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.
Those handwritten pages Hawk (Michael Horse) found hidden in the Sheriff’s Department indeed belong to one of Laura Palmer’s diaries (called it), and they contain the key to the mysterious fate of Dale Cooper (Kyle MacLachlan) 25 years prior: “The good Dale is in the Lodge, and he can’t leave,” as Annie Blackburn (Heather Graham) dictated to Laura in a dream set in Twin Peaks: Fire Walk With Me (1992). Good to know that made it to the diary.
Sheriff Frank Truman (Robert Forster) appears to be as much game for esoteric conundrums as his brother Harry. He calls him, but Harry’s too ill to be of much use. Frank then Skypes with Doc Hayward (the late Warren Frost) and talks to him about the fateful night in which “Cooper” emerged from the Black Lodge. From this we learn that Cooper immediately left town afterwards, and that Audrey Horne (Sherilyn Fenn) fell into a coma following the bank vault explosion. No word on Pete or Andrew though.
On that note, Ben Horne (Richard Beymer) has received Cooper’s old hotel room key (which he identifies as such) but keeps busy chasing down a strange humming coming from within the Great Northern’s walls (the spirit of Josie Packard, perhaps?) with his assistant Beverly (Ashley Judd). Beverly is later confronted at home by her very jealous, very ill husband Tom – another addition in a growing roster of characters and subplots. We also see Jerry (David Patrick Kelly) drugged out of his mind in the woods.
Meanwhile, FBI’s Gordon (David Lynch) and Albert (Miguel Ferrer) succeed in enlisting the aid of the resentful Diane (Laura Dern) and together with Tammy (Chrysta Bell) fly over to the Sioux City federal prison where the Cooper doppelgänger is being held. This leads to a series of immensely satisfying scenes in which Diane tells off newcomer Tammy and then immediately, heartbreakingly recognizes that “Cooper” is not himself. Alas, he goes on to blackmail the warden into being released along with his associate Ray (George Griffith) later that night.
There’s also some leeway in the Buckhorn murder mystery when Pentagon’s Lt. Knox (Adele René) identifies the headless body as that of Major Garland Briggs, even though 1) the Major supposedly died 25 years ago and 2) the body hasn’t aged a day since then. On top of that we catch another glimpse of what appears to be that mysterious person last seen frozen by Bill Hasting’s cell. More on that.
Finally, we catch up to Cooper/Dougie’s workplace comedy of errors, who’s being questioned by the police on his car’s disappearence/explosion (one of the officers is played by David Koechner, of all people). Thankfully the fiercefully defensive Janey-E (Naomi Watts) is there to handle the Q&A for him. On the way out Dougie is attacked by the diminute assassin Ike ‘The Spike’ (Christophe Zajac-Denek) but manages to fend him off with the helpful guidance of that creepy tree from the Black Lodge.
Leftover scenes include Andy (Harry Goaz) actually doing some work by investigating the hit-and-run, the nasty Jean-Michel Renault (Walter Olkewicz, who played the late Jacques Renault in the show’s first season) handles some phone calls at the Roadhouse and Shelly and Norma (Mädchen Amick and Peggy Lipton) take over the credits at the Double R.
It was foregone that the doppelgänger wouldn’t stay long behind bars, and as he walks out with his previously nabbed associate it would seem that he got himself imprisoned according to plan. But then the good guys made some progress as well by wisening to Cooper’s split existence, what with Diane conclusively failing to recognize her former boss and the Twin Peaks Sheriff’s Department getting hold of Laura’s “message in a bottle”. There’s also the hotel room key, which might help out track Cooper’s whereabouts all the way to Las Vegas.
And for what it’s worth, Cooper continues to regain his old self, though how far he’s into the process is impossible to say. Maybe it’ll take the whole show, maybe he’ll get better by the next episode. There’s a two-week hiatus after that, and if scheduling is anything to go by, we’re in for another cliffhanger ending.
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).