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Twin Peaks: The Return (Episode 7)

As far as writing goes, this was very much Mark Frost’s episode, but Lynch provided what was probably the scene of the show, so far. That slow, out-of-focus… who knows what it is… in the morgue, walking toward Lieutenant Knox?

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That is some creepy, disturbing stuff.

I have no clue who or what it is, but echoes of the monster behind the diner in Mulholland Drive comes to mind.

Mark Frost clearly helmed the writing, and we got an episode relatively close to something from the original first season. Maybe part of it is the focus on Twin Peaks and its old characters. That served as a nice little gear change from the previous two slow-moving episodes.

That is not a slight. How everything seamlessly is stitched together certainly is something season two was unable to do.

Lynch seemed to have the time of his life both directing and acting in the episode. Be it small details like him turning up his hearing aid or calling Diane a «tough cookie», his Cole is quickly turning into the star of the season.

The stars of the episode, though, were all the women. Laura Dern delivered exactly what we had expected—awesomeness—and her Diane conveys a tough, damaged woman. What had happened between her and (one of the) Cooper(s—who knows which one) is anyone’s guess, but Dern sure as hell made it seem like something significantly awful.

Plus, «Fuck you, Tammy!» Perfectly timed delivery, to a lady who is back to functioning as something more than a trope.

Naomi Watts’s Janey-E is, for all intents and purposes, Dougie’s mouth as this point, and she delivered monologs to the police with flashes of brilliance, particularly about the hated «stolen» car.

Yeah, a lot was packed into this episode… Truman on Skype with Doc Hayward was a scene for the ages, if only for the monitor appearing from the desk. Andy? He made a mistake, but there was something more to what was going on… Why was it OK waiting two hours to see the owner of the truck which was involved in the hit and run? He showed more of a weary assertiveness than what we’re used to seeing from him, and there must be more going on than Andy being Andy, making mistakes.

Walter Olkewicz portraying his previous Renault’s twin cousin goes to prove they’re the sleaziest French-Canadian family in North America, and the long, long scene with only him and the cleaner, set to « Green Onions» was frustratingly both-love-and-hate-it awesome.

Finally, Richard Beymer’s Ben Horne is mixing up the over-the-top silliness of his original portrayal with a more intense Ray Wise quality. He’s quickly becoming my favorite returning second billed character.

So, so much happening in this episode. Dougie’s taking down Ike while receiving advice to (and I paraphrase) «rip off his hand» was… Odd. It also serves as a reminder that not one being from the Black Lodge is good.

Great episode, funny episode, creepy episode, and I have no idea where this will go next. I’m OK just being along for the ride.

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