But I’m liking it and I find meaning in the challenge. Parts 3 and 4 continued to defy our expectations of Twin Peaks here at the start. Was it the hormones, or does Gordon do something for her? I also liked the moment when she waved off a hot flash after Cole left. “When you became Denise,” said Cole, “I told all your colleagues - all those clown comics - to change their hearts or die.” My favorite moment: Dense finding “thrill” in saying “Federal Bureau of Investigation” in unabbreviated form, the way, say, she must find it thrilling to live unfettered. Denise’s promotion mirrored the cultural advancement of transgender representation, and LynchFrost allowed the show to pat itself on the back for its progressive thinking 26 years ago. The activation of Cole facilitated an amusing check-in with one of his former operatives, Denise Bryson (David Duchovny), a former DEA agent, now the chief of staff for the FBI.
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The literal rehumanization of Agent Cooper symbolized a movement toward organizing the series around very human characters with very human concerns and detective characters designed to investigate the world of Twin Peaks. These two hours did much to invest us in the 18-hour journey of the new Twin Peaks.
It was a wonderful flexing of Lynch’s intuitive art-making powers, and, in my view, a love letter to filmmaking and his fans. It resolved the question of Cooper’s return not with a straight story but a personalized reincarnation myth. Prefaced by the image of a billowing ultraviolet cloud, a brainstorm in the mind’s eye of a free-fallin’ Agent Cooper, this mesmerizing passage of pure Lynchian invention gave us the very good idea of moving our hero out of dramatic limbo so he could have scenes with real people, not just reverse-talking trees and specters. “I never meant to cause you any sorrow, I never meant to cause you any pain…” Purple shaded the extraordinary sequence that opened Part 3 set in the metaphysical realm of Blue Rose mystery. Red + Blue = the color purple - the color of soulfulness and creativity, the color of bruising and forgiveness, that color Prince sang about when he expressed regret for Garmonbozia. Jacoby and the milieu of his forest abode pointed toward the show’s saving grace for the hurting people of a jaundiced world. Jacoby sprayed (fool’s) gold paint on those shovels hanging from a rustic conveyor belt like meat from hooks, like condemned from gallows.īut the 3-D spectacles of Dr. It was as if Lynch, working a spiritual or political complaint, was tagging the glittering jackpot promises of the American West and the values of the world - land, riches, possessions, unchecked freedom - the way Dr. By the end of Part 4, the yellow king was in prison himself. Here, the driver, Dirty Cooper, a cowardly psycho desperate to cheat a death sentence, was en route to visit a treacherous associate in prison. It was in the latest expression of a Lynchian signature, a POV shot of a fast car barreling down a lost highway, dashed yellow lines leading to the horizon.
It was the color of Dougie’s blonde blazer, Jade’s amber Wrangler, the gilded horseshoe logo of the Silver Mustang Casino, and the beige homes of the busted Rancho Rosa development, a ghost town Carcosa on the outskirts of Sin City. The varied hues of creamed corn were everywhere in Parts 3 and 4.
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