LAST WEEK’S HIGHLIGHTS …
SHE’S not dead, she’s not wrapped in plastic. But where is she, who is she, what year is it?
Alongside a remarkable professional cast, David Lynch employed nonactors throughout the extraordinary return to Twin Peaks that concluded with a hilarious, heartwarming, heartbreaking, head-scratching, hypnotic and harrowing double bill last week. But he saved the most disruptive casting until the end.
Having emerged from the absurd Dougie Jones fug he’d inhabited (beautifully) for most of the 18 hours, the eternal square-jawed FBI man Dale Cooper had, with the help of cockney superhero Freddie Sykes and his green glove of power, smashed his evil doppelganger and the hoodoo Killer Bob demon within back to the magical dimension from which it came. Then Cooper went on a pandimensional rescue mission himself, slipping through time back to the point Twin Peaks began: the night teenager Laura Palmer was murdered.
Leading her through the dark woods away from her fate, the saga seemed perched on the edge of a fairytale ending. But suddenly Laura was no longer there, snatched out of existence. Not to be denied, Cooper ploughed after her, through layers of reality, until he reached a place far from Twin Peaks’ fading glow, a dingy house in a dingy town by a dingy freeway, where lived a woman who looked exactly like Laura. She had no idea what he was talking about. But she went with him when he promised he’d take her home.
After another endless drive along the dark lost highway Lynch scrawled across the last episodes like his signature, they finally arrived at the Palmer house in little Twin Peaks, where Cooper sought to reunite Laura with her mother, Sarah. But the woman who answered the door was not Sarah, and had never heard of her.
In fact, this houseowner was played by a woman called Mary Reber, who – the clue was out there – is the real current owner of the real house that’s used for the Palmer house in the TV show. (Lynch stays open to chance and lets meaning develop: Killer Bob himself famously came about because of an accident on set.) But while that weird jolt of reality came folding in, there came yet another, as she gave her name as Tremond and mentioned another, Chalfont, names opening portals to potent points in Twin Peaks’ past, stirring memories of an old woman who once gave Laura a picture of a door.
As warned by Philip Jeffries – the occult FBI man once played by David Bowie, now by The Singing Kettle – Cooper’s destiny with Laura is an infinite loop. Fine by me. I’ll watch this entire strange, sad and beautiful thing again and again. Not to try and figure it out. But because, when CGI dragons are supposed to be amazing, Twin Peaks understands there’s more awe, mystery and tragedy in a young woman’s face in rapture as she drives in a candy-coloured car, listening to the Paris Sisters sing “I Love How You Love Me,” for as long as it lasts.