‘Twin Peaks’ EP 10 RECAP, Laura Is The One

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Is it picking up for you yet? Part 10 of Twin Peaks: The Return was an episode of four letter words and hurting fists, most of them hurled by men, many of them tossed by Richard Horne, a demonic wildfire man-child now blazing out of control. He killed Miriam, witness to his crime of vehicular homicide; he beat up his grandma — his grandma! — for money and jewelry.  We witnessed an episode that grieved a society gone insane — an essential David-Lynchian theme — from tainted love, betrayed trust, unchecked animal drives, and of course, the damn government and those greedy corporations and their poisonous chemicals turning everything to s—.  “What a f—ing nightmare,” moaned Carl Rodd as he listened snotty-nosed, Sparkle-stoned Steven berate and beat his wife for some unspecified transgression. “No stars,” sang Rebekah Del Rio in the episode’s featured Roadhouse musical performance, the lyrics speaking of a love gone wrong and dark. “No stars…”twinpeaks-11

 

All of these things and many more worked together to evoke the spirit of a complex woman with many faces, who was used and abused by bad men when she lived, and who, in death, has come to represent both the fallen world and cosmic injustice. We remember that she is both alive and dead in this story, and she is on the loose, haunting every episode in some fashion, even if it’s just her ghostly face in the mist of the credit sequence — a promise to us that Twin Peaks: The Return hasn’t forgotten Laura Palmer and that it is very interested in the matter of her justice. And in one scary-exhilarating moment, a vestige of Laura appeared to Gordon Cole* in the form of a wailing image of her younger self. The whole episode — unofficially titled “Laura is the one,” after the final line of a new prophetic free verse issued by the Log Lady to Hawk — might have been a prophet; I saw it preparing the way for the second coming of the show’s holy spirit. Will she be an angel of grace and renewal or a dark phoenix of great vengeance and furious anger?

 

And so “Laura is the one” was a curious advent story, a tale of hell-on-Earth bleakness sprinkled with sweetness and light in the night, suggesting hope. Albert went on a date with Constance. It was a lovely moment. Dooper and Janey-E had sex.

 

He flailed his arms and rolled his eyes in delight. She screamed “Dougiiieee!” in ecstasy. “Sonny” Jim Jones heard the sounds and bolted upright in innocence-lost shock. But it was also kinda perfect, something sort of pure to round out the other scenes of domestic horror. In her midnight call to Hawk, the Log Lady said that good men — like our two Trumans — still linger and more may come again. And note the birdhouses. You saw one atop Miriam’s trailer, surrounded by out-of-season  Christmas decorations. You saw one mounted on Carl’s white house. I’m reminded of Laura Dern’s soliloquy in Blue Velvet, in which she described a dream of hope:

 

“In the dream, there was our world, and the world was dark because there weren’t any robins and the robins represented love. And for the longest time, there was this darkness. And all of a sudden, thousands of robins were set free and they flew down and brought this blinding light of love. And it seemed that love would make any difference, and it did. So, I guess it means that there is trouble until the robins come.”

In Lynchlandia, it’s often darkest before the dawn.

 

Log Lady Margaret’s visions mean something.  Follow “Twin Peaks AfterWord” for all breaking news.  The show airs Sunday nights at 9PM only on Showtime.

 

Written By: Tommy Lightfoot Garrett
Photographs are Courtesy: Showtime
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