[4.8/10] I’ll admit, despite my tepid review, there were parts of this one I enjoyed, particularly the opening act of the episode. While I found it kind of trying at first, David Lynch himself as Cooper’s hard-of-hearing boss, offering well-intentioned encouragement turns out to be a pretty funny bit in small doses. And Cooper facing down the investigation from internal affairs seems to have some legs. In a particularly amusing moment, Cooper offers one of this metaphysical-minded aphorisms about the town and his life, and the investigator offers a laugh-worthy “what the hell was that?” in response. We’re often wondering the same thing, fella.
The investigation ends up proving to be the strongest part of the episode. That dovetails, surprisingly, with the debut of Denise (David Duchovny!) as a DEA agent assigned to the investigation. Look, it’s 1991, so the attempts at tolerance are more than a little patronizing, and the show can’t resist having Harry having a laugh at her expense, but there’s a surprising amount of empathy for Denise as a trans woman for a show that aired twenty-five years ago. The best exemplar of this is Cooper, who is initially thrown upon seeing the woman he previously knew as Dennis, but then immediately adjusts and treats Denise with the same respect and kindness he treats everyone else. It gives the “this looks like a frame job to me, but you have to prove it” direction the episode goes something more than just another major plot to occupy the show post-Laura Palmer.
The other side of the coin is that the show seems to be introducing a lot of new crap to try to fill that vacuum, and most of it is godawful. The peak of this is the reveal that Catherine’s brother Andrew (a.k.a. Josie’s husband) is still alive and this is all a part of some plot the Martells have been cooking up. Let’s nevermind the fact that this would necessarily be so baroque a plan as to lose all credibility, but even so, it’s such a soap opera move (yeah yeah, I know Twin Peaks is riffing on soap operas) that I legitimately laughed out loud when he emerged from the other room.
The show bringing Josie back into the fold wasn’t my favorite thing in the first place, just because the actress isn’t terribly good and her romance with Harry is one of the least interesting things about a pretty strait-laced character. But this is a silly direction to take her, giving her a painfully cliché backstory and making her Catherine’s maid. (Though I neglected to mention in prior write-ups that as borderline offensive as it was at times, and as goofy as it is, I kind of liked the reveal that the Japanese investor was Catherine. It’s the kind of bonkers surprise that delights in its ridiculousness rather than makes you laugh at its stupidity. It’s a fine line, I’ll admit.
The runner-up award for worst new storyline goes to, who else, James Hurley, who conveniently finds some femme fatale with a derelict husband who wants James to fix her car and stay at her house while the hubby is away. (Presumably with sexy results.) Both James and his new likely paramour are bad actors (though it’s hard to tell given how painfully bad their dialogue is) to where the most one can hope for is that they’re quarantined to this bad part of the show so that it doesn’t infect everything else.
We also continue apace with Nadine’s adventures in high school, something that is, I am ashamed to admit, is kind of winning me over in its “so bad it’s good” qualities. To be frank, this feels like something from a different show, maybe a direct-to-video live action Disney Channel movie. But it’s unbelievably silly and totally unclear as to where it’s going that I can’t help but laugh at how insane the whole thing is.
I’m much less enamored with what’s supposed to be the comic relief here, namely the interactions between Deputy Andy, Dick Trelane, and the moppet who’s Dick’s “helping hands” buddy. The hijinx that they get into at the Double R Diner are sub-Little Rascals quality, and while there’s something kind of endearing about Andy trying to “kill ‘em with kindness” the charm wears off quickly.
We also get some of what appears to be foreshadowing for Cooper. Some of it comes from Hawk, who offers a hokey and again, borderline offensive dose of indigenous people’s wisdom about the “Black Lodge” and “White Lodge.” And we also get a cheesy Hannibal Lecter routine on audio tape from Cooper’s former partner who’s playing a literal chess match via the mail and underlining that fact with ponderous, overdone metaphors about how the game mirrors their real life tete-a-tete.
There’s a bit more legitimate entertainment at the wedding between the mayor’s brother and some young (probably) golddigger. Sometimes this show does best when it’s light on its feet and just gives you quick scenes of silly stuff around the town and its cast of oddballs without having to linger on any one of them long enough to deliver a monologue. But surprise kudos to Ben Horne, whose viewing of an old movie and reciting Shakespeare was actually mildly affecting. I didn’t think the guy had it in him.
Overall, more of the usual mixed fruit tray of mostly crud with a few ripe bites here and there. Let the “bad period” of Twin Peaks continue!
Review by Andrew BloomVIP 9BlockedParent2017-07-04T02:45:47Z
[4.8/10] I’ll admit, despite my tepid review, there were parts of this one I enjoyed, particularly the opening act of the episode. While I found it kind of trying at first, David Lynch himself as Cooper’s hard-of-hearing boss, offering well-intentioned encouragement turns out to be a pretty funny bit in small doses. And Cooper facing down the investigation from internal affairs seems to have some legs. In a particularly amusing moment, Cooper offers one of this metaphysical-minded aphorisms about the town and his life, and the investigator offers a laugh-worthy “what the hell was that?” in response. We’re often wondering the same thing, fella.
The investigation ends up proving to be the strongest part of the episode. That dovetails, surprisingly, with the debut of Denise (David Duchovny!) as a DEA agent assigned to the investigation. Look, it’s 1991, so the attempts at tolerance are more than a little patronizing, and the show can’t resist having Harry having a laugh at her expense, but there’s a surprising amount of empathy for Denise as a trans woman for a show that aired twenty-five years ago. The best exemplar of this is Cooper, who is initially thrown upon seeing the woman he previously knew as Dennis, but then immediately adjusts and treats Denise with the same respect and kindness he treats everyone else. It gives the “this looks like a frame job to me, but you have to prove it” direction the episode goes something more than just another major plot to occupy the show post-Laura Palmer.
The other side of the coin is that the show seems to be introducing a lot of new crap to try to fill that vacuum, and most of it is godawful. The peak of this is the reveal that Catherine’s brother Andrew (a.k.a. Josie’s husband) is still alive and this is all a part of some plot the Martells have been cooking up. Let’s nevermind the fact that this would necessarily be so baroque a plan as to lose all credibility, but even so, it’s such a soap opera move (yeah yeah, I know Twin Peaks is riffing on soap operas) that I legitimately laughed out loud when he emerged from the other room.
The show bringing Josie back into the fold wasn’t my favorite thing in the first place, just because the actress isn’t terribly good and her romance with Harry is one of the least interesting things about a pretty strait-laced character. But this is a silly direction to take her, giving her a painfully cliché backstory and making her Catherine’s maid. (Though I neglected to mention in prior write-ups that as borderline offensive as it was at times, and as goofy as it is, I kind of liked the reveal that the Japanese investor was Catherine. It’s the kind of bonkers surprise that delights in its ridiculousness rather than makes you laugh at its stupidity. It’s a fine line, I’ll admit.
The runner-up award for worst new storyline goes to, who else, James Hurley, who conveniently finds some femme fatale with a derelict husband who wants James to fix her car and stay at her house while the hubby is away. (Presumably with sexy results.) Both James and his new likely paramour are bad actors (though it’s hard to tell given how painfully bad their dialogue is) to where the most one can hope for is that they’re quarantined to this bad part of the show so that it doesn’t infect everything else.
We also continue apace with Nadine’s adventures in high school, something that is, I am ashamed to admit, is kind of winning me over in its “so bad it’s good” qualities. To be frank, this feels like something from a different show, maybe a direct-to-video live action Disney Channel movie. But it’s unbelievably silly and totally unclear as to where it’s going that I can’t help but laugh at how insane the whole thing is.
I’m much less enamored with what’s supposed to be the comic relief here, namely the interactions between Deputy Andy, Dick Trelane, and the moppet who’s Dick’s “helping hands” buddy. The hijinx that they get into at the Double R Diner are sub-Little Rascals quality, and while there’s something kind of endearing about Andy trying to “kill ‘em with kindness” the charm wears off quickly.
We also get some of what appears to be foreshadowing for Cooper. Some of it comes from Hawk, who offers a hokey and again, borderline offensive dose of indigenous people’s wisdom about the “Black Lodge” and “White Lodge.” And we also get a cheesy Hannibal Lecter routine on audio tape from Cooper’s former partner who’s playing a literal chess match via the mail and underlining that fact with ponderous, overdone metaphors about how the game mirrors their real life tete-a-tete.
There’s a bit more legitimate entertainment at the wedding between the mayor’s brother and some young (probably) golddigger. Sometimes this show does best when it’s light on its feet and just gives you quick scenes of silly stuff around the town and its cast of oddballs without having to linger on any one of them long enough to deliver a monologue. But surprise kudos to Ben Horne, whose viewing of an old movie and reciting Shakespeare was actually mildly affecting. I didn’t think the guy had it in him.
Overall, more of the usual mixed fruit tray of mostly crud with a few ripe bites here and there. Let the “bad period” of Twin Peaks continue!