With the flavor finale distinctly divided into two divide episodes, Part 17 of Twin Peaks: The Render is unquestionably the more climactic of the 2. Considering the unhurried step at which David Lynch and Marker Frost eased into Cooper's return in Role 16 (and, well, the entire series), the pacing of this episode is practically breakneck.
Outset with a joke well-nigh how Gordon Cole's penis is still functional (yeesh), we and so go a big clamper of exposition about the infamous Judy, who is an evil entity (and then, I've narrowed that down to either BOB or that ghostly thing that came out of the box in the get-go episode and killed those kids or it's that frog-roach thing or it's Sarah Palmer, who maybe ate the frog-roach matter as child?).
After that, everything kicks into high gear with a showdown at the Twin Peaks sheriff station. Evil Cooper arriving first is super tense and terrifying; the place is full of characters we care about and he's really good at killing people. Earlier he's dealt with, nevertheless, there'southward jerk cop Chad's comeuppance. It comes from a mile abroad, since we know what Freddie and his Hulk fist are capable of, simply it's withal satisfying to watch Chad go downwards, especially since he was about to kill Andy (I would've been massively upset with Lynch and Frost had they let that happen).
So Lucy shoots Evil Coop in the dorsum. This is pretty awesome, simply because it's Lucy, who hasn't gotten to do much this series except human action vacant. Nevertheless, in keeping with this series' themes, it'south obviously not what we were hoping for. I don't think I'm alone hither in assuming we were getting some manner of Good Coop and Evil Coop showdown. But instead he just gets shot past Lucy. Fine.
The real showdown comes when the bouncing BOB ball we met back in Part 8 emerges from Evil Coop's torso. (I'1000 appreciative of the few consistencies we received here; we saw what happened last time Mr. C got shot downwards and, right on cue, here come the Woodsmen to blood-massage him back to wellness.) Again, it'south very weird just how little Cooper actually has to practice hither, but and then, we knew this was Freddie's destiny. It's bluntly a little corny watching a guy punch the crap out of a ball with an epitome of BOB's head in information technology. One has to imagine that, if BOB's actor, Frank Silva, hadn't died, nosotros'd be seeing a very different version of this battle.
Regardless, I'm happy for Freddie and pleased to see BOB finally(?) obliterated. In that location's then the briefest of reunions between Cooper and Gordon. It's funny and odd what a canaille group is assembled for this climactic moment (with Cooper's face up bizarrely superimposed over everything). Did any of us think the whole casino crew would brand it this far ("One for the grandkids!" says Rodney Mitchum, charmingly normal in the face of all this Twin Peaks nonsense)? I certainly didn't expect good old James to exist there. But peradventure I should've seen it coming. After all, James has always been cool.
One other bit of closure is that Naido is, every bit some fans had speculated, the real Diane. Less expected is that her and Cooper are a serious item. Peradventure Lynch merely wanted to do a redux of the Laura Dern/Kyle MacLachlan romance from Blue Velvet.
Also unexpected was that a portion of this precious finale running time would be spent rewatching a scene from Fire Walk with Me (now in blackness and white!). This happens subsequently MIKE shows Cooper into Phillip Jeffries' room above the convenience store. To digress briefly, I love MIKE (Al Strobel). He's been in The Return surprisingly consistently and has been a comforting, familiar presence, shepherding us through this night, new Twin Peaks universe.
Anyway, Coop elects to go back in time and cease Laura from getting killed in the start place. It's tense and uncommonly well done (they didn't become in for many close-ups but Sheryl Lee looked truly like her younger cocky when speaking to Cooper). I found myself begging that Cooper wouldn't let go of Laura's hand, that he'd finally lead her abroad from her traumatic fate, and that she (and we) would finally find some closure.
But, of course, she disappears (possibly somehow her female parent'south doing), her bloodcurdling scream echoing into the nighttime, and then information technology's time to picket Julee Prowl perform a song from the past at the Roadhouse!
Part 17 was a securely engrossing thrill, setting us upwardly for the final episode, where all the loose threads would be tied up and all questions answered!
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Part xviii – "What is your name?"
Psych!
In a truly Lynchian subversion, the existent finale of The Return is an all but impenetrable dull crawl, the majority spent watching Cooper silently drive. Scanning Twitter immediately after information technology concluded, I clocked a lot of disappointment, which is absolutely warranted. What did we want from a new Twin Peaks series? Well, with the original series finale of cliffhangers stacked atop cliffhangers, I believe we all felt at least a footling closure was in order. Instead we got an ending implying the unabridged universe is non what we idea it was. "How's Annie?" is quaint in comparison.
I am pretty annoyed with Lynch and Frost. Sure, I anticipated beingness in the dark on some of this stuff for the rest of my days, but there were enough pieces plumbing equipment throughout this new series to imply that things would come up together to some caste, and, aye, they kind of did… BOB did get punched to smithereens terminal episode and Janey-E and Sonny Jim become a new clone daddy in this i. Only what about almost any of the other characters nosotros care nearly?
Similar Burn Walk with Me earlier it, The Return left us, throughout, wanting more of the townsfolk whose lives we'd one time followed. Why did we larn nearly Ben Horne's new secretary (Ashley Judd)'s home life? What's to go of Shelly and Bobby and their troubled girl Becky? Most importantly, where the hell is Audrey? The Return'south treatment of her character is practically abusive. She spends three episodes in a room yelling at her weird husband and is and then revealed to be trapped in a dream or a mental asylum or something. Just thinking well-nigh how little we know virtually Audrey'due south situation, except that information technology'due south plain a bad i, gets me depressed. (But, hey, at to the lowest degree nosotros know Jerry Horne is okay, if a little naked, right?)
Worst of all, this terminal episode leaves us not even knowing if any of these characters even be anymore. In a completely unexpected plow, Twin Peaks seems to have gone all Back to the Future on us. Dale went into the past and (possibly?) saved Laura Palmer's life but, in doing then, somehow undid her entire existence and she's now someone named Carrie Page who works at a diner in Odessa.
It'due south too unclear if Cooper is even Cooper anymore (he might be named Richard, at present?). He certainly believes he is and seems to have retained his ability to easily kick people's asses (past the way, he's not known for it, but Lynch shoots this kind of quick, badass activeness stuff amazingly well). Even so, though he seems to be virtuous like archetype Coop, he'southward behaving similarly to Evil Coop, a no-nonsense man of few words. This is something else The Return disappointingly withheld through to the very terminate: Cooper acting like Cooper. Nosotros actually just got a glimpse of it in Part 17 ("Is the coffee on?") and at present it's this new evolution.
I've been analyzing this final episode equally the capper to the series and, in that sense, with so picayune wrapped up and so much confusion piled on, it really is disappointing. Yet, every bit an episode of tv, as another hr of David Lynch weirdness, information technology was a cool, tense feel.
At first it seemed similar this was going to be very much similar the original serial finale, taking place well-nigh exclusively in the Black Club, but luckily Coop handily (pun intended) escaped. For a place that gave him 20-v years of trouble, this was a liberating sight. I was far less enthused nigh all the weird opening stuff with Diane, which I don't understand the significance of, nor why we needed an extended, weird sex scene between her and Coop (estimate it was some "just i concluding fling" thing before the whole universe upended?).
However, everything that followed (if yous were able to ignore the voice in your head screaming "Simply WHAT ABOUT AUDREY?!?") was awesome. The aforementioned scene of Coop beating up cowboy jerks was very cool and the scene where he speaks to Laura/Carrie in her business firm was fantastic. The dissimilarity of the casual conversation and the oddness of the situation (in that location's just a murdered guy at that place) puts it all in a very foreign space. I too love how Carrie'due south home is only a crappy, lived-in place with some recently-purchased toilet paper visible, not to mention the gun used in the murder has been carelessly left on the floor.
Finally, Sheryl Lee remains an utterly bright extra and her performance in this scene and the next sells all of information technology. She and Cooper driving generally silently through the dark is at once melancholy and gripping as we're fooled into thinking they may be being followed. Just cypher happens. They simply become some gas, bulldoze over the infamous bridge Ronette Pulaski once came stumbling beyond, and arrive at Laura's old house.
And then what? Carrie doesn't recognize the place. Sarah Palmer doesn't alive there. Coop tragically, confusedly asks, "What year is this?" At least nosotros end on a signature Sheryl Lee scream.
I enjoyed this episode and the one before it. They were absorbing and deplorable and bewildering. Only every bit an catastrophe to all of Twin Peaks? Forever?? Devastating. Marker Frost's Twin Peaks: The Final Dossier will be released in October, but even if it answers some questions, I think most fans, myself included, want our closure in televised form.
Mayhap I'm a sucker, taking 18 hours of Lynchian abuse and asking for more, but this feels like a setup for another season or possibly a flick and I'd welcome either. However, every bit of right now, there'south no known plans and who knows how realistic this would be anyway, as viewership plainly dropped off quite sharply over The Return'south run. Furthermore, the key players aren't getting any younger; we fifty-fifty already lost some of the people involved in this serial.
Peradventure I'll run across you over again. Let's hope much sooner than in twenty-five years.
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