eckhardt's assistant bringing out Catherine's ruthless side (I reckon she'd have fired that gun without hesitation,) Ed and and Nadine's divorce discussions and the ending.

The Bad includes drunk Truman – why, other than Coop being series lead, would Hawk get the guy who indirectly is responsible for Josie's death to sort out an irrational Truman, when that guy has only known Truman for three weeks, as opposed to all the people in town who have known Harry for most of his life? – Annie (Heather Graham is rather bland at this stage of her career,) anything involving Miss Twin Peaks and Earle's awful disguises. The scene with Donna would work if Windom had turned up without a disguise. The diner scene with Windom is plain embarrassing, although it's interesting that the actors never appear in the same shot. Windom/Shelly and Coop/Annie look as if their parallel scenes are shot on a different day or set in separate realities. JJW is as dull as Annie is at this stage. Dick running around with a soft toy weasel stuck to his nose... this is ten episodes/13 days after Maddy was beaten to a pulp on screen; in that context, it's borderline offensive.

On the bubble is Mike and Nadine trying to check into the Great Northern. Mike looks closer 30, not 18, at the best of times, so the joke doesn't quite work.

Episode 25 is where things turn around for me.
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Re: Episode 24

Postby Agent Earle » Mon May 01, 2017 11:48 pm

Gabriel wrote:20 minutes of great material; the rest is chaff.

The good includes Ben's visit to Eileen, the Major and Margaret, Eckhardt's assistant bringing out Catherine's ruthless side (I reckon she'd have fired that gun without hesitation,) Ed and and Nadine's divorce discussions and the ending.

The Bad includes drunk Truman – why, other than Coop being series lead, would Hawk get the guy who indirectly is responsible for Josie's death to sort out an irrational Truman, when that guy has only known Truman for three weeks, as opposed to all the people in town who have known Harry for most of his life? – Annie (Heather Graham is rather bland at this stage of her career,) anything involving Miss Twin Peaks and Earle's awful disguises. The scene with Donna would work if Windom had turned up without a disguise. The diner scene with Windom is plain embarrassing, although it's interesting that the actors never appear in the same shot. Windom/Shelly and Coop/Annie look as if their parallel scenes are shot on a different day or set in separate realities. JJW is as dull as Annie is at this stage. Dick running around with a soft toy weasel stuck to his nose... this is ten episodes/13 days after Maddy was beaten to a pulp on screen; in that context, it's borderline offensive.

On the bubble is Mike and Nadine trying to check into the Great Northern. Mike looks closer 30, not 18, at the best of times, so the joke doesn't quite work.

Episode 25 is where things turn around for me.


I love the scene with drunk Truman and Cooper (though I have to agree with you regarding its "staginess" that has to do with Cooper being the lead) - you can't beat their bonding, and with one of them downcast and sorta fallen, it's especially zesty!

Though I'm no fan of Dick Tremayne and certainly no fan of the comedic aspect of the show (with which the series is brimming in its later half), the infamous weasel scene gets me every time, for some reason - it's gotten to a point when I'm rolling on the floor even before it starts. Side-splitting stuff!

And, of course, I love anything that has Windom Earle in it :)

Btw, what do you think of the "Chickadee on a Dodge Dart" scene that follows in the succeeding episode, given that you dislike the Annie character so much?
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Re: Episode 24

Postby Gabriel » Tue May 02, 2017 11:36 am

Agent Earle wrote:Btw, what do you think of the "Chickadee on a Dodge Dart" scene that follows in the succeeding episode, given that you dislike the Annie character so much?


One of my favourite scenes in all of Twin Peaks. Annie gets better as the series continues. That 'blandness' ultimately becomes something almost ethereal. Heather Graham became a much better actress as the years went on, but she's getting better from episode. The theory that she's a lodge spirit pretending to be Norma's sister has some strength given her apparent ignorance of everyday life, yet her uncanny ability to romance Coop and set him (via Owl's Cave) on the path to the Black Lodge.
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Re: Episode 24

Postby David Locke » Tue May 02, 2017 11:41 pm

Gabriel wrote:
Agent Earle wrote:Btw, what do you think of the "Chickadee on a Dodge Dart" scene that follows in the succeeding episode, given that you dislike the Annie character so much?


One of my favourite scenes in all of Twin Peaks. Annie gets better as the series continues. That 'blandness' ultimately becomes something almost ethereal. Heather Graham became a much better actress as the years went on, but she's getting better from episode. The theory that she's a lodge spirit pretending to be Norma's sister has some strength given her apparent ignorance of everyday life, yet her uncanny ability to romance Coop and set him (via Owl's Cave) on the path to the Black Lodge.

I agree she gets better as the series goes on, but the "intimate" scene between her and Cooper in Ep 28 makes that harder to say... Guess that's more writing than acting though
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Re: Episode 24

Postby OpeningCreditsBird » Tue May 09, 2017 6:06 am

I really like the energy in this episode. Foley is a surprisingly good comedy director. It's so good to see Shelly actually happy for possibly the first time in the entire show. The way she jokes with Norma always makes me smile. If anyone has earned the right to be happy it's her.

And does no one else find Dick Tremayne's fashion show commentary hilarious? It's one of his best moments as an actor. "A slim skirt that says, 'hello world. I'm here'", or a pair of black flaring cotton trousers, "For the man who wants to make a statement while retaining the casual feel, whether he's out mastering a task or riding the breeze of a chance meeting."
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Re: Episode 24

Postby Jonah » Sat Jul 22, 2017 3:14 pm

Ok - so am rewatching on Blu-Ray. There's a whole "previously on"-style sequence I was never aware of before, narrated by Kyle McLachlan as Cooper to Diane. It's fascinating, shows clips from several previous episodes, recounts Coop seeing the vision of Bob when Josie dies, foreshadows Annie appearing as a premonition of Cooper's, and discusses Earle. This must have originally aired as this was the first time the show came back after several weeks off the air. But I've never seen it before, not even on the last rewatch on the Blu-Ray! It's great. I can't believe I never knew it existed until now. Has anyone else seen this?
Actually, now that some time has passed, I like "The full blossom of the evening".
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Re: Episode 24

Postby Jonah » Sat Jul 22, 2017 4:14 pm

This is the first episode to air after a six-week break when the show was temporarily cancelled. I suppose that this is technically considered the "return to form" episode - though as I mentioned in the review of the last episode there's debate between 23, 24, and 25. This is definitely the first episode of the final arc though. You can tell from the storytelling and overall style that this is more focused than previous episodes and now that a lot of arcs have closed in the previous installment, a lot of previously-laid plot strands are being progressed and a few new ones added. But this definitely feels like the beginning of the home stretch. Though there's still some stuff that feels like filler or the mid-season slump such as the fashion show.

Opening scene with Truman and Hawk is great.

Good to see the Bookhouse again - and it's used a lot in this episode.

Annie arrives!

I love the Log Lady and Briggs - and the way the log appears behind Briggs just before she touches the mark on his neck.

We get that beautiful shot of the woods that first appeared at the beginning of Episode 17 (before the Sarah scene) again; here it's just before Leo and Windom in the cabin.

Coop trying to help Harry is touching.

The Catherine/Jones scene is great. And the mystery box is a nice pre-cursor to the boxes we've seen in the new series.

I like the scene of Windom Earle visiting Donna. One of his better disguises. Interesting to note that, when they go inside, we see the couch and room from the exact same angle as Maddy saw it when Bob appeared to terrify her in Episode 9. I almost expected to see him again!

Great scene with Coop, Briggs, and the Log Lady at the Sheriff's Station.

Another picnic scene! Alas, this one isn't as good, though it's not bad. I'm not really a fan of the Audrey/John Justice Wheeler thing, but I'm not against it either. Like most fans, I would've preferred the Cooper/Audrey friendship had been played out instead, but it is what it is. The scenery is beautiful in this scene, it almost does look like the northwest.

Good to see Eileen Hayward again. The scene with the Haywards figuring out Earle's visit is quite eerie and well-played.

Couple's counselling with Jacoby, Nadine, and Big Ed. Sweet scene.

Ben visiting Eileen - and we see the shot of the couch (from the Maddy/Bob angle) again.

Miss Twin Peaks! Another great little scene with Norma and Shelly. And another woeful disguise for Windom Earle. How did Coop not sense him here? Well, he does - but not in time.

As much as I wish the Audrey/Cooper friendship and/or flirtation had continued, I really do like Coop and Annie's first meeting. And it's ideal that Earle is there to witness it. Perfect foreshadowing.

Ontkean is a good actor, but the shouting thing doesn't work for him. The scene here with Cooper and Harry is touching.

I love Harry's "keep going" moment to Coop and Hawk.

Nadine and Mike checking in to the hotel sort of works. It's humorous but feels more like the mid-season slump again.

The fashion show sequence is sort of entertaining but again it's elements like this that still feel like mid-Season 2 stuff, despite this being a generally stronger episode.

Ben and Catherine's scene at the bar is the last time the two of them are together, I think?

Jones climbing into bed with Harry is a real soapy cliffhanger.

Overall, an episode that shows the series is producing stronger episodes again. I wouldn't necessarily say it's a huge jump in improvement though, but I enjoyed it.
Actually, now that some time has passed, I like "The full blossom of the evening".

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