Least Favorite Storyline in Twin Peaks

[ProjectBlueBook]

Evelyn/James, Little Nicky and second season Nadine are the worst plots for me. Yes, I found some of Nadine scenes funny for example, but that thing doesn't has nothing to do with the overall series plot. For me, in the end, Evelyn/James subplot was the absolute worst. A senseless, boring, forced and ultimately disposable plot. Why the need to follow James in his trip? Why show him banging a random milf? What does that shit has to do with Cooper, Window Earle, even Twin Peaks at all?

Damn, this is completely terrible.

[mtwentz]

FWIW, I believe the premise for the Nadine storyline was basically lifted from the Bill Bixby version of the Incredible Hulk. If I recall, in the pilot for that show there is a woman who lifted a car to save her son because of a sudden surge of adrenaline.

[Dalai Cooper]

That's a widely-known and -discussed phenomenon to be fair

[Dalai Cooper]

https://en.m.wikipedia.org/wiki/Hysterical_strength

The most common anecdotal examples are of parents lifting vehicles to rescue their children, and when people are in life and death situations. Hysterical strength can result in torn muscles due to higher mechanical stress.

[mtwentz]

In regards to Nadine drape runner, I think that storyline was essential to making Twin Peaks a hit show in Season 1.

Because Twin Peaks was not just about Laura Palmer or Cooper's reliance on intuition over logic- it was about the eccentricities and obsessions we run into in people in everyday life, be it a small town or big city.

[Panapaok]

Tough to choose but I'm going to go with James/Evelyn.

[LostInTheMovies]

I chose Evelyn/James even though I think some other plots - particularly Little Nicky - may be harder for me to actually watch and the Civil War stuff is objectively more empty as others have pointed out (there are like five or six scenes of him rambling as other characters essentially watch and point and say, "Look, he's re-enacting the Civil War!"; it's transparently the writers getting carried away with their Ken Burns obsession as that show was airing simultaneously with this writing).

But the thing with Evelyn/James is that it's long - it goes on for five full episodes, even spilling into a sixth for a coda. It's also divorced from anything else to do with the town - it's literally like James wandered onto another show. And James, who was never entirely compelling even in more gripping storylines, is both asked to carry this story AND sidelined (seriously, he actually *does* almost nothing in the plot). And the intrigue makes little sense: they set it up like they're going to coax James into killing Mr. Marsh but as far as I can determine, Malcolm wires the car himself. I recently rented the Preminger film that Peyton has cited as an influence (it's been sitting by my TV for weeks; I'm not getting much viewing done with the character study work) so maybe I'll figure out how this idea is supposed to work. But right now it seems like a really flimsy noir plot that wastes its opportunity.

Most damningly of all, however, the tone of this storyline is completely confused. Some of Malcolm's early scenes suggest a parodic element (he's been dubbed "Exposition Malcolm" for his bizarre monologues) but most of it is played straight. A bit like the Civil War plot, then, it shows the writers' self-indulgence at this point. They are just using Twin Peaks as an excuse to play around with different genres and subject without ANY concern for how it actually relates to the whole. If there was some exaggerated or off-kilter elements it could work as a Peaks-ian pastiche (Keaton seems to be trying to go for this in her episode but it's too late and feels too random), and if they'd managed to link it to James' Laura/Donna/Maddy history, as they try to do in one scene, maybe it could be compelling. (I think Cameron Cloutier asked what if she was Teresa's sister?) But as it is, it just feels pointless.

That said, I'm totally at the Stockholm Syndrome point of Twin Peaks fandom where I'm interested/engaged with every aspect of the narrative and am less about "I wish this wasn't here" than "It's here, what do I make of it, where does it place within the big picture?"

[WhiteLodge90]

I chose Evelyn/James even though I think some other plots - particularly Little Nicky - may be harder for me to actually watch and the Civil War stuff is objectively more empty as others have pointed out (there are like five or six scenes of him rambling as other characters essentially watch and point and say, "Look, he's re-enacting the Civil War!"; it's transparently the writers getting carried away with their Ken Burns obsession as that show was airing simultaneously with this writing).

But the thing with Evelyn/James is that it's long - it goes on for five full episodes, even spilling into a sixth for a coda. It's also divorced from anything else to do with the town - it's literally like James wandered onto another show. And James, who was never entirely compelling even in more gripping storylines, is both asked to carry this story AND sidelined (seriously, he actually *does* almost nothing in the plot). And the intrigue makes little sense: they set it up like they're going to coax James into killing Mr. Marsh but as far as I can determine, Malcolm wires the car himself. I recently rented the Preminger film that Peyton has cited as an influence (it's been sitting by my TV for weeks; I'm not getting much viewing done with the character study work) so maybe I'll figure out how this idea is supposed to work. But right now it seems like a really flimsy noir plot that wastes its opportunity.

Most damningly of all, however, the tone of this storyline is completely confused. Some of Malcolm's early scenes suggest a parodic element (he's been dubbed "Exposition Malcolm" for his bizarre monologues) but most of it is played straight. A bit like the Civil War plot, then, it shows the writers' self-indulgence at this point. They are just using Twin Peaks as an excuse to play around with different genres and subject without ANY concern for how it actually relates to the whole. If there was some exaggerated or off-kilter elements it could work as a Peaks-ian pastiche (Keaton seems to be trying to go for this in her episode but it's too late and feels too random), and if they'd managed to link it to James' Laura/Donna/Maddy history, as they try to do in one scene, maybe it could be compelling. (I think Cameron Cloutier asked what if she was Teresa's sister?) But as it is, it just feels pointless.

That said, I'm totally at the Stockholm Syndrome point of Twin Peaks fandom where I'm interested/engaged with every aspect of the narrative and am less about "I wish this wasn't here" than "It's here, what do I make of it, where does it place within the big picture?"

I agree the Marsh James storyline is my least favorite. It has nothing to do with the greater character or plot development of the show and I believe was only really conceived as a way to eventually write off Marshall from the show as he had a lot of movie offers and wanted to break away from Twin Peaks (A move he later regretted)

I'm also not a fan at all of the little Nicky storyline. Despite the fact that three of my favorite comedic characters from the show were involved.

I enjoyed the civil war storyline despite it dragging on a bit too long. I agree it didn't really serve much to the plot and they could've done Ben's transformation into wanting to be good a lot better with a different storlyine. I think it's Beymer's great commitment and comedic acting ability that really makes these scenes passible.

A stark contrast to in my humble opinion Flynn Boyles cheesy and at times downright bad acting in her story lines with James in season two and Ben in the last two episodes. I feel like Donna and James really dropped off as characters at the start of season two more so then anyone else. It definitely exposed LFB as a bit of an over actor at times.

[Agent Sam Stanley]

I'm rewatching latter S2 right now and surprisingly I don't find the James/Evelyn plot so bad. Parts of the dialogue are quite good (I especially like Donna and Evelyn's first encounter) and the soundtrack is great.

My least favorite plot has to be Ben's Civil War and teenage Nadine. I love the actors and the characters, but they got too goofy and too far away from their original core (is it ok to use 'core' in this context? English language is a constant learning process).

Also, Little Nicky is barely in the show. The plot is very uninteresting but the character appears for like 2 eps. Doesn't deserve all the bashing it gets.

[John Justice Wheeler]

I've been recently rewatching the series synced up with the actual calendar dates, which has been a genuinely unusual and rewarding experience, but its also helped to make all this fresh again, so I'll go through this a bit at a time.

I enjoy the Civil War stuff well enough for what it is and appreciate it especially as a bridge to Ben's recovery or rather transformation. It's not particularly inspired but it's enjoyable and kind of a relief/release from some of the more oppressive plots going on around it. Again, it helps that it doesn't overstay its welcome.

After you've seen this show dozens upon dozens of times it is interesting to note just how much minor variation and fluctuation there is in the experience of rewatching it. I grew up with the show so I've never actively hated any of the plotlines and actually developed a certain wry affection for them all over time. But that isn't to say that they always come across as equally passable each time. I really don't like the Milford widow or Little Nicky plotlines and have found them especially tedious this time through. I think it just has to do with how much of a deviation they seem to be from our main focus and core cast of characters. And again, it doesn't help that neither of those storylines is particularly inspired or well written. The Nadine stuff is a close runner up, seeming mostly like an unwelcome distraction to me this time, though I may just be less patient with it on this pass; I have enjoyed it well enough before. Still, that plot is a great example of the vast difference in quality that can often be observed between the Lynch episodes and those of other directors. When he handles it the Nadine story does seem genuinely inspired and comically resonant as well as containing a certain formidable pathos; when others handle it though it more often than not seem like tone deaf broad farce. But Lynch's comedic qualities may be among the hardest for others to directly translate with success (see On the Air).

I've never minded the James/Eveleyn plot nearly as much as many other fans seem to. I actually kind of like it because it's so obviously another reference to classic noir tropes and characters. Also, we can understand how and why this would have happened to James, how his recent and unique set of circumstances would lead him to be susceptible to this and that works in spite of Marshall's too often torpid delivery. Still, I can understand why many hate this plot because, again, it deviates away from the town of Twin Peaks and it's also overextended to an absurd degree. It's a thin pastiche on the surface too but so are many of the second season plots. Obviously I've also never minded the Audrey/JJW plot and really do quite like it but that I'm sure is because of my wholehearted appreciation for all things Zane; if it was somebody else in that role, like James Wilder for instance, I doubt I would have nearly as much patience with it or appreciation for it. And I don't mind the Packard/Eckhardt plot either as it's the last time that Catherine really has anything to do. Having said that I wonder if someone would be willing to clarify for me why Josie goes to work for her. I've never understood that but this time around it actively irritated me. Are we supposed to think that she thinks she's safer there than with Harry? It makes zero sense to me.

[Snailhead]

Audrey and Wheeler.
I wouldn't say it's objectively the worst, but I chose it because those scenes with Wheeler actively frustrate me the most. Stuff like Evelyn and Little Nicky is terrible, but interesting in the same way that you can't look away from a car crash, whereas the Wheeler stuff is just banal pablum.

As for one that's not on the list, definitely the Miss Twin Peaks storyline. Yuck.

I didn't like the highschool cheerleading and wrestling part of Nadine's storyline, but I enjoyed the early scenes of that arc, such as when she wakes up from her coma, and especially when she breaks the glass at the RR diner and stares in wonder at the blood on her hands. That was a great moment.

[WhiteLodge90]

I've been recently rewatching the series synced up with the actual calendar dates, which has been a genuinely unusual and rewarding experience, but its also helped to make all this fresh again, so I'll go through this a bit at a time.

I enjoy the Civil War stuff well enough for what it is and appreciate it especially as a bridge to Ben's recovery or rather transformation. It's not particularly inspired but it's enjoyable and kind of a relief/release from some of the more oppressive plots going on around it. Again, it helps that it doesn't overstay its welcome.

After you've seen this show dozens upon dozens of times it is interesting to note just how much minor variation and fluctuation there is in the experience of rewatching it. I grew up with the show so I've never actively hated any of the plotlines and actually developed a certain wry affection for them all over time. But that isn't to say that they always come across as equally passable each time. I really don't like the Milford widow or Little Nicky plotlines and have found them especially tedious this time through. I think it just has to do with how much of a deviation they seem to be from our main focus and core cast of characters. And again, it doesn't help that neither of those storylines is particularly inspired or well written. The Nadine stuff is a close runner up, seeming mostly like an unwelcome distraction to me this time, though I may just be less patient with it on this pass; I have enjoyed it well enough before. Still, that plot is a great example of the vast difference in quality that can often be observed between the Lynch episodes and those of other directors. When he handles it the Nadine story does seem genuinely inspired and comically resonant as well as containing a certain formidable pathos; when others handle it though it more often than not seem like tone deaf broad farce. But Lynch's comedic qualities may be among the hardest for others to directly translate with success (see On the Air).

I've never minded the James/Eveleyn plot nearly as much as many other fans seem to. I actually kind of like it because it's so obviously another reference to classic noir tropes and characters. Also, we can understand how and why this would have happened to James, how his recent and unique set of circumstances would lead him to be susceptible to this and that works in spite of Marshall's too often torpid delivery. Still, I can understand why many hate this plot because, again, it deviates away from the town of Twin Peaks and it's also overextended to an absurd degree. It's a thin pastiche on the surface too but so are many of the second season plots. Obviously I've also never minded the Audrey/JJW plot and really do quite like it but that I'm sure is because of my wholehearted appreciation for all things Zane; if it was somebody else in that role, like James Wilder for instance, I doubt I would have nearly as much patience with it or appreciation for it. And I don't mind the Packard/Eckhardt plot either as it's the last time that Catherine really has anything to do. Having said that I wonder if someone would be willing to clarify for me why Josie goes to work for her. I've never understood that but this time around it actively irritated me. Are we supposed to think that she thinks she's safer there than with Harry? It makes zero sense to me.

A solid analysis. I just recently finished watching the show for the third time. Both repeated viewings I watched it with someone who had never seen the show before. That's generally how I prefer to re watch shows especially dramatic shows so I can live vicariously through their surprised and organic reactions . I see your and SamStanley's arguments to the James storyline and if it wasn't for the drawn out nature of it maybe I'd view it along the lines of Little Nicky where I just waited for it to quickly be over.

Another thing I noticed was how some of the minor new characters in season two just disappear. For instance - Denise after assisting in helping Cooper leaves without a goodbye or close to Coops drug case. Then there's the utter and complete randomness of Eckhardt's assistant getting into bed with Truman then trying to kill him after I'm sure she knew Eckhardt was all ready dead. Then she gets knocked out and not mentioned or seen again. I guess I just have to take those for being the quintessential 90's case of dropping characters due to availability but it still bothered me.

As for your question on Josie. I believe she went with Catherine because she wanted to protect Harry as she did really love him deep down. I think she also truly believed if she put up with Catherine's crap maybe she'd just be able to live long enough where she can plot her way out of it again. Though really it was a very poor decision as she knew Catherine knew about her plot to not only kill her but also kill her brother so why she would surrender to Catherine's control and trust is definitely a bit puzzling.

[WhiteLodge90]

Audrey and Wheeler.
I wouldn't say it's objectively the worst, but I chose it because those scenes with Wheeler actively frustrate me the most. Stuff like Evelyn and Little Nicky is terrible, but interesting in the same way that you can't look away from a car crash, whereas the Wheeler stuff is just banal pablum.

As for one that's not on the list, definitely the Miss Twin Peaks storyline. Yuck.

I didn't like the highschool cheerleading and wrestling part of Nadine's storyline, but I enjoyed the early scenes of that arc, such as when she wakes up from her coma, and especially when she breaks the glass at the RR diner and stares in wonder at the blood on her hands. That was a great moment.

I liked the Miss Twin Peaks storyline especially for the epic payoff with the cool strobe light chaos. That was a very cool and creepy moment for me. But maybe I'm in the minority there. Who knows.

[Aerozhul]

I liked the Miss Twin Peaks storyline especially for the epic payoff with the cool strobe light chaos. That was a very cool and creepy moment for me. But maybe I'm in the minority there. Who knows.

We may be in the minority, but I liked that a lot, too. Really except for the stupid impressionistic Lana dance, I liked the whole Miss TP sequence. Any time you can get so much of the large cast together in one place, it's interesting. Earle dressed as the Log Lady was pretty funny, too.

I'm not sure why so many dislike this episode (again, aside from the Lana bit - couldn't we have seen Shelly's or Donna's talent part instead?!) and the Andy ending was pretty goofy considering Earle was making his way to the Grove with Annie (something with that would have been better).

[Aerozhul]

I picked the Little Nicky storyline mostly because of the terrible scene that ended it - Doc Hayward, Lucy, Dick and Andy in the conference room. Possibly the worst, most over the top and embarrassingly stupid scene of the entire series. Andy and Dick unconvincingly bawling their eyes out as if this was an episode of Hee Haw, not one of the greatest, creepiest and most innovative TV shows ever. The only thing I liked about this scene was the bloody fly Lucy whacks at the end of it. Otherwise...just wow.

Little Nicky himself wasn't that bad - I thought the scene with him in the car while Dick was trying to change the tire was pretty entertaining, actually. Him with Dick and Andy in the diner was also good stuff. Had they left it at that it wouldn't have been so bad.

The Marsh storyline wasn't as bad to me this time as it has been in the past, I really liked the atmosphere of the sets and some of the scenes between Donna and Evelyn. But DAMN this storyline dragged on far too long. And I found Evelyn herself to be really unattractive - especially when she's blowing the smoke rings. Good lord. They couldn't have found someone actually, you know, sexy to play these scenes?

The Josie-as-Catherine's-maid storyline is so embarassingly convoluted. That Catherine proposed it isn't far-fetched, but that Josie would ever go along with it is absurd. It reminds me of the show-within-a-show on Seinfeld - Jerry and George are writing that some guys owes Jerry a bet and offers to be his personal butler for a period of time. Lol. This mill storyline started off pretty promising in the first season and was tightly-written, but then just went off the rails in less capable hands. In fact, I always found the Andrew Packard reveal to be so worthless. What did long-dead Andrew add to this whole plot? For such a shocking revelation, the delivery of it was so underwhelming, and his presence actually made Catherine seem so much weaker. Much more interesting if she had orchestrated all of this on her own.

I liked Super Nadine, probably because this storyline made relatively good use of many characters that didn't have much to do otherwise.