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His crass, coarse verbal assault combined with a choke-hold to imply a kind of rape, and it reminded me of the scene in Wild at Heart when Willem Dafoe’s loathsome Bobby Peru violated Dern’s Lula in a similar fashion, with language and glad-handing. I want to sum up “Laura is the one” with another Dern line from another Lynch film: It was “weird on top and wild at heart.” The storytelling pinged between tonal extremes and scenes were often accented or streaked with some strange bit of business, like the broken teddy bear with the light bulb head that kept bleating, “Hello, Johnny, how are you today?”– a pacifier for mad, dim, busted Johnny Horne - during Richard’s home invasion. I’m reminded of Laura Dern’s soliloquy in Blue Velvet: You saw one mounted on Carl’s white house. You saw one atop Miriam’s trailer, which was adorned with out-of-season Christmas decorations.
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(I think it’s about time we saw Big Ed Hurley again, don’t you think?) And note the birdhouses.
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In her midnight call to Hawk, the Log Lady said that good men endure, like our two Trumans, both “true men,” and other long-time allies, too, presumably the Bookhouse Boys. But it was also kinda perfect, something sort of pure to round out the other scenes of domestic horror. “Sonny” Jim Jones heard the sounds and bolted upright in innocence-lost shock. She screamed - no, sang! - “Dougiiieee!” in ecstasy. He flailed his arms and rolled his eyes in delight. Or maybe this kind of savior-wanting is all wishful thinking…Īnd so “Laura is the one” was an advent story, a tale of hell-on-Earth bitterness and bleakness sprinkled with sweetness and light, asking us to have faith, to not abandon hope. Will she be an angel of redemption or a dark phoenix of great vengeance and furious anger? Maybe both? A Shiva, perhaps, destroyer and transformer.
#Twin peaks season two episode ten free
The whole episode - unofficially titled “Laura is the one,” from a line of a new prophetic free verse issued by the ailing 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. 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, pulled from Twin Peaks: Fire Walk With Me. 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 credits - 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. All of these things and many more worked together to evoke the spirit of a complex anti-hero 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 wrongs that still need righting.