Part 11 - There's fire where you are going (SPOILERS)

[Novalis]

Another mixed bag.

One thing that this series / very-long-film does is that it messes with the uniqueness of Twin Peaks as a location twinned with the other-world. I'm not saying that it destroys that uniqueness, after all Hawk's living map and the predicted occasion at Jack Rabbit's Palace are in the tradition of the Owl Cave and Glastonbury Grove's sycamore circle, which highlight the especial importance of the Twin Peaks area. However, having wormholes open up in the sky in South Dakota, coupled with the New York Box, the White Sands / New Mexico flashbacks and the numerous lodge-n-cooper interactions taking place in Las Vegas which we've seen feel like spreading the peanut butter on both sides of the bread, on to the counter and all round the house. It feels very messy, in short. Sure, FWWM already expanded the relatively closed world of Twin Peaks to Deer Meadow, Philadelphia and even Buenos Aires, but while these excursions were fleeting glimpses into the possibility that the spirit world had more traffic with our world than we might have suspected, the Return seems to revel in showing just how run-of-the-mill Twin Peaks is as a nexus for the sublime. I'm not saying that the multiplication of 'special sites' is a bad thing in principle, only that the way it is being handled is tending to drown out Twin Peaks in a generalised wash of the USA. The original series, I think, capitalised on the mystique of the Pacific NorthWest and its cultural history -- as evidenced by the 'Northwest Passage' working title of the pilot and also by imitative attempts to recapture some of that mystique after the series ended, with things like Northern Exposure. This specificity, this being tied to a certain region and its cultural history, is the element that I think has been watered-down with all the jet-setting and the disparate investigations taking place across the USA.

Having said this, I recognise that the wider dramatic arc is precisely a RETURN to Twin Peaks, and you can only return to a place from somewhere outside it. It feels like that trajectory is very fractured and multiple though. Just as Cooper is slowly attaining nuggets of self-knowledge, kiss by kiss, shoe by shoe, tear by tear, pie by pie, without ever actually waking, it feels like we are constantly being dangled snippets of Twin Peaks without ever getting there. I understand my frustrations here, I see that they are in some way necessary, but I don't always 'enjoy' them as much as I think I might have. Then again, this was the part in which things feel like they are starting to move faster. The window-shooting at the RR Diner scene in particular was very powerful, in the way it presented multiple crises occurring simultaneously. Three families appear to be having some kind of crisis in that scene, and they intersect in a wonderfully Lynchian way; Shelly-Bobby-Becky (& Red); the Camo-gear family whose kid got off the shot; the lady with the sick passenger. The unceasing honking of the latter acts both to signal her utter distress and as an expressionist device, drenching the whole scene in alarm in a way that reminded me so clearly of the alarm bell in the Mauve tower. A beautiful, key scene I felt.

The Mitchum's 'tender' side (a bit of a tedious cliche for Mob figures I found) and their appreciation for Cooper made interesting viewing but I felt it pulled too much focus away from earlier scenes that should have been left to resonate. Hastings losing most of his head and the appearance of the woodsmen, Cole's vision etc, were all I felt handled too flippantly after the fact. Sitting down to coffee and doughnuts and coded foolings after such events robbed the characters of movement. I don't want to talk about the wormhole itself. Sometimes Lynch's forays into digital effects works for me, sometimes it doesn't. This was one of the latter. Moreover, I don't like the concept. I stated a couple of weeks ago I didn't want a SG-1 crossover, but it felt like I'm getting one whether I want it or not. Can we let Don Davis rest in peace now?

Red, like the Mitchums is another character presented as both hideously malign and overwhelmingly sentimental depending on circumstance. It bugs me that this mutability is so apparent before any one keynote characteristic is properly established. At least we know where we are with Richard Horne. I think I'm complaining that the characters are too inconsistent before anything about them has been laid down. This seems to be an issue mostly with the new cast. The veteran characters, on the other hand, seem very much like functions of the audience's need for continuity. The Log Lady continues to Log Lady, Hawk to Hawk, and Shelly to Shelly, very much structure bound. It's also apparent that job security in Twin Peaks must overshadow pretty much anywhere in the western world, with everyone still doing what they were doing 25 years ago.

So... well I liked it, a lot. But there were parts that grate with me. I think I will definitely like this one more on rewatch.

[DeepBlueSeed]

A few of my thoughts, prompted by things I've not seen mentioned already, and a few things I have (but wanted to ensure I'd read through everyone's comments first):

The Shelly/Bobby/Becky family reunion seems so dysfunctional. Although clearly both the parents are good people, it feels like they've never really learnt how to be responsible parents. Bobby perhaps less so - he had a good role model, after all, even if Major Briggs spent much of his time focused on his job and emotionally distant from the child he loved. Bobby, although still childish, seems to have grown more out of the two. I like how the scene verbally emphasises that Bobby and Shelly are Becky's parents. What could've been clumsy exposition feels more like it's addressing the fact that they are parents but haven't really been there for their daughter, at least not as a united front.

Becky being so reckless earlier in the scene, driving off with her mother on the bonnet of the car and not caring when she get flung off, plus shooting through the door, makes me wonder whether (given the themes of family, of child mirroring parent) where this erratic streak comes from, and makes me wonder whether Becky might be Leo's daughter, and that Bobby stepped in to raise her in his absence. No-one seems to have mentioned that Becky only apologises to Shelly when she catches Norma's eye and Norma seems to give her the 'go on' nod, at which case Becky reacts. Up till that points she's all eye-rolling and pulling faces because she's being given speeches she's heard before. Shelly's reaction to Red also seems way off, given how serious the situation was, that she could've been killed by Becky driving that car, or that she might've shot someone (and is responsible for criminal damage). Whose gun is it? Becky's? Steven's? What sort of trouble have they been in before? But the fact that Shelly runs off to see Red, with the enthusiasm of a love sick kid, rather than motion to him to just wait a moment, that she'll be out in a while (he can clearly see that she's hugging her daughter) shows so much about her character. I wonder if this is why she and Bobby split up, that she was still looking for excitement whilst he was trying to be the responsible parent.

Have the Double R have trouble with guns before? Is turning the lights off standard practice in the US when gun fire starts?

The lady driving the car, with the child being sick over her, reminded me of the one in the 1950s, terrified of the "Gotta light?" guy.

Great to see the tradition of crushing people's skulls has continued with the woodsmen. I loved how the one who snuck up on the car reminded me of the one in the cell, with the whites of the eyes showing clearly out of the blackened face. I'm still really curious as to what their motivation is - why did they only pick off Hastings? Why did one turn up at the morgue and kill no-one?

I also loved the spiral effect in the sky that only Gorden could see. It reminded me very much of the first True detective, the spiral pattern and the portal to Carcosa - it made me wonder how much other elements of the return have reminded me of True Detective - it's almost as if the two shows have inspired each other to a degree, and I could easily imagine the grim weirdness of the TD world sitting somewhere off-screen in the slightly more surreal and frequently humorous TP world.

(Going back to the portal I also liked that what, at first glimpse, was a simple spiral effect on the sky was actually more complex, with the background sky being pulled into the portal whilst the trees and telegraph pole in front twisted at a slower pace).

I'm increasingly disappointed with Diane's behaviour, but feel that we've still not got enough information to really know what her game is.

I find the whole 'Mother' symbol fascinating. I love that Hawk doesn't want to speak of what it means but does this presume he doesn't think it'll be important that they know? I get the impression it's a different place to Glastonbury Grove, where the sycamore trees grow. If this is what Mr C wants there's some sort of sense to him having to return to Twin Peaks to find it, though he's clearly tried to look for it elsewhere (if we're to assume that he used the glass box in an attempt to summon it, and travelled to South Dakota chasing other leads that might lead to it).

I did find the thing with the missing cut bizarre (also bizarre that Jim Belushi's character was suddenly prompted to act based on his dream, which makes me wonder if he's done that before, but I loved his character in this episode). What are we to make of the cut? Did whoever gave him the dream also heal his brother to give him some other sign that the dream was a prophecy? Is Candie, the person responsible for the cut, some sort of weird spirit? I think perhaps my only disappointment is that the brothers, whilst being patient with Candie also get incredibly frustrated with her; meanwhile they're happy to chat away to Mr Jones as if he wasn't not a sandwich short of a picnic.

Lovely end scene with the cherry pie. I thought Coop started to speed up, come to life more, as he chomped down. More than the slow eating of chocolate cake. And, I'll admit, I did wonder if that was Badalamenti on the piano at the end.

I really enjoyed that episode. Damn fine. But I think the next couple will be awesome, if we finally get to visit the location east of Jack Rabbit's Palace, catch up with Mr C, and see what Ray's been up to. But I'm looking forward to Gorden, Albert and Tammy's investigations leading them further (and maybe them getting a heads up about Dougie in Vegas).

Let's rock!

[Dez]

Just when I was about to give up on the series, episode 11 made me reconsider, giving me something of a mini-epiphany. It may sound like stating the obvious, talking about Lynch, but with all the obsessive (and often brilliant) analytical scrutiny going on, it may be a necessary realization: this whole thing runs on dream logic. This puts everything in perspective: the narrative inconsistencies, the unpredictable shifts in focus and rhythm, the distant and volatile characters, the stuck-in-stasis feel of the Dougie (non-)arc, etc. It hit me early in the episode, and when the Belushi caracter raised the very topic of dreams (in a way very reminiscent of the Winkie's scene in MD), it felt like confirmation. And of course, the Twin Peaks universe has always had countless similar hints towards the importance of the oneiric and (for lack of better word) post-real. Perceived as Surrealist commentary, as opposed to tv entertainment, the whole thing becomes a lot more interesting.

[Rhodes]

i thought we were going to see Big Ed in this episode but at least he was mentioned by name which makes me think he will finally show up next week. as some people have said i hope that there will be a Bookhouse Boys storyline or that Big Ed and James in some way will be involved in the search for Jack Rabbit's Palace.

He was mentioned? When? I missed that.

[Rhodes]

Hawk used to have a subtle, mystical wisdom. Now he keeps giving these very explicit and 'over the top' clues.

In season 2, Hawk gives the most on-the-nose, lengthy exposition about the lodges that we've ever seen.

Yes, you're absolutely right.

Still, I don't like the Hawk-stuff at all, although I sympethize with both the actor and the character. I thought the 'living map' thing with all the detailed explanations was very lame/cliche also. A bit surprised that so many loved it.

[mtwentz]

Red, like the Mitchums is another character presented as both hideously malign and overwhelmingly sentimental depending on circumstance. It bugs me that this mutability is so apparent before any one keynote characteristic is properly established. At least we know where we are with Richard Horne. I think I'm complaining that the characters are too inconsistent before anything about them has been laid down. This seems to be an issue mostly with the new cast. The veteran characters, on the other hand, seem very much like functions of the audience's need for continuity. The Log Lady continues to Log Lady, Hawk to Hawk, and Shelly to Shelly, very much structure bound. It's also apparent that job security in Twin Peaks must overshadow pretty much anywhere in the western world, with everyone still doing what they were doing 25 years ago.

So... well I liked it, a lot. But there were parts that grate with me. I think I will definitely like this one more on rewatch.

I will have to re-watch, but I really do not think we know enough about Red to says he is being 'sentimental' with Shelly. It's possible he's just using her (given her connection to Bobby, who is investigating the drug trade.)

[starmand]

i thought we were going to see Big Ed in this episode but at least he was mentioned by name which makes me think he will finally show up next week. as some people have said i hope that there will be a Bookhouse Boys storyline or that Big Ed and James in some way will be involved in the search for Jack Rabbit's Palace.

He was mentioned? When? I missed that.

The deputy who pulled up to the RR mentioned he was at Big Ed's Gas Farm when he heard the shots. Maybe getting service on his new car!

[TheGum]

I don't subscribe to the "two timelines idea" as much as I think history/reality are consistently being altered due to the Black Lodge inhabitants increasing interaction with the human world. I think this is evidenced in TSHOTP and clearly shown in the diner scene of ep. 7.

Also- I have a feeling that that Hawk and Margret phone call with him in the woods takes place after all the current story, I think Truman and Hawk's discussion is leading up to that walk.

[bob_wooler]

OMG, FWWM reference!!!

Firstly, it wasn't Sycmore Trees we heard (it was, as someone mentioned, a New Order tune), secondly, Sycamore Trees weren't even in FWWM at all, was it (though, oddly, it is on the FWWM OST album)?

Actually Sycamore Trees is in FWWM but it's an instrumental. You can hear it after Leland walks into the sycamore trees and enters the red room. And weirdly enough Little Jimmy Scott is listed as the performer in the end credits.

There you go. My apologies
Still, it would, at least for Cooper, be an ep. 29 reference, not FWWM

[Rhodes]

Quieter episode? It was full with noise! So much going on!

Actually, there was not a lot of plot development (despite rumours that there was going to be).

- The only real plot development was that Dougie met the Mitchum-brothers and they turned into friends.
- Steve/Becky. We already knew that he was an agressive drug addict.
- DougieCoop. He seemed to take a small step to more awareness after eating the pie. But we've seen already ten of these steps.
- Hawk/Frank: Some talk of some familiar themes and symbols, but no clear breakthrough.
- Gordon/Albert have some knowledge of the woodsmen/lodges, but no clear breakthrough.
- Miriam is alive, but this was already more or less clear from part 10.

Still, a very good episode!

[Dreamy Audrey]

My notes from watching the episode
-Idk... I don't love Norma in the new series so far. She's been having the opposite reaction to me as what she had in the original series

I feel the same. Norma barely talks, she is almost always sitting in the same spot doing the same work, and she is always watching Shelly. She is kind of creepy.

Did you guys notice that Gersten looked very similar to Darya?

They are wearing almost the same jacket, a black top, a necklace and both have red hair. Coincidence or is there a connection between them?

Did anyone else think that when Deputy Jesse told Sheriff Truman he wanted to show him his new car it might be some kind of code and he was actually giving him a secret message?

Edit:

Steve/Becky. We already knew that he was an agressive drug addict.

But this episode wasn't about Steve, we learned that Becky is also very aggressive. Last episode it seemed like she was a poor, defenseless victim. This episode it looked like she was a psychopath. She took off with a gun when she learned Steven was with another woman. She could have killed or seriously injured her mother with the car but didn't stop and then she fired a couple of shots at the door. It really makes me wonder what she would have done, had she actually caught Steven and Gersten. I'm also more curious about what she has done (Steven said last episode that he knew what she's done).

[GrapesOnTheEdge]

I'm pretty sure that the yelling/honking lady was Lewis Black in drag.

[The Archivist]

My notes from watching the episode
-Idk... I don't love Norma in the new series so far. She's been having the opposite reaction to me as what she had in the original series

I feel the same. Norma barely talks, she is almost always sitting in the same spot doing the same work, and she is always watching Shelly. She is kind of creepy.

Did you guys notice that Gersten looked very similar to Darya?

They are wearing almost the same jacket, a black top, a necklace and both have red hair. Coincidence or is there a connection between them?

Well, first time I saw Darya in the trailer I was so adamant she was Gretchen. Someone on youtube had to correct me

[Dreamy Audrey]

Who's Gretchen?

[wxray]

Re- Miriam survived

Just wanted to make a comment about possible multiple timelines, time slips, intentional inconsistencies that will ultimately make sense. In the past couple episodes many have commented on possible sloppy filming (specifically Johnny and Miriam breathing) only to be proven wrong. I happened to finish The Secret History of Twin Peaks today, as well as watch episode 7 again with my girlfriend who hadn't yet seen it. I think we need to seriously consider changes in time somehow. The numerous inconsistencies in the book and sly comments from Frost are a huge clue, but also- that two minute scene of the guy sweeping where nothing happens? That may be our guide- a familiar place is introduced, a classic track plays, seemingly nothing happens but what if that is the point. Immediately afterward we see the ominous shot of the woods, generally foreshadowing evil in TP, and cut to another familiar set, with a classic song playing, but literally half the crowd completely changes in a single shot as the audio kind of clicks. There haven't really been mistakes in this show, it's all been rather intentional and purpose driven. I think this should be discussed.

I'm ignoring most of the mistakes. There are mistakes. And it makes it hard to weed out the "breathing and dead" from just plain dumb mistakes.

My biggest gripe is geography. Great to see real Washington this year! Not so great to see Fake South Dakota. I can't take my eyes off the Eucalyptus trees growing where they can't. Very distracting. But the worst was last episode. Palm tree in SD. This should be an easy CGI clean up, but they failed to do so. It is distracting, or maybe it is some grand message to the fans that this really isn't South Dakota. Ha ha.

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