And when the Mitchums halt their plan to cap Dougie Jones because of Bradley’s dream, they accept the cherry pie in a box, and so do we. brain trust accepts that the usual suspects don’t apply, and so do we. When the sinister apparition of a Woodsman slips into the back of an unmarked police car and rips the top of William Hastings’s head off, the F.B.I. When Gordon and Albert come across the headless body of Ruth Davenport - after a sequence of events with more supernatural mojo than the car outside the Double R - they accept the writing on her arm as coordinates, and so do we. When Hawk presents Sheriff Truman with a map “that’s very old but always current,” he accepts the “black fire” symbol and the other terrible premonitions the map seems to suggest, and so do we. She’s sick!”) Then we get a look at the passenger, a zombielike figure with fluid spilling out through the corners of its mouth.Īt the same time, the 11th episode was a bracing reminder of how much Lynch’s characters - and, by extension, us - accept the premises they and we are given. She hasn’t seen him in a very long while. When Bobby dashes over to put a stop to it, there’s an unrelated and more disturbing scene unfolding: a furious driver, desperate to move around this terrible traffic and get on her way. That scene is upsetting enough - as his parents argue, the boy’s face looks eerily possessed - but director David Lynch punctuates it with the incessant horn blast of the car behind them. We might expect that it’s Steven or (gulp) Gersten firing back at Becky, but instead it’s a random act of American violence: a child has picked up a loaded gun, left carelessly near the back seat of the family minivan, and popped off a couple shots from it. The lights are cut off at the diner, and Bobby leaves to check out the scene. Bullets rip through the windows at the Double R, close to where those three are sitting. The old Bobby would have flown into a jealous rage the new Bobby, a responsible public servant, can only look on with sunken eyes.īut wait, there’s still more. She instantly reverts to the girlishness of a smitten high schooler, breaking not only from the gravity of Becky’s situation, but with any sense of awareness that she and her daughter are making the same mistakes. As Bobby and Shelly offer assurances to their daughter - shielding her from arrest, offering to pay for the damage to Gersten’s apartment and forgiving the small matter of Becky’s whipping her mother off the hood of her moving car - Shelly gets beckoned out of the diner by Red, the criminal first seen making a coin appear in Richard Horne’s mouth and the latest in a long line of shady boyfriends. These pink princesses are donning tarnished tiaras.īut wait, there’s more. We have also learned that the mistress in question is Gersten Hayward (Alicia Witt), Donna Hayward’s youngest sister, whom “Twin Peaks” fans will remember as the pink princess who provided piano accompaniment to Leland Palmer’s rendition of “Get Happy.” With Becky and Gersten, we are getting a tandem glimpse of the younger generation, and the turmoil and violence that has been passed along to them. Now, that sentence alone needs some unpacking: We have just confirmed, in this casual conversation, that Bobby is Becky’s father. Bobby and Shelly have retreated to the Double R Diner after their daughter, Becky, has been picked up for blowing holes in her husband’s mistress’s apartment. Let us summarize one scene from this week’s utterly mesmerizing episode of “Twin Peaks,” which strung together revelatory moments like beads on a candy necklace. Our regular recapper, Noel Murray, is off this week.
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