[3.2/10] This one was pretty rough. A boatload of idiotic plot developments, worse dialogue, and every other character giving some wistful monologue about something that happened long ago. Let’s dive-in shall we?
First, the good stuff. It wasn’t nearly as effective as the end of the last episode, but I appreciated the low-grade Michael Meyers business with Leo and Shelly. Sure, it doesn’t make much sense -- for instance why were all the doors locked from both the inside and the outside? And it’s pretty cheesy that everybody escaped that encounter essentially unscathed, but there was at least some shlocky, horror-esque fun to be had.
Speaking of shlocky fun, that seems to be what the show is going for with the Windam Earl storyline as well. Again, it feels like a proto-Hannibal Lecter and/or Dexter Morgan kind of shtick. There’s at least some intrigue in the fact that he taught Cooper everything he knows, and he’s good enough not to leave fingerprints or fibers, making him a real challenge for Coop & Co. The catch is that 1. The whole chess symbolism thing is still super corny and 2. The fact that Cooper was romantically involved with Earl’s wife and that Earl maybe killed her feels like a bridge too far.
A lot of stuff in this episode feels like a bridge too far, twists for the sake of twists. We already knew that Mrs. Marsh was likely setting James up somehow, but why the show has devoted so much time to this tedious storyline, god only knows. Mrs. Marsh seems to have some remorse, having had her husband die in a car accident (which would conveniently point the finger at James) at her “brother’s” behest, but apparently falling for stone-faced James anyway. Of course, Donna has to be shoehorned in (with the return of their little ballad), and now we’ll get a dull Bonnie and Clyde deal with the cops after the two of them, swell.
At least in terms of bonkers, so-bad-it’s-good territory, Ben Horne and Dr. Jacoby waving confederate flags and singing songs about Dixie is...striking. Truth be told, I kind of like the idea behind this -- that Ben has been defeated in the real world and so the only way for him to get his mojo and his sanity back is for him to win a war for the historical losing side. Of course, this being Twin Peaks, it’s done in a terribly cartoonish fashion, but there’s something comic about the looniness of it all.
The same can’t be said for the Andy/Dick/Lucy storyline. It’s all so broad, with Lucy in particular feeling like a bad sitcom stereotype throughout all this while the two guys play standard male dumdums. Dr. Hayward setting them straight about Little Nicky’s life of misfortunes should, at least hopefully, put a merciful end to that portion of their storyline, but I doubt it.
I doubt it if for no other reason than Lana, the Mayor’s brother’s widow, appears to be a literal succubus and I have to imagine she’s related to Nicky somehow. (In fact, I bet the child she and the Mayor want to adopt turns out to be Nicky.) The fact that the Mayor holds her at gunpoint and the crew of the sheriff’s office just leaves him alone with her is straight up nutbar. I’m not really interested in seeing where this is going, but I’m sure it’ll be some supernatural mumbo jumbo, and not in a good way.
That’s also my feeling about the dip we take into Major Briggs’s storyline here. Again, I like that he’s shaken from his experience in the White/Black Lodge and questioning his loyalty to the airforce, but this is another “when are they going to get to the fireworks factory” plotline. The show should either just keep Briggs off screen until something meaningful happens in the story, or actually advance the plot in his appearances.
Catherine revealing the fact that her brother is alive to Pete is yet another tedious scene, where Andrew delivers loads and loads of exposition that I could just as well do without. (And all this crap with the Eckerts feels just sort of tossed off conveniently to boot.) There’s lots of that in this episode for whatever reason, whether it’s that or Coop talking about what happened with Earl or Dr. Hayward giving Nicky’s backstory. None of it is natural and much of it is full of plot holes.
Otherwise, Bobby and Audrey’s story continues to be a slow moving waste, Norma and Ed’s getting together is the same, and Leo running into Windam Earl in the forest is unbelievably serendipitous and convenient, though maybe you can chalk it up to the evil woods putting a thumb on the scale or something.
Overall, this is a real dog of an episode. I have to admit, my patience with the show is starting to wear thin, but there’s only eight more episodes so I’m going to strive to see it through.
Review by Andrew BloomVIP 9BlockedParent2017-07-07T03:52:03Z
[3.2/10] This one was pretty rough. A boatload of idiotic plot developments, worse dialogue, and every other character giving some wistful monologue about something that happened long ago. Let’s dive-in shall we?
First, the good stuff. It wasn’t nearly as effective as the end of the last episode, but I appreciated the low-grade Michael Meyers business with Leo and Shelly. Sure, it doesn’t make much sense -- for instance why were all the doors locked from both the inside and the outside? And it’s pretty cheesy that everybody escaped that encounter essentially unscathed, but there was at least some shlocky, horror-esque fun to be had.
Speaking of shlocky fun, that seems to be what the show is going for with the Windam Earl storyline as well. Again, it feels like a proto-Hannibal Lecter and/or Dexter Morgan kind of shtick. There’s at least some intrigue in the fact that he taught Cooper everything he knows, and he’s good enough not to leave fingerprints or fibers, making him a real challenge for Coop & Co. The catch is that 1. The whole chess symbolism thing is still super corny and 2. The fact that Cooper was romantically involved with Earl’s wife and that Earl maybe killed her feels like a bridge too far.
A lot of stuff in this episode feels like a bridge too far, twists for the sake of twists. We already knew that Mrs. Marsh was likely setting James up somehow, but why the show has devoted so much time to this tedious storyline, god only knows. Mrs. Marsh seems to have some remorse, having had her husband die in a car accident (which would conveniently point the finger at James) at her “brother’s” behest, but apparently falling for stone-faced James anyway. Of course, Donna has to be shoehorned in (with the return of their little ballad), and now we’ll get a dull Bonnie and Clyde deal with the cops after the two of them, swell.
At least in terms of bonkers, so-bad-it’s-good territory, Ben Horne and Dr. Jacoby waving confederate flags and singing songs about Dixie is...striking. Truth be told, I kind of like the idea behind this -- that Ben has been defeated in the real world and so the only way for him to get his mojo and his sanity back is for him to win a war for the historical losing side. Of course, this being Twin Peaks, it’s done in a terribly cartoonish fashion, but there’s something comic about the looniness of it all.
The same can’t be said for the Andy/Dick/Lucy storyline. It’s all so broad, with Lucy in particular feeling like a bad sitcom stereotype throughout all this while the two guys play standard male dumdums. Dr. Hayward setting them straight about Little Nicky’s life of misfortunes should, at least hopefully, put a merciful end to that portion of their storyline, but I doubt it.
I doubt it if for no other reason than Lana, the Mayor’s brother’s widow, appears to be a literal succubus and I have to imagine she’s related to Nicky somehow. (In fact, I bet the child she and the Mayor want to adopt turns out to be Nicky.) The fact that the Mayor holds her at gunpoint and the crew of the sheriff’s office just leaves him alone with her is straight up nutbar. I’m not really interested in seeing where this is going, but I’m sure it’ll be some supernatural mumbo jumbo, and not in a good way.
That’s also my feeling about the dip we take into Major Briggs’s storyline here. Again, I like that he’s shaken from his experience in the White/Black Lodge and questioning his loyalty to the airforce, but this is another “when are they going to get to the fireworks factory” plotline. The show should either just keep Briggs off screen until something meaningful happens in the story, or actually advance the plot in his appearances.
Catherine revealing the fact that her brother is alive to Pete is yet another tedious scene, where Andrew delivers loads and loads of exposition that I could just as well do without. (And all this crap with the Eckerts feels just sort of tossed off conveniently to boot.) There’s lots of that in this episode for whatever reason, whether it’s that or Coop talking about what happened with Earl or Dr. Hayward giving Nicky’s backstory. None of it is natural and much of it is full of plot holes.
Otherwise, Bobby and Audrey’s story continues to be a slow moving waste, Norma and Ed’s getting together is the same, and Leo running into Windam Earl in the forest is unbelievably serendipitous and convenient, though maybe you can chalk it up to the evil woods putting a thumb on the scale or something.
Overall, this is a real dog of an episode. I have to admit, my patience with the show is starting to wear thin, but there’s only eight more episodes so I’m going to strive to see it through.