David Lynch steps behind the camera again for the second time in two episodes. Hurrah! And while there’s plenty of Lynchian darkness to be had in this episode, we also get a taste of that weird Lynchian sincerity, specifically that scene towards the end where James, Donna, and Maddie decide to sing a weird love song for no real reason except, I assume, that David Lynch wanted them to.
And this isn’t a quick moment either. It goes on for minutes even as the song itself has very little to say – “Just you and I, just you and I, together, forever, in love”, rinse, repeat. All seems to be going well until Donna senses that maybe James is singing this song to Maddie instead of her, and then she runs off jealously. James follows, and Donna begins to kiss him passionately, proving her love for him, desperately trying to keep him from falling for a girl who looks almost exactly like his dead ex-girlfriend. Which has got to be hard.
Then Donna gets a call from Harold Smith, a shut in on the meals on wheels route she left a note for earlier, and who, apparently, left the note for Donna instructing her to look into the meals on wheels. They arrange to meet.
While we’re talking about meals on wheels, let’s talk about Mrs. Tremond and her weird kid who looks almost exactly like David Lynch because he’s played by David Lynch’s son.
Mrs. Tremond doesn’t care much for creamed corn.
When Donna delivers her Mrs. Tremond’s food, she’s disturbed to see creamed corn on her plate. She points it out to Donna explaining that she specifically asked for no creamed corn. But then, wait! It’s gone! That portion of the plate is completely clean like it was never there! Where could it have gone? Into the hands of her son, as we see a moment later. And then the creamed corn is gone from there as well!
Mrs. Tremond explains that her son is studying magic, which, I’m sorry, doesn’t explain much at all. Though I do think it’s worth mentioning here that creamed corn gets an appearance in Twin Peaks: Fire Walk With Me, though maybe not literally creamed corn. They call it garmonbozia, which is apparently pain and suffering, and the little man from another place munches it down. As we’ll eventually discover, Mrs. Tremond is connected to those denizens of the Black Lodge, but maybe her digestion is too delicate to properly consume pain and suffering. It sounds like it might taste a bit bitter.
At the top of tonight’s show, while Coop eats breakfast (and holy cow, his breakfast spread is entertainingly HUGE especially compared to Albert’s meager plate) he learns that his former partner, Windom Earle, has escaped from a mental hospital. Now Earle will eventually become the big bad of the bac half of this season, but all we really know for now is that Coop is pretty concerned about Earle’s escape, which is probably fair. When your former partner ends up in an insane asylum, there’s probably a good reason for it. Or a reason that’s bad. Or, you know what I mean.
Audrey attempts to get out of her capture at One Eyed Jacks, and even manages to give Coop a phone call, through she frustratingly refused to tell him where she was before Blackie hung up on the phone on her. Looks like her attempt to strong-arm her dad’s employee Emory might have backfired. It’s hard to be under your father’s protection if he has no idea where you are.
Coop should know by now. After all, Audrey left him a note explaining it. Except the note has been lost in the chaos since Coop’s shooting. It’s currently sitting, unopened, under his bed, and is likely what the giant referred to last episode when he told Cooper that he had forgotten something.
The owls are still not what they seem
I guess I should have waited an episode before talking about the owls. I had thought this moment came later in the run, because in my memory, Cooper was wearing his flannel shirt during his visit with Major Briggs, but no, it was just his blue pajamas.
So what brought Major Briggs to Cooper’s hotel in the middle of the night? A message from deep space, believe it or not. While the details of the Major’s work are classified, he explains that one of his responsibilities is the monitoring of signals from galaxies far, far away. And while usually those messages are gibberish, something decidedly not-gibberish came through his satellites on the morning that Cooper was shot, a message that read, “The owls are not what they seem.” This message was followed some time later by the word, “Cooper” repeated a number of times.
This is obviously meant to line up with the giant’s prediction, that the owls are not what they seem, but what it doesn’t do is explain what the owls actually are. A few flashes of dream vision give us a moment of Killer BOB with an owl superimposed on his face that seems to want to imply that he, and perhaps others of the Black Lodge, might also be owls, that when they’re not murdering girls, or grooving out to some mellow jazz, they might just hang out in the trees watching what’s going on.
As far as I can recall, nothing is every concretely established about the owls and their connection to the rest of the goings on in Twin Peaks, which means there’s plenty of opportunity for season three to play with that. But be sure if owls show up in the narrative again, literally or figuratively, I’ll probably be talking about them.
Before I forget
Maddie had another flash of a vision this episode, one of Killer BOB approach her through the Palmer’s living room, and climbing over the back of their sofa and coffee table like he was some kind of unstoppable animal. Maddie screams, because what else would you do, and the vision fades away. I don’t want to cause any alarm, but I feel like Maddie maybe having some troubles soon.
And speaking of Killer BOB, Leland has apparently seen the man before, in his childhood at his father’s cabin, but I’ll have more to say about that once Leland tells more of that story.