by Benjamín Harguindey
A weekly review of Twin Peaks, the 2017 revival of the 1990 cult classic. Created, produced and written by Mark Frost and David Lynch. Directed by David Lynch. Spoilers.
Episode six of Twin Peaks continues to follow “Dougie Jones” (Kyle MacLachlan) as he appears to slowly shake off the catatonia and regain consciousness as Agent Dale Cooper. It’s a slow, slow process, but we finally see him attain some level of agency: spurred by visions of the One-Armed Man (Al Strobel) – who’s become sort of his own Jiminy Cricket – and guided by some mysterious lights, he doodles all over his work papers and presents them to his boss, who decrypts them with elation.
All of this is obviously building up to some sort of workplace intrigue involving the shady Tony Sinclair (Tom Sizemore), but how – and if – this relates back to Dougie’s existential plight is unknown. Meanwhile, Mrs. Jones (Naomi Watts) finds out about her husband’s affair and pays off his gambling debts, though by the end credits Dougie has another assassin on his tail: a vicious dwarf wielding an ice pick. Another day in the life, right?
And yet the most fascinating moment in the episode is a simple reveal, predicted by yours truly, too: we finally meet Diane, Cooper’s fabled confidant, who’s played by Laura Dern. Albert (Miguel Ferrer) calls her out at the bar she frequents, she turns to face him and that’s it. To any new viewers, if the series has any, this looks like it’s showcasing another A-lister in a major role; to the fans this is both confirmation that “Diane” exists – she isn’t just a figment of Cooper’s imagination, or even the dictaphone into which he would relay his stream of consciousness – and that we’re in for a long overdue Blue Velvet (1986) reunion.
Back in Twin Peaks, Red (Balthazar Getty) and Richard Horne (Eamon Farren) – the two mystery Bang Bang Bar patrons from episodes two and five, respectively – meet up and negotiate a drug deal over the Canadian border, just like the good old Renault days. Red distresses the young up-and-comer with some sleight of hand and violent threats, and while speeding away Richard accidentally kills a young boy. The hit-and-run is witnessed by none other than Carl Rodd (Harry Dean Stanton), who also sees a yellow flame leave the boy’s body and float into the skies.
These visions of light seem to be on par with Cooper’s, and appear to confirm an age-old theory about Carl Rodd (a character imported from the movie Twin Peaks: Fire Walk With Me) having once been a guest at the Black Lodge. Interestingly, it is through a friend of Carl’s that we hear the name “Linda” mentioned for the first time since Cooper was warned about “Richard and Linda” by The Giant (Carel Struycken).
In another Sheriff’s Department update, Sheriff Truman (Robert Forster) continues to suffer his wife’s hysteria and Deputy Hawk (Michael Horse) finally stumbles on some semblance of progress, regarding his ‘heritage’: at the police station he bends over to pick up a nickel (a Native American profile on the side) and from there a loose panel on the bathroom stall (which bears another Native American profile) catches his attention. He cracks it open and retrieves some handwritten notes from within.
Prediction? They’re more pages torn out from Laura Palmer’s (Sheryl Lee) many diaries. Hopefully the one’s where she would have written, at Annie’s behest: “The good Dale is in the Lodge, and he can’t leave“. It would explain why the department never acted on this info, however cryptic, and set up a more determined investigation, perhaps further sparked by the eventual retrieval of Cooper’s hotel room key.
With the release of the sixth episode we’re one third of the way through 2017’s Twin Peaks, and even with twelve more episodes to go it’s a wonder how all of its elements will coalesce together. Even if you can’t juggle all of the characters at once, the show does it for you, segueing seamlessly from one to the other as it weaves its web so big so fast you can’t help but watch with bated breath.
Benjamín Harguindey / Managing Editor, Writer (Mar del Plata, Argentina – 1989) Screenwriter graduated from Universidad del Cine, Buenos Aires. Benja’s worked for EscribiendoCine as a film critic since 2010, covering the Biarritz, San Sebastián and Venice festivals. He judged the CILECT Prize and won several writing & criticism contests. He’s published one novel, Noches de Tartaria (2006).