A lot of banner moments in episode 6 of Twin Peaks.
The line I put in the title. The gesture and behavior that went along with that line. WHAT??? My favorite moment in the episode.
Harry Dean Stanton, reprising his role from Fire Walk With Me, showing an almost transcendent sense of peace and relaxation, reminding me of why he is so beloved. Not that I need reminders. He has always been with us. I dread his passing. It is always good to see him.
The big dramatic seat-swivel-reveal of Laura Dern. GOOSE-BUMPS.
“FUCK GENE KELLY, YOU MOTHERFUCKER!”
The wandering Agent Cooper continues to make me laugh out loud as Lynch continues to explore what it must look like to outsiders, to those who have no idea what is going on. The “hand shake” with his boss? I was on the floor.
I can’t wait to find out what was in the letter Hawk found in the bathroom stall.
And finally: the scene with the hit-and-run was so beautiful and horrible that I was in tears. It occurred to me: There were multiple shots of the witnesses. People standing on the outskirts, watching the mother’s grief scream into the sky, and these people were crying too. Holding one another. Lynch lingered on all of this. He spent a lot of time there. There was a visceral sense of realism in the scene: the dead boy, the heart-rending screams of the mother … and yet there was a poetic aspect to it, an elongation of time aspect, that made me think, and realize yet again that Lynch is a great and intuitive humanist. This is a man who gives a shit. Who FEELS. In a dark and confusing world, such capacity for feeling – not just for yourself, but feeling the pain of others – is all the hope we have.
Update: My friend Keith’s recap of the episode is up at MUBI.
I still haven’t quite gotten over being able to turn on (or queue up) a brand-new episode of Twin Peaks every week. I think there’s a surreal quality in that those of us who watched the original series as it aired were all considerably younger and in different places in our lives from where we are now…yet here we are, back in the same universe with most of the same characters. That familiar-yet-strange feeling is completely appropriate, I think, given how almost all Lynch products embrace the surreal.
I found Albert’s outburst in the rain somewhat out of character, had to roll it back to make sure it was him saying it and not some unseen walker-by. Albert always seemed more the cool, collected, cynical type. On the other hand, he’d already had a pretty miserable day and night, and everybody has their limits.
Harry Dean Stanton just seems like an old friend to anyone who’s watched their share of Lynch’s work. Like a lot of the cast who came back, in whatever capacity, I’m somewhat amazed we have so many of them still with us, at least at the time when filming was going on. This really does feel like the right time to have revisited TP, and I’m so glad everything was able to come together to make it possible. Another 5-10 years along would have been…difficult.
On the subreddit for the series, there’s been a few inquiries about whether to use the new series as a way to introduce someone to TP. To me, it seems impossible – there was never much of an attempt in the revival to try and ease new people into this world, which is fine. Without an understanding of what has been revealed at different points about how the Lodge(s) work, for example, the whole thing would seem even more impenetrable than it already is even to fans who’s watched every TP episode and the movie. I think I’d definitely start anyone new with Season 1, which eases into the “owls-are-not-as-they-seem” material, see if they like it, then go from there.
// That familiar-yet-strange feeling is completely appropriate, I think, given how almost all Lynch products embrace the surreal. //
I so agree with your description of the sensations that come up watching this series now, having watched the original during its first airing. It’s also amazing – as you say – to see just how many of the old cast members have returned. I am SO INTRIGUED by the one glimpse we’ve had so far of Grace Zabriskie, watching that nature program of lions eating a buffalo. Like … wowwww. Plus the Log Lady, and Janine (briefly) … all the others. It’s good to see them all again. It’s a strange thing: Time. Time was so much a part of Twin Peaks – especially ending with Laura Palmer’s cryptic “see you in 25 years” comment … and I love how this new series is acknowledging that aspect of our experience, the feeling of time passing but also time standing still.
Albert definitely feels different to me here – more grimly cranky than that superior snarky over-it guy from the original. It makes me sad to look at Miguel Ferrer – to me, it’s clear he’s not entirely well. Maybe – as with a lot of snarky people – that “attitude” has turned sour, bitter.
Agree that this really must be watched from the beginning. And as meandering as Season 2 becomes – the finale (and the lead-up episodes) are also essential. Plus Fire Walk With Me … a film that may just go over familiar ground but it does so in such a terrifying way and it’s worth it just to see Sheryl Lee’s performance, which is magnificent.
“DIANE!!!! Diane, Diane, Diane!!!” -actual transcript of my reaction to that scene. I may or may not have been bouncing up and down on my bed and pointing at the screen as I yelled it at no one.
My other big takeaway from this episode was the fact that I DIDN’T cry during the hit and run scene. This struck me as a little bit odd on first watch, especially considering that I SOBBED through the original pilot the first time I watched it, over a character we didn’t even meet, except as a corpse, and we didn’t even know right away what happened to her. I think partly the sheer horror of the hit and run kept me from reacting – I was right there with the paralyzed bystanders.
But I think there’s another reason – it is one of my absolute worst fears that something like that would happen to a child I care about on my watch. Related personal digression: when my youngest niece was not quite 2, I was watching her one afternoon at my parents’ house, which sits at the bottom of a hill next to a very busy road. I was playing with her outside at one point, when she suddenly got one of those toddler whims and took off towards the road. I don’t know exactly how long it was between when she started running and when I caught her – probably less than 10 seconds, and she didn’t even get halfway up the hill – but those seconds were filled with the most pure terror I have ever felt. What happened in this episode of Twin Peaks happened with perfect clarity in my head during those 10 seconds to my niece. I had to take her inside afterwards, because my muscles were so weak after the adrenaline wore off that I knew I wouldn’t be able to chase her again. And if anything HAD happened to her, I don’t think I could have survived it. (I actually didn’t read Pet Sematary until after that incident, although I’d seen the movie in middle school, but I know Stephen King had a similar near-miss with his son that was the inspiration for the story.) But I think that’s part of it, too. How many near-misses do we have with kids? The almost running into the street, or falling into a pool, or disappearing from the playground during the two seconds that you’re looking for something in your purse? There are so many things that could happen that we’re powerless to prevent, or that we might inadvertantly even nudge these little ones we love so much into, like the mother did in this episode. I think my mind just automatically recoiled from that idea as I watched, out of necessity. I can’t let that in too deeply without the horror of knowing that something like that COULD happen to a child I love – not out of negligence or malice, at least on my part, but just dumb wrong-place-wrong-time bad luck – sink in with it. And that would paralyze me. How can you be too aware of those possibilities and still let kids GROW?
Other reactions: Harry Dean Stanton. Holy shit. When he smiled at the mother and little boy, his whole face just transformed. And then wordlessly being present in the mother’s pain. Because there is no comforting a mother in that situation. Carl offered the only thing that CAN be offered in a moment like that. Such warmth in that performance.
I wanted to rip the pages from the stall door out of Hawk’s hands to read them myself. That there was no reveal of the pages’ contents in the episode was so frustrating and so tantalizing.
WHAT DID DOUGIE’S BOSS FIGURE OUT FROM COOPER’S DOODLES??
I feel really uncomfortable with the fact that a brutal murder scene made me laugh so hard.
“Jade give two rides.” His SMILE.
I am really digging Janey-E at this point. What has she been putting up with from Dougie for all these years? What is there between them that prompted her to kiss his forehead right after she chewed him out for both cheating on him with a hooker and owing tens of thousands to a bookie? Her speech to the thugs was glorious. (And, speaking of the thugs, hello there, Dickie Bennett!)
Oh! I almost forgot. I love that Shelly, whatever trials she has faced and whatever ways life has tried to beat her down, still has this essential sweetness about her. There was something so touching about her interaction with Miriam, and her suggestion that they should treat Miriam to a piece of pie the next time she comes in.
And speaking of Miriam, I’m honestly pretty worried about her safety right now.
// And speaking of Miriam, I’m honestly pretty worried about her safety right now. //
Me too.
I loved her. She has a wonderful attitude towards life and simple pleasures. Similar to Agent Cooper in a way. She loves pie! She has two pieces and she’s so happy about it.
I know – DIANE!!!!! Me too, same response.
and how perfect that Diane would be played by one of Lynch’s most important muses. Since she’s a “muse” to Cooper, who is definitely a Lynch doppelganger as it is. It’s gorgeous. and she had an entrance worthy of her!
// but those seconds were filled with the most pure terror I have ever felt. //
Oh God, that is terrible and terrifying.
// but just dumb wrong-place-wrong-time bad luck – sink in with it. //
ALSO a reminder to NEVER pull around a stopped car – on the left or the right. My little sister was hit by a car (she’s fine – the car wasn’t going fast) because the asshole driving didn’t consider the fact that the car stopped in the street was stopped for a reason – because a CHILD was crossing.
// Such warmth in that performance. //
I also loved the peaceful zone he went to staring up at the trees. He wasn’t DOING anything – as an actor, or a character, just being there in the moment. I love that this series is taking the time for such contemplative moments – that aren’t anything more than what they are.
// WHAT DID DOUGIE’S BOSS FIGURE OUT FROM COOPER’S DOODLES?? //
I KNOW. I love Keith’s observation in the recap that there’s something thrilling about a character figuring something out – and yet WE can’t figure it out. Normally we the audience are in on it before the characters are – it was so exciting to realize that the boss saw something.
Stairs? Ladders? What??
I loved that whole section.
// I feel really uncomfortable with the fact that a brutal murder scene made me laugh so hard. //
HAHAHAHA I know!!! and then how the other secretary flees around the corner, pursued by the killer – and then his sad face at his broken murder weapon. SICK.
I absolutely loved when Janey-E (what is with the name? I also love that their son is “Sonny Jim” – why??) told the thugs how it was gonna be. It was so impressive!
//their son is “Sonny Jim” – why??// right?! Such a goober name and yet he is this calm old soul who is the only one that has patience with Dougie.
What about the psychotic little person assassin striding through that office hallway with the ice pick? That moment freaked me out. All that focus and violence, and that poor woman who stopped at the door. I yelled at the tv “you better run, lady” (I have truly become my mother).
It’s all so jarring, which is what I love about Lynch. Those long lazy stretches combined with these sporadic horrific scenes.
And yes, Hawk’s letter! Who would have left it? I keep thinking Leland. Argh.
// I yelled at the tv “you better run, lady” //
hahahahahaha
God, it was AWFUL – and come to think of it, there were two “witnesses” to violence in the episode – that poor unfortunate woman and Miriam.
It’s funny – Lynch has a semi-reputation as having this horrible imagination but there really isn’t that much “gore” in what he does. The emotional violence is way worse in many respects – but when he DOES go “gory”? It has a visceral reality – like the way he TURNED that ice-pick thing in her chest – making circles to make SURE as much was damaged in there as possible – just horrifying!
Keith’s continued exploration of Andy’s observation that he couldn’t find “any Indians” – and how that has played out metaphorically in terms of Hawk’s heritage – is really beautiful I think. There’s a lot of levels where that is working.
Hey – and what about the flipping dime ending up in Horne’s mouth?
Again, I was like WHAT??
I just went to a QA night with legendary Lee Grant – and she said that director Hal Ashby would say to her before every take, “Surprise me.” Such a beautiful thing for a director to say, such freedom for the actor.
anyway, when I saw that dime flip moment and had my WHAT?? response I thought of Ashby’s comment – and how as much as I enjoy so much in movies/TV etc I so rarely feel a true sense of surprise – and with Lynch I have trust, like: “Surprise me.”
I have no idea if all of this will “come together” in the end – probably not – there were lots of things in the original series that wasn’t explained – wouldn’t you all agree?
and that’s the beauty of it. He’s dealing with the stuff of nightmares and dreams – which operate in symbols that have tremendous meaning and yet sometimes you can’t put it into words – you just KNOW that these things have meaning, that they matter, that they may be trying to tell you something.
//Keith’s continued exploration of Andy’s observation that he couldn’t find “any Indians” – and how that has played out metaphorically in terms of Hawk’s heritage – is really beautiful I think. There’s a lot of levels where that is working.//
Yes. All of this. And I think there’s a lot to be read into the fact that where he finally finds traces of his heritage, it is in money and branding.
//I have no idea if all of this will “come together” in the end – probably not – there were lots of things in the original series that wasn’t explained – wouldn’t you all agree?//
This gives me a lot of anxiety, to be honest. I don’t need everything tied up with a neat little bow, obviously – if I did, I wouldn’t be watching this – but there are certain areas where I want more, and don’t know how we can possibly have time to get to it all. (And for heaven’s sake, we are six hours in. WHERE’S AUDREY???)
The dime! So much surprise in that moment. My husband and I were watching that whole scene intensely with cocked heads and silence (I was eyeballing the silent but happy thug in the back with the automatic weapon waiting for action), and when the guy pulls the dime out of his mouth, my son who has been side-eyeing the show while looking at his phone, suddenly bursts out, “WHAT DOES THAT MEAN?” (He hasn’t stopped talking about that moment even today.)
I love that everyone who watches any of the Twin Peaks shows has those memorable WTF scenes but it’s different for each person.
//(I was eyeballing the silent but happy thug in the back with the automatic weapon waiting for action), //
Paula, me too! I couldn’t take my eyes off him. I love the importance of characters who should not be important, who are just witnesses, like this happy dude, or the three impassive girls in the casino, or another character in this week’s episode, who just lets out a silly laugh at the end of the scene. Nobody is unimportant.
//And yes, Hawk’s letter! Who would have left it? I keep thinking Leland.//
Ooohh!!! This is an intriguing thought!
So this is kind of random, but I keep thinking about how cherry pie factors into all of this. And coffee, for that matter. I don’t have any definitive conclusions about it, just musings, but I feel like it’s significant somehow, and I’d love to hear other thoughts about it.
Personally, I can drink black coffee if I have no other options, but I prefer it with cream and sugar. And I like some “tart” desserts, but of all the pies, cherry pie is just way too sour for me. I’ll eat it, if it’s the dessert I’m being served, but it’s never my first choice.
Is there something to be read into the sourness of cherry pie and the bitterness of black coffee here? In relation to, say, Norma, who makes serves most of the black coffee and cherry pie in Twin Peaks, and who is one of the most steadily kind and maternal characters on the show, even though she has really never gotten a good break in her entire life. Or Cooper himself, whose life certainly has not turned out how he had planned. And part of that is soapy drama, of course, but I feel like there’s a metaphor there.