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Celebrating 1,000 NCIS-franchise episodes

S03.E15: Part 15

paigow

By paigow
in Twin Peaks [V]

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Guest

Guest

This episode wiped me out. 

I cant say anything but this -- this season is the greatest thing I have ever seen on television. 

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scrb

scrb

Peggy Lipton is over 70.  Sherilyn Fenn is around 52.

Norma seems younger than Audrey.

 

Hope Douggie was shocked out of his stupor but his little stunt with the fork may have the opposite effect.  That is if he didn't get sucked into the outlet, since that is where he came from.

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Pete Martell

Pete Martell

This episode left me with so many questions to chew on. 

- Is the young lady crawling on the Roadhouse floor crawling because she is a manifestation of Audrey waking up (as surely Audrey "killing" her husband is likely when she wakes up)? Is it drugs? Or, as I saw someone say, is she going to be the new Log Lady, as she is dressed similar to the way Margaret dressed? 

- Did Steven kill Becky? He was near-suicidal (or possibly past near-suicidal as we only saw Gerston's reactions [exquisite work from Alicia Witt] at the end)? We also saw a bullet hole in their trailer's window. She always had Laura Palmer vibes. And her final scene being a mother/daughter bonding conversation over ice cream is a very typical type of heartwarming last scene before the agony to come. 

- Is it Cooper time? Did Dougie sacrifice himself to inadvertently save lives as Chantal and Hutch will now be greeted by a house shrouded in darkness with (presumably) Dale Cooper? 

- Is that badass lady assassin tied to the badass lady assassin Brenda Strong played in season 2? I doubt it, but it would be a nice tie-in. I was sorry to see Patrick Fischler go that way as I thought he was so very cute in Mulholland Drive (not the point of the diner scene, I realize) and here as well. I guess he always knew what was coming though. 

- Will we get to see Freddie and Naido (super punch out and the eyeless woman) have a "The Lodge said we were SO IMPORTANT but they won't even post bail" conversation? 

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Penman61

Penman61

(edited)
15 minutes ago, Pete Martell said:

- Is the young lady crawling on the Roadhouse floor crawling because she is a manifestation of Audrey waking up (as surely Audrey "killing" her husband is likely when she wakes up)? Is it drugs? Or, as I saw someone say, is she going to be the new Log Lady, as she is dressed similar to the way Margaret dressed? 

 

She is either the 5th or the 7th (lost count, sorry) young woman this season sitting in that Roadhouse booth whom we've never met who behaves strangely/has strange conversation.  I think it's illustrating what the bad drugs are doing to the Yoots of Twin Peaks.  Remember how much scratching Steven was doing; also, Rash Girl.

Overall comment:  On the evidence of Lynch's work over time, I'm gonna argue that MORE storytelling/structural restrictions are still better (Blue Velvet vs. Inland Empire).  I know people will argue that the plot/tonal yanking around that happens in The Return is part of the aesthetic, and I agree that it is on purpose.  I also don't think it's as effective as sequences that build within themselves and then off one another (and even sometimes bounce).  I allow that the final three hours might redeem Lynch's structural choice, but with each passing episode on the back end now, it's looking less and less likely.  It really feels like "...and another thing" is the organizing structural principle. 

Another thing:  Sunset Boulevard is about a woman who blurs the lines of her past/present/future whose mansion very much looks like The Fireman's theatre; it also is a story told entirely by a man who is dead. 

Edited by Penman61
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jsbt

jsbt

(edited)

Holy fuck.

16 minutes ago, Pete Martell said:

- Is that badass lady assassin tied to the badass lady assassin Brenda Strong played in season 2? I doubt it, but it would be a nice tie-in. I was sorry to see Patrick Fischler go that way as I thought he was so very cute in Mulholland Drive (not the point of the diner scene, I realize) and here as well. I guess he always knew what was coming though. 

Pretty sure that was Chantal.

So many instant classics in this episode, but the convenience store sequence - with the same wallpaper as Laura's dream/painting from FWWM - and the Charlyne Yi finale (Michael Cera's gf/ex? a.k.a. the stoner chick in Knocked Up) in the Roadhouse with the Veils performing are the top for me.

Edited by jsbt
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Pete Martell

Pete Martell

1 minute ago, jsbt said:

Pretty sure that was Chantal.

Oh. That makes sense. I only saw the back of her head. 

1 minute ago, Penman61 said:

Overall comment:  On the evidence of Lynch's work over time, I'm gonna argue that MORE storytelling/structural restrictions are still better (Blue Velvet vs. Inland Empire).  I know people will argue that the plot/tonal yanking around that happens in The Return is part of the aesthetic, and I agree that it is on purpose.  I also don't think it's as effective as sequences that build within themselves and then off one another (and even sometimes bounce).  I allow that the final three hours might redeem Lynch's structural choice, but with each passing episode on the back end now, it's looking less and less likely.  It really feels like "...and another thing" is the organizing structural principle. 

I do agree with you that the new show has a lot of aimlessness and that tight tight focus can be better (which is why if I had to "rank" I'd still put Twin Peaks season 1 first), but for me this is much more focused than Inland Empire was. 

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dosodog

dosodog

Goodbye Margaret.  I hope your afterlife is more peaceful.

So much to digest and I need to go watch GoT.

Yay Sir Punchalot!  

Yay Ed and Norma!  But it's Nadine.  And I really thought she was going to bash his head in.

We've met Judy and who is Judy?  Is it Laura Dern?  

Creepy woodsmen. 

That whole scene with Steven. Whoa.

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kylie

kylie

8 minutes ago, Pete Martell said:

Oh. That makes sense. I only saw the back of her head.  

The confirmation that it was Chantal was her voice on the phone (to Hutch) right after she shot both men. I think she dressed in business attire to be able to get into the office without others noticing. 

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Guest

Guest

(edited)
32 minutes ago, Pete Martell said:

Did Steven kill Becky? He was near-suicidal (or possibly past near-suicidal as we only saw Gerston's reactions [exquisite work from Alicia Witt] at the end)?

I got the impression he did kill Becky -- but then again, he did mention something about the drugs "she" gave him without ever being more specific as to who the "she" was. I had to turn the closed captions on for his scene because I could barely understand a word he was saying. 

My main question I guess is how would Evil Cooper know about the conversation Philip Jeffries had with Good Cooper? Has he been imbued with all the knowledge of good Cooper's prior to his inception?

I did have a laugh out loud moment when Evil Cooper whipped out the giant notepad from his pocket. Wasn't expecting that.

A little sad that the Bowie cameo never materialized. It was a voice double doing the work tonight. I've given up hope at this point that Michael Ontkean will sneak in an appearance. :( 

RIP, Log Lady. Your log turned to gold -- like your heart.

Edited by Guest
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Racj82

Racj82

1 hour ago, Giant Misfit said:

This episode wiped me out. 

I cant say anything but this -- this season is the greatest thing I have ever seen on television. 

I still wish I felt I was watching the same show as those that feel this way. I just don't get it. Even while stepping outside of my own thoughts about this season I don't get it.

 

I was literally thinking when the log lady popped up on screen I can't take seeing her anymore while she was so clearly dying. And then wrote her off. Which led me to feel worse. That was rough.

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Pete Martell

Pete Martell

I thought this was a very strong episode - tons and tons of things being intercut, but not in the same choppy way that some earlier episodes were. I'm not thrilled with Richard being Audrey's son (not that it was a surprise) and the Audrey stuff dragged a bit (although Sherilyn Fenn gave a very good performance and it also feels like this is finally the end of her coma), but still, a very strong episode. 

I loved that it was Nadine and Norma who essentially set Ed free and then claimed him. It was the only way this could go. Poor Ed has been lonely since high school because of "doing the right thing." Everitt McGill's face in the moment where Nadine left - the joy, relief, and confusion and fear. Seeing Everitt act again is one of the highlights of the revival. And Shelly's big happy smile for her friend was a moment of pure goodness and heart. 

I also love that the most blatant soap opera material of the revival has involved people in their 60's and 70's (40's and 50's if you add in the Bobby/Shelly dramas that pop up here and there). This is the demo that daytime soaps ran off and sneered at, to their detriment. Getting old doesn't mean you stop feeling or that you stop being interesting and compelling. I hope that the revival helps the industry remember that. 

The imagery in the bad Cooper scenes was overpowering, from the night drive to his wandering around the rotting motel, which at once felt like a Silent Hill game and like many places I've actually seen. Lynch handled Bowie (now literally a "Tin Machine," as I saw someone point out) about as well as he could have. The closeup of the bad Cooper's fear and unease were exquisitely done. In moments like that I can see why Lynch uses Kyle Maclachlan as his avatar, as no one but Kyle could communicate so many different emotions in what should be a soulless husk.  That this happened almost immediately after the Norma and Ed reunion - light and darkness - is why this show is like nothing else on TV at present. You know what you get yet at the same time you never quite do. 

The Roadhouse scenes with James and Freddie were, looking back, the most obvious path to what I should have seen coming (Freddie meeting Naido and the various scraps of the "good" or "neutral" parts of the Lodge being pieced together). I didn't think it would be done quite that way though. I felt sorry for James - still a teenager at heart, fumbling and awkward (and he was never the most confident guy even at his peak). And Freddie protecting him, with the super punch out scenes that were both pulpy entertainment and disturbingly real (as the men are probably going to either be dead or seriously damaged for the rest of their lives). It was also a way to sort of advance the story with James and that woman (if that is going anywhere). And it reminded me of some sort of bizarre version of that scene in Roxanne where CD finally knocks the barhouse bully the fuck out. 

And what can I say about the way they treated the Log Lady's death? I cried. I cried when she said she was dying, and again when we saw the closeup of Lucy (literally a light in the darkness in that scene) crying as she processed the news. Catherine Coulson was so brave to film these scenes and it was so heartbreaking and moving and appropriate for Lynch to tell us - and to tell Catherine herself, through her own words - that it's difficult to let go, but death is the next stage, simply another stage. Knowing that Catherine passed away right after this and the cast had to grieve while filming these scenes made them all the more poignant. This is something I won't forget for a long time. It was everything it should have been and more, and something I never expected. It was so honest and adult and yet also had a beauty and mystery. Everything Twin Peaks is at its best and always will be.

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jsbt

jsbt

The motel was actually also the dimension/place/whatever 'above the convenience store' - just like what MIKE/The One-Armed Man always said about where they lived, in Cooper's dream in the original series.

I do love the Audrey/Richard/Evil Coop angle, as dark as it is. It's also very soapy and gives Audrey a newly central role in the mythos.

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Cheezwiz

Cheezwiz

This episode felt much more disjointed than any previous ones to me. The hour seemed to fly by, and I'm still more confused than ever.

Was happy things finally worked out for Ed & Norma. As mentioned in a post above, it's refreshing to see deeply felt romantic longing between older people in a tv series. Those feelings don't go away as people get older.

Teared up at the log lady's final goodbye. That must have been very difficult for all involved to film.

Is Steven dead? did he shoot himself? I could not understand what was going on in that scene at all. I'm hoping he's gone, because he's absolutely repellent. Also still can't believe that's Alicia Witt. She looks nothing like she did when she was younger. 

The scenes with EvilCoop roaming the blackened gas-station/hotel were effectively creepy - something straight out of a nightmare. It was immensely satisfying to watch EvilCoop punch Richard Horne out.

I was confused by the scene in the FBI office - first the agent is told that Dougie & Janey-E are there, and then he walks into a room full of little kids - who were those people?

I guess we'll have to wait and see what DougieCoop's fate will be: is he shocked into his former self? Electrocuted? or has he been sucked into yet another dimension?

I was baffled by the screaming girl in the glasses at the end in the Bang Bang bar. Wasn't digging tonight's closing band either.

Only three episodes left to wrap everything up - I fear there will be lots of hanging threads.

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Pete Martell

Pete Martell

1 minute ago, Cheezwiz said:

I was confused by the scene in the FBI office - first the agent is told that Dougie & Janey-E are there, and then he walks into a room full of little kids - who were those people?

I think they found someone else named Doug Jones (or maybe he also had a wife named Jane) but it wasn't the ones they needed. 

It always amuses me that unlike most shows that have comedic local cops and uber-serious feds, this season has had all kinds of wacky feds and a mostly serious local police force.

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jsbt

jsbt

(edited)

I would've killed for Gersten/Alicia Witt to have a much larger role in-story, but I guess it is what it is. And she got quite the showcase tonight. It's interesting that most of the folks in the younger generations in Twin Peaks seem to be there to demonstrate the fallout of the past, and the effect of the evil or corruption within the woods or below the surface (Freddie Sykes is an outsider). Right down to poor Charlyne Yi's Ruby, crawling and screaming. Even Richard is a piece of that.

Edited by jsbt
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Cheezwiz

Cheezwiz

Thanks @PeteMartell, I wondered if the FBI scene was supposed to be a comedic mix-up, but wasn't sure, as the family was kind of surreal looking.

Also, there was a whole lot of screaming this episode: the kids screaming in the FBI office, Janie-E screaming when DougieCoop forked the electrical socket, and screaming girl in the Bang Bang bar.

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Pete Martell

Pete Martell

1 minute ago, jsbt said:

I would've killed for Gersten/Alicia Witt to have a much larger role in-story, but I guess it is what it is. And she got quite the showcase tonight. It's interesting that most of the folks in the younger generations in Twin Peaks seem to be there to demonstrate the fallout of the past, and the effect of the evil or corruption within the woods or below the surface (Freddie Sykes is an outsider). Right down to poor Charlyne Yi's Ruby, crawling and screaming. Even Richard is a piece of that.

I just wonder if we'll get any connection between missing Donna, Gersten, and Doc Hayward. I doubt it...

As much as the show focuses on middle-aged and older characters and also on the idea that struggles never really leave you just because you get older (it took 50 years for Ed and Norma to escape their high school mistakes), the show also seems to be saying what a lot of younger people say - that they feel that they have no future  and no way out.  I'm never completely sure if we're supposed to feel as alienated as we are (Becky may be the most prominent, along with Richard, but I know some fans just find Becky annoying - I don't mind her, but I don't feel a strong connection to her either), but it would make sense as a narrative choice.

I'm not really all that interested in the story with Becky, Gersten and Steven (aside from the Shelly/Bobby portions), but I did think the scenes in this episode were beautifully done, mostly because dialogue was kept to a minimum and we mostly just felt the emotions of the characters through closeups rather than lots of expository dialogue. Even down to the final moment with Carl reacting to the news and gunshot. 

It shows Lynch's trust in his actors, but also his trust in viewers. These lengthy silent sequences are one of my favorite parts of the new season and it's something I hope we get a lot more of in TV.

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dwmckim

dwmckim

(edited)

So when Lynch can no longer use one actor, he replaces them with a tree.

When he can no longer use another, he replaces them with tea.

Sensing a pattern here...

 

Oh and Hutch - if you're going to get someone dessert from Wendy's, if you get anything but a Frosty, you're doing it wrong!

Edited by dwmckim
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jsbt

jsbt

(edited)

I don't think the Becky/Steven/Gersten stuff is so much a whole storyline per se as a demonstration of the evil and corruption, as I said, and how it radiates outward to the youth. I think whether Becky is dead or not, what's happened with those three will reflect back onto Bobby and Shelly and serve as a grim reminder of the evil surrounding Twin Peaks as surely as its goodness. Insofar as there is a subplot for the Briggses - and I think there is, as much as Norma/Ed/Nadine with Jacoby - I think it is largely angled around just Bobby and Shelly, while Becky, Steven, Red, etc. all orbit them. It's about how these people and their drama affects Bobby and Shelly. Richard is really the only one of the youngsters in town with his own arc so far, aside from perhaps Freddie.

That was Mark Frost reprising his old cameo as "Cyril Pon(d)s", local reporter - he was the man in the woods with the dog who warns Carl.

The motel that Jeffries lurked within - above the convenience store - was the same motel (or at least, the same location for filming) as the one Teresa Banks holed up in in FWWM, where she met Leland, Laura and Ronette. Leland can be seen leaving it in the movie as the little Tremond boy jumps around in a mask.

Not sure what the deal is with Jeffries at all. Part 2 implies Evil Coop and Jeffries had a long-standing partnership, as Evil Coop refers to him as "Phillip" and suspects Jeffries has reason to now want him dead (a la MIKE and BOB). But it turns out whoever called him and hired Ray and Darya was only posing as Jeffries. Now the real Jeffries seems to not know which Cooper he is talking to, but in part 4 Albert also claims to have heard from Jeffries in the '90s, asking for him to help (Evil) Cooper. So who was posing as Jeffries, or working with Evil Coop, all these years? 

The most interesting theory I've seen is that it's MIKE - the voice on the phone in Part 2 said it wanted to be with BOB again. But MIKE has seemed to be benevolent and on good Coop's side all along this series.

Edited by jsbt
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Pete Martell

Pete Martell

8 minutes ago, jsbt said:

Not sure what the deal is with Jeffries at all. Part 2 implies Evil Coop and Jeffries had a long-standing partnership, as Evil Coop refers to him as "Phillip" and suspects Jeffries has reason to now want him dead (a la MIKE and BOB). But it turns out whoever called him and hired Ray and Darya was only posing as Jeffries. Now the real Jeffries seems to not know which Cooper he is talking to, but in part 4 Albert also claims to have heard from Jeffries in the '90s, asking for him to help (Evil) Cooper. So who was posing as Jeffries, or working with Evil Coop, all these years? 

Could it be a Jeffries doppelganger?

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jsbt

jsbt

(edited)

Could be, yeah. I'm sure someone'll figure this all out, but I'm not sure it'll be the viewers.

Also great: The Woodsman that Evil Coop speaks to above the convenience store, asking for Jeffries, is sitting by a piece of electrical equipment. He moves his hand behind it and it flashes and strobes. Jurgen Prochnow's proto-Woodsman in the 'above the convenience store' scene in FWWM (one of several Woodsmen in that scene, though none are covered in soot like the current ones) does the same thing! Same place, same action after all these years! I was waiting for the new one to do it when I saw the machine next to him and by God, he did. Wow. And they were credited as Woodsmen in FWWM. Makes you wonder if Lynch had a clear idea of these creatures back then.

Edited by jsbt
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Affogato

Affogato

3 hours ago, jsbt said:

 

The most interesting theory I've seen is that it's MIKE - the voice on the phone in Part 2 said it wanted to be with BOB again. But MIKE has seemed to be benevolent and on good Coop's side all along this series.

Audrey? Perhaps we've seen only the remnants of her good side? Imprisoned and unaware of the rest  

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paigow

paigow

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17 hours ago, Pete Martell said:

I think they found someone else named Doug Jones (or maybe he also had a wife named Jane) but it wasn't the ones they needed. 

It always amuses me that unlike most shows that have comedic local cops and uber-serious feds, this season has had all kinds of wacky feds and a mostly serious local police force.

Previously, the FBI underling mentioned that there were 4 or 5 Douglas Jones in Metro LV...

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paigow

paigow

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17 hours ago, Cheezwiz said:

Is Steven dead? did he shoot himself? I could not understand what was going on in that scene at all. I'm hoping he's gone, because he's absolutely repellent. Also still can't believe that's Alicia Witt. She looks nothing like she did when she was younger. 

I thought after Becky shot up the apartment door, Steven left town...If he came back to the trailer, why would Becky not shoot him? 

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Cheezwiz

Cheezwiz

2 minutes ago, paigow said:

I thought after Becky shot up the apartment door, Steven left town...If he came back to the trailer, why would Becky not shoot him? 

I found that whole scenario confusing. It seemed Steven was suffering both from withdrawal and suicidal tendencies. I hope he didn't kill Becky. We didn't get to know her very well, but for Shelley & Bobby's sake I hope Steven didn't harm her.

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PatternRec

PatternRec

(edited)

Haven't read the thread yet. Here're my initial thoughts...

 

* david lynch hates to let us know which parts of the narrative are drug delusions and which parts are actual mystical experiences
* RIP Margaret :( 
* Norma and Ed together is great. I hope Lynch doesn't ruin them in the next three
* Mr C/DoppelCooper seems not at all perturbed by multi-dimensional interactions
* gersten hayword is a little couger aint she? lol
* One Punch Man to the rescue!
* was that a Pulp Fiction reference? (I love you, Honey Bunny)
* other stuff... 


comment as needed; I'll read thread and respond in a bit :)

Edited by PatternRec
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uoflfan

uoflfan

(edited)

I still have no idea where this is going.  However, every time I see Dougie, I want to scream "Wake up Cooper".  Maybe the fork in the socket will do the trick.   Kyle Mac is killing those double roles.  Give that man an Emmy already.  

I'm loving all the Jennifer Jason Leigh.  She rocks as Chantal.

Edited by uoflfan
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Affogato

Affogato

3 hours ago, uoflfan said:

 

I'm loving all the Jennifer Jason Leigh.  She rocks as Chantal.

In a completely creepy serial killer way. Is her name a homage to sandman? Or am I just too tired to live? 

2 hours ago, Pete Martell said:

Great call on the mirrored movements. 

6 hours ago, paigow said:

I thought after Becky shot up the apartment door, Steven left town...If he came back to the trailer, why would Becky not shoot him? 

She's shelley's daughter. 

Dammit. 

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Affogato

Affogato

On 8/20/2017 at 10:15 PM, Giant Misfit said:

 

My main question I guess is how would Evil Cooper know about the conversation Philip Jeffries had with Good Cooper? Has he been imbued with all the knowledge of good Cooper's prior to his inception?

 

I always have assumed this to be true. 

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Affogato

Affogato

17 minutes ago, dwmckim said:

You know it suddenly dawns on me that i would love to see a dinner or other kind of interaction between Frank/Doris and Audrey/Charlie,

Yeah a whole other movie  a spinoff    

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Pete Martell

Pete Martell

I just saw this today - didn't know it had been up. I'm glad I found it to 'celebrate' Ed and Norma. It's another deleted scene from FWWM. Peggy Lipton is just breathtakingly gorgeous here. I'd almost forgotten the pure and intense and quiet chemistry Peggy and Everett had together. It says a lot that even now after all these years they still have it, just in a different way. 

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Nashville

Nashville

15 hours ago, paigow said:

I thought after Becky shot up the apartment door, Steven left town...If he came back to the trailer, why would Becky not shoot him? 

The pistol Steven is holding in this episode is the same pistol Becky used to shoot up the hotel room door; the fact that Steven has it now does not bode well for Becky.

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Nashville

Nashville

Anybody else catch what set off Dougie?  From the Sunset Boulevard dialogue - I think you'll spot it quick enough:

Quote

The first assistant has opened the door. DeMille is showing Norma out.

DE MILLE Goodbye, young fellow. We'll see what we can do.

NORMA (embracing him) I'm not worried. Everything will be fine. The old team together. Nothing can stop us.

She turns and walks out of the shot.

De Mille stands for a second watching her, then turns to his assistant.

DE MILLE Get Gordon Cole. Tell him to forget about her car. He can find another old car. I'll buy him five old cars, if necessary.

1ST ASSISTANT Yes, Mr. De Mille.

They turn back into Stage 18.

The big shocker?  That *is* the actual movie dialogue.  So now we know where Lynch got the name for his character.  :)

 

Reference:  http://www.dailyscript.com/scripts/sunset_bld_3_21_49.html - Sequence 'D' (Act 4), Scene 22

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jsbt

jsbt

Yeah, they regularly referenced old Hollywood movies of the '40s-'60s on the old show with names, twists, etc. The character and name of Madeleine Ferguson is a riff on the various characters in Alfred Hitchcock's Vertigo, and that film's set of dopplegangers/lookalikes. The S1 red herring of Waldo Lydecker is from Otto Preminger's Laura, which in turn inspired the Maddy twist. Phillip Gerard/The One-Armed Man is taken, name and concept, from The Fugitive, and in fact Freddie Sykes' name in The Return comes from The Fugitive as well.

Gordon Cole was another old Hollywood name they took from Sunset Boulevard, but they've been talking about that in interviews since the old days - they just made it explicit on Sunday by actually showing the clip.

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Penman61

Penman61

(edited)
On 8/22/2017 at 0:22 PM, jsbt said:

Yeah, they regularly referenced old Hollywood movies of the '40s-'60s on the old show with names, twists, etc. The character and name of Madeleine Ferguson is a riff on the various characters in Alfred Hitchcock's Vertigo, and that film's set of dopplegangers/lookalikes. The S1 red herring of Waldo Lydecker is from Otto Preminger's Laura, which in turn inspired the Maddy twist. Phillip Gerard/The One-Armed Man is taken, name and concept, from The Fugitive, and in fact Freddie Sykes' name in The Return comes from The Fugitive as well.

Gordon Cole was another old Hollywood name they took from Sunset Boulevard, but they've been talking about that in interviews since the old days - they just made it explicit on Sunday by actually showing the clip.

And of course in Vertigo, Kim Novak's character's REAL name was...

JUDY

Edited by Penman61
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JAYJAY1979

JAYJAY1979

It says a lot that Ed and Norma had the epic longing love story that hopefully will end happily...but considering the twist at the end of season 2 where their future was up in the air...we still have three episodes to go.

Gersten hayward, there was talk by fans when the original show aired that she had a link to the darker forces in Twin Peaks...eith her playing the piano during a haunting closing credit.  I do wonder what happened to her sisters Donna and Harriet.

It's ironic that Shelly was in An abusive marriage and she managed to break free thanks to Bobby..and Leo getting shot and eventually dying (we assume)...yet her daughter Becky ends up in an abusive marriage and might not be as lucky.  Sins of the parents are repeated by the children.

 

I still think it's glaring that Annie hasn't been mentioned except in episode 7 in the missing diary pages.  How odd that a last minute character with No plan except as a fill in for Audrey has left a hole in the show.  My theory is maybe she is like Dawn from Buffy the vampire slayer...someone that can appear and no one realizes she appeared from out of thin air...and can vanish as if she never existed.

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