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.
As the episode opens, creep Richard Horne (Eamon Farren) beats up the one witness to his hit-and-run, leaves her for dead, then orders corrupt deputy Chad (John Pirrucello) to intercept an incriminating letter headed to the Sheriff’s Department. He succeeds, albeit attracting suspicion from Lucy (Kimmy Robertson). Richard later drops on grandma Sylvia (Jan D’Arcy) and beats her up for several thousands of getaway cash. Cute kid.
I’m ready to believe Shelly’s daughter (Amanda Seyfried) would get herself an abusive, scumbag husband (Caleb Landry Jones) like mommy before her and wind up in Carl Rodd’s (Harry Dean Stanton) crummy trailer park. But where is Richard coming from? How could Audrey beget such a monster, if this is her son? Nothing in the episode points to Johnny (Eric Rondell), who watches helplessly as his mother is viciously attacked.
Richard’s heritage is just one more of the pressing questions surrounding the original show’s finale that the series simply refuses to acknowledge. I’m ready to believe that Pete Martell died with actor Jack Nance and that Leo Johnson might as well have died if Eric Da Re isn’t coming back. But what happened to Audrey (Sherilyn Fenn)? Did Norma (Peggy Lipton) divorce Hank (Chris Mulkey, another no-show)? Did she finally marry Big Ed (Everett McGill, still absent)? Are Shelly (Mädchen Amick) and Bobby (Dana Ashbrook) even together anymore? And so on.
We do get an update on one returning character: Nadine Hurley (Wendy Robie), still eagerly listening to the rambling webcast of Dr. Jacoby (Russ Tamblyn), is revealed to now own a fancy silent drape runner store. And look, there’s one of “Dr. Amp’s Gold Shit-Digging Shovels” on display!
Back to the plot: after the arrest of hitman Ike “The Spike” (Christophe Zajak-Denek) and an ultimatum from Mr. C (Kyle MacLachlan), Duncan Todd (Patrick Fischler) now enlists insurance fraudster Anthony Sinclair (Tom Sizemore) to dispose of the irksome Dougie Jones (MacLachlan) by having him tell the Mitchum brothers Dougie stole 30 million off them in an insurance scam (actually perpetrated by Sinclair).
The Mitchum brothers are Rodney (Robert Knepper) and Bradley (Jim Belushi), the owners of the Silver Mustang Casino, last seen banishing and replacing the manager after Dougie walked out with thirty jackpots and half a million dollars. The brothers’ mounting rage against Dougie, as well as their routine frustration with their airheaded harem of escorts, makes for some of the best humor in the show.
Is the Dougie Jones act getting old? Please. Janey-E (Naomi Watts) ogling her catatonic husband’s newfound fitness with desire and then rekindling the passion to the sexy tune of Johnny Jewel’s Slow Dreams is the Joneses at their most amusing. It’s still the same joke – the life of Dougie Jones continually improves in the ways of the American Dream quite simply by existing – but it’s a credit to Watts and MacLachlan that they can sell it in so many different ways.
Meanwhile in Buckhorn, Albert (Miguel Ferrer) and Constance (Jane Adams) hit it off at a cute dinner date, Tammy (Chrysta Bell) uncovers a picture of Cooper and another man in the mysterious glass box and Gordon (Lynch) catches wind of Diane (Laura Dern) secretly texting a third party. He also experiences a new vision of Laura Palmer (Sheryl Lee).
Finally, the Log Lady (Catherine E. Coulson) makes a new phone call to Hawk (Michael Horse) with another cryptic message, noting the Truman brothers (“true men”) as Hawk’s brothers and that “Laura is the one“. Cut to the Roadhouse, where Moby and Rebekah del Rio perform “No Stars“. Now wasn’t that a short episode? The shortest so far, at 53 minutes. The endings always catch you off guard though, don’t they?
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).