Thursday, August 31, 2017

Twin Peaks: The Return 3x15 Recap: "Part 15: There’s Some Some Fear in Letting Go" (Perfection) [Contributor: Erin Allen]


"Part 15: There’s Some Fear in Letting Go"
Original Airdate: August 20, 2017

Dare I say this is a perfect episode? I love everything about it from start to finish.

It begins with love and light as Nadine armed with her gold shovel, frees Ed from her kooky (and insanely strong) grasp. She tells Ed to “run to her,” and he does. He heads straight to the Double R while Otis Redding’s “I’ve Been Loving You Too Long” starts to play. How appropriate! He tells Norma that he’s free and she, she... excuses herself to talk to friggin’ Walter. OUCH. This is horrible! Ed stoically nurses his defeat with a cup of coffee.

Then the scene is intercut with Walter and Norma’s conversation and Big Ed and his big broken heart. Norma, thankfully, tells Walter to hit the road, to buy her out of the other franchises so she can go back to owning just the Double R and take care of her “wonderful” family. We cut back to Ed as Walter leaves and Otis’ crooning returns. Norma goes to Ed and he asks her to marry him, and they kiss! Shelly watches with tears in her eyes. (Maybe she’s getting ideas of a certain old flame? Fingers crossed.) The music swells and we cut to majestic views of the mountains and of the clouds in the sky. It’s like even nature is rejoicing because Ed and Norma are finally together and happy after all this time, and all's right with the world. For the moment, at least.

The love and light of that scene is in deep contrast to the villainy and darkness of what happens next. Mr. C arrives at the convenience store. I had to forgo my live-tweeting at this point, it was too enrapturing. I even tried not to blink — I didn’t want to miss anything. But, I did. Over an image of The Jumping Man, Sarah Palmer’s face appeared. I didn’t notice it, and found out about it afterward. What does it mean? Add that to the list of questions that arise throughout this episode. Mr. C doesn’t even know who Judy is! This whole scene at the convenience store is superb and very Lynchian. Unfortunately, David Bowie had passed before being able to return to his role as Phillip Jeffries, so now he’s a large, steaming, talking teapot? I’m not sure what that contraption was supposed to be, but it looked like the big bell-like electricity thingamabobs from wherever that place is that the Fireman was in on Part 8.

So many questions after this scene. Who is Judy? What were those numbers? Is this Bosomy Woman (who is played by a male actor) the key? I mean, she has the key to that door. Also, later Gersten is seen with a key hanging around her neck. I know we’re not supposed to talk about Judy, but how about we do? For real, WHO IS JUDY?

These are things to contemplate later because right after that mind warp that was the convenience store scene, Richard shows up, having followed Mr. C from The Farm. He tells him he recognizes him from a photo his mom, Audrey Horne, had of FBI agent, Cooper. They leave together, and the convenience store fades away in staticky flashes and smoke.

The next scene has someone else heavily tripping out in the woods besides Jerry. It’s Steven. Gersten is trying to calm him down, but he is so far gone, saying things like, “Will I be with the rhinoceros?” and “Or will I be, like, completely turquoise?” He has a gun and he talks about ending it. A man walking his dog (played by co-creator Mark Frost!) interrupts this madness. Gersten runs around the tree, the man hurries away, and a gunshot rings out through the forest — Steven’s fate unknown. The setting is really beautiful, and the camera stays on Gersten for a good long beat after the gunshot. Alicia Witt is pretty amazing here.

And then there’s a ZZ Top moment. No joke. The Roadhouse plays ZZ Top’s “Sharp Dressed Man” as the MC turns the volume way up on a handmade poster of a volume dial. This randomness is prelude to James being weird with Renee in front of her husband, Chuck. Not surprisingly, Renee’s hubby doesn’t like “cool” guys blatantly flirting with his wife. He tells James to kindly refrain by pummeling him with his fists. This is a bad idea since James’ buddy has a Hulk hand that can smash your face in. Freddie uses his superpower on Chuck and his friend, sending them both to the intensive care unit, and him and James to jail.

With the help of Cecil B. DeMille in Sunset Boulevard, Cooper/Dougie sticks a fork in a light socket! Can this be what zaps him back to the Cooper we know? I don’t want to get my hopes up, but it would make sense, yes? Whether this revives him to the old Cooper or not, this scene was really great. Kyle MacLachlan has done a fine job with this version of Cooper, making him just as lovable as before but in an entirely different way.

The scene with Audrey and Charlie is odd as in it begs the question of why they don’t just leave and go to The Roadhouse. This is the third time we’ve seen Audrey and Charlie talk about going out, but never do. Could it be because Audrey’s actually still in a coma and this is all in her head, or is she stuck in some Black Lodge-like dimension? She questions her reality often, too. On Part 13 she wonders who she is and where she is. On this episode, she says she is seeing Charlie differently. “It’s impossible. You, Charlie. It’s you. I never saw you before the way I’m seeing you now, like I’m meeting a different person. Who are you, Charlie?” Great, like I don’t have my hands full with who Judy is, I gotta wonder who Charlie is, too?

And you know what? I love it. I love it so much.

This episode really is perfect, right down to the epic feels it delivers as we say goodbye to a beloved character. The Log Lady calls Hawk and tells him that she’s dying. It is moving and beautiful. Lynch gives this scene the weight and importance it deserves. Catherine Coulson breathed life into this cherished character that had a place in all our hearts, and Lynch let us properly say goodbye to her. The music that plays after Hawk delivers the news to Frank, Bobby, Andy, and Lucy is the same as when the Fireman produced the gold orb with Laura’s face in it on Part 8. This connects them as both being good and pure spirits, in my mind, and was the perfect choice of musical accompaniment.

The credits roll after an incredible scene of a young woman who is bullied out of the booth at The Roadhouse, who then crawls into the dancing crowd and screams while The Veils play on stage. This woman is credited as Ruby. Kind of close to Judy, huh? Also, I would watch an entire feature length film about this girl. She caught my interest immediately, and then in a short amount of time, displayed so much puzzling complexity and emotion.

The mystery doesn’t end there. At the end of the credits, the Bosomy Woman appears. Could she be Judy? Only three more installments left to find out.

Or not.

Stray Observations:
  • The exterior of the room where Mr. C meets Teapot Jeffries looks a lot like the motel where Leland met with Teresa Banks in Fire Walk With Me.
  • I love this FBI guy who is so filled with rage. 
  • Chantal and Hutch could have their own show. Their commentary on government and politics is timely yet humorous. 
  • Trying to figure out who Judy is such a mind-bender. She can really be almost any character on the show. Some of my top speculations are Naido, Diane, Sarah, Laura, and even Audrey. I’ve also heard great arguments for Major Briggs and Josie Packard. 
  • “In memory of Margaret Lanterman.” And there go the waterworks again.


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