There is actually something to note about the opening credits – they are really reminding me of the absence of the classic Angelo Badalamenti score. There’s a more traditional score seeping in, but not much of it is recognisable. We begin with various shots of Vegas and Rancho Rosa. It’s kind of beautiful if brief, and got me thinking that the location-hopping of this show is actually working really well. The world of the show is feeling a lot more expansive than before, while making the original town feel even quainter by the minute.
Outside Dougie’s car in Rancho Rosa, the two assassins are on the phone with an unnamed woman. She’s worried that seeing as they failed to complete the job, her life is in jeopardy. She types in a series of numbers, which connect to a black box in an undisclosed location.
In South Dakota, the police department discover that there was a wedding ring in the stomach of the body found in Ruth Davenport’s body. It is inscribed: “To Dougie, with love, Janey-E.” In prison, evil Cooper looks in the mirror of his cell. He flashes back to his encounter with Bob in the black lodge, and Bob’s subsequent possession of Cooper. His reflection slowly morphs into Bob’s, and he says: “You’re still with me, that’s good.”
Stan Sitwell – wait, I mean Mike Nelson (aka Donna Hayward’s ex-boyfriend and Bobby’s best friend in high school), is working at a car dealership. He interviews a young man, chastising him for his awful resume. Along with Bobby, it looks like eventually everyone had to grow up and get a job, whether they wanted to or not.
In the Twin Peaks Sheriff Department, Frank’s call with his brother Harry is interrupted by his wife Doris, and the two argue. In Vegas, Janey-E tries to get Mr. Jackpots to work along with Sonny Jim. She wants him to phone of whoever they owe to arrange a meeting, presumably to pay them off. He is distracted by Sonny Jim, causing a single tear to fall down his cheek. She knows he’s “acting weird as shit”, but presumably Dougie was weird enough that no one is thinking he has a serious brain injury.
Mr. Jackpots is dropped off at work, where he follows the pointed gun of a statue into the building, then follows the smell of coffee up into his office at an Insurance Company. The meeting is awkward (and hilarious), and in a rare moment of clarity he points out his co-worker is lying. Taken to one side by his boss, he is given some case files to take home. Words such as “case files” and “agent” begin to stir up some memories, but he’s not there yet.
Back in the Silver Mustang Casino, the previous boss is fired, beaten up and thrown out by his bosses (The Mitchum brothers), and told to leave town. The pit boss is promoted to the job, and told to let them know if Mr. Jackpots ever returns. The young boy who lives opposite Dougie’s car in Rancho Rosa approaches his car to see what the men had placed under it (back in Part 3). He is pushed out of the way of a group of men who then attempt to steal the car. Once they get the engine on the car explodes. Turns out I was wrong about it being a tracer…
Jade (the prostitute from Part 3) is having her car cleaned when the workman finds Cooper’s key to his room at the Great Northern. As it has its address on it, she places it in a nearby post box. At the Double R Diner we see Norma (Yay!) and Shelly (YEEESS) still working. Shelly’s daughter, Becky turns up asking for money. Shelly reluctantly gives her some cash, and Norma chastises her for it. Outside, Becky joins her boyfriend Steven (the same one interviewed by Mike earlier) in the car. He is a coked up waster, who lies about his interview then offers her what’s left of his cocaine.
Mr. Jackpots leaves work, but stays until dark staring at the statue near the buildings entrance, which appears to be a Sheriff or lawman of some sort, with a gun in hand. Hawk and Andy continue to try and find clues, coming up empty. Now we’re back to Dr. Jacoby’s caravan to finally find out what he’s up to. It doesn’t disappoint. Now known as “Doctor Amp,” Jacoby is taking part in some kind of crackpot vaguely-right wing conspiracy theorist YouTuber live stream. Jerry and Nadine watch on their laptops. The gold-painted shovels are on sale for $29.99, to help you shovel the shit.
At the Pentagon, Colonel Davis is informed that Major Garland Briggs’ fingerprints have been flagged up in South Dakota – confirming it was his prints that the police were denied access to. This is the 16th time this has happened since his death 25 years ago. At the Roadhouse, Trouble play their song “Snake Eyes”. As identified in the credits, Robert Horne smokes in the bar. He is told to stop smoking, but instead the cop Chad takes a packet of cigarettes from him. Inside the packet is a bribe. There are a group of girls sat near him (including Jane Levy!), one of them comes over to borrow a light. As soon as she sits by him he grabs her by the neck and talks the progeny of Frank Booth.
Tammy looks over the files on Agent Cooper, and compares his fingerprints with the captured doppelganger. Evil Coop is given his private phone call, while the Warden watches from a CCTV monitor, recording what he says. Evil Coop, staring into the camera, says: “Shall I call Mr. Strawberry. No I won’t call Mr. Stawberry, he’s not taking any calls. No, I know who to call.” He types in a complicated series of numbers on the phone, which set off alarms in there monitoring room. “The cow jumped over the moon” he says into the phone, before he hangs up and the noise stops.
In Buenos Aires, Argentina, in a cramped attic – we see again the black box from the beginning of the episode. It beeps twice, before morphing into a small rock of some kind. Instead of the Roadhouse, the credits roll on Cooper, still staring at the statue.
I tend to watch these episodes twice when I do these recaps. First time I just go with it, second time I get the details. For these last three episodes, I have found that it was only on the 2nd go around that I got into what it was trying to do. I’m not too enthralled as it goes, but tend to think about them more as time goes on. Already that credits scene is stuck in my head.
This is actually the most straightforward and least weird episode yet, but it actually has a lot going on when you dig a little deeper. First off I want to talk about Cooper’s doppelganger. The rules of doppelgangers were never clear before. I always took Coop’s for a representation of his dark self, one that was unleashed when Bob possessed him in the season 2 finale. But this series has strayed from that, partly I assumed because of Frank Silva’s death. Yet in the prison cell scene, we get to see that Bob is indeed inside him still, though perhaps buried deep down and not in control. Bob could tempt out the dark version of Cooper, but he is something separate now. Perhaps the incident at the prison was to inspire fear, the thing which Bob feeds on, to abate him? I should also point out that the transformation, while a little strange-looking, really worked for me, and was perhaps my highlight of the episode. I knew it was going to happen yet still somehow didn’t notice it until the face had changed completely.
In the body of the John Doe (which is either Garland Briggs, or a body with his prints on it), they find Dougie’s wedding ring. My interpretation of this is that it was a failsafe to frame Cooper, who would emerge in Dougie’s place. If the assassins failed to catch him, the police would be looking for him as a potential murderer. Now that is only if it was evil Cooper who hired the assassins in the first place. He’s definitely connected somehow, but the top of the food chain is a device in Buenos Aires, one which shrunk down to a rock of some sort, much like Dougie did in the black lodge.
See, Buenos Aires is actually an interesting location. If you haven’t seen Twin Peaks: Fire Walk With Me lately (please revisit it), you probably won’t remember – but this was where Philip Jeffries (David Bowie) disappeared. The FBI agent disappeared in 1987, reappearing in the FBI headquarters two years later before disappearing again. In a deleted scene (collected in The Missing Pieces) it is revealed that he appears back in Buenos Aires afterwards, teleporting there out of his control. It was let slip by a castmember that Bowie was due to reappear in the series, but died before filming began. In the film, Jeffries pain and suffering was juxtaposed with the laughter of the black lodge’s inhabitants, especially “The Jumping Man”, which is one of the film’s creepiest additions. Maybe this spirit will make a return, and maybe he is the source of the problems affecting the black lodge and the one behind the killings in the physical world?
Okay, so this next one is a big deal for very different reasons. The horrible, serpentine shithead who assaulted Charlotte in the Roadhouse is credited as being “Richard Horne”. My first thought was that this was simply a nasty, likely illegitimate son of either Ben or Jerry Horne, but theories have already emerged speculating something much darker. It is possible that this is the son of Audrey. I don’t particularly like this theory because the idea of my favourite character being subjected to having this little shit in her life is more than fucked up.
But the theory gets darker. While one could speculate the father could be someone we don’t now, or it could be Billy Zane’s character who Audrey lost her virginity to, some have speculated that it is actually the son of Cooper’s doppelganger. It’s understandable to make this connection, as his with Charlotte are very similar to how evil Cooper treated Darya. I hope this isn’t true, as it means that Audrey’s love for Cooper was used against her, creating something much worse.
Lastly, likely the most memorable shot of the episode starred Amanda Seyfried. The shot of Becky as the coke kicks in and the car drives off, in pure delight as “I Love How You Love Me” by the Paris Sisters plays. It’s a glorious mix of joyous and tragic, pure and corrupt, and very very Laura Palmer. History has a way of repeating itself, and Twin Peaks is making the generational difference a recurrent theme in these episodes. Cooper’s single-tear reaction to seeing his (not really) son sets the mood, and the rest of the episode has shown people faced with their pasts in the form of someone younger: Shelly/Laura and Becky; Mike and Steven; Cooper and Sonny Jim; Richard and ???
The episode as a whole is a mix as parts 3 and 4 were. The show feels almost antagonistic towards the uninitiated viewers, which is something that I admire while also finding a little trying at times. There are a few duds scattered about, such as the scene between Frank and his wife, which I got absolutely nothing from. But despite the fact it can sometimes feel like it’s dragging its feet, there are several classic moments per episode. I’m fine with that.
Most Valuable Player:
Dale Cooper (Kyle MacLachlan)
MacLachlan has been astounding all the way through, but after giving a brilliant comedic performance last episode, he gave us something a little different this time. He is like a newborn baby trying to grow and remember itself, the pain and frustration of not remembering present in his performance. You can see that there is still that playfulness and empathy there, even if his memories and smarts aren’t back yet. It was there when he helped the old woman in the casino, and it’s here when he weeps at the sight of his son. In the episode’s final moments, Cooper stares up at the image of a lawman, knowing that there is something meaningful there but unable to grasp it. He touches the shoes, which is interesting knowing that his shoes didn’t make it through to the real world with him. It’s good filmmaking, but it’s also communicated by the actor working with minimal tools.
- In the first episode the Giant told Cooper: “Richard and Linda. Two birds with one stone”. We now have a Richard.
- There is some connection between the device in Buenos Aires and Dougie. Both were artificial in some way
- Garland Briggs’ prints have been found numerous times since his death. Either he is somehow not completely gone, or someone is playing a sick game with the authorities
- The band Trouble features Lynch’s son Riley, as well asDean Hurley, who has worked in the sound department for Inland Empire and this series of Twin Peaks
- “Damn good joe”
- If you were wondering what the music is that plays over the credits, it is “Windswept” by Johnny Jewel.
- The way Frank smiles when he realises he likes his new drink is the most adorable moment
- The child actor was surprisingly great, he looked so scared and helpless when the carjackers arrived
- After Get Out and this were released the same year, I’m going to find it hard to buy Caleb Landry Jones as anything but a horrible person
Featured Image: Showtime