Diane, it's 701 p.m. Welcome to another episode between peaks, peaks. We're going to be talking about a dispute between brothers. There may not be an article in front of that.
Yeah, I don't know. I actually just realized I don't know the title of this episode. I just forgot what number it is. So we're all doing good right now.
It's the one after the last one you watched, hopefully. So we're now... We're three episodes post reveal post arbitrary law. And this is like the true downward spiral.
Maybe. But we'll get into that as time goes on in the podcast. As podcast time goes on. There is no article in front of it and it is episode 10 of season 2.
Episode 10 season 2. There we go. Cool. Hey, Ashley.
What's up? I'm Matthew Wilson, by the way. Oh. That's not what's up.
Hey, Ashley, do we have any revival news this week? It's out there if you want to go look for it, but nothing released from Showtime. Yep, still quiet as a church mouse over there at Showtime. So let's just dive in at some point.
If you're a careful close listener to the show, you may know that my notes are typically real bad and all over the place. But this week, I kind of made a column for each character that I could think of that did something this week and then wrote down what I thought about what they did. It is a new approach for me. Totally new.
And we'll just have that mind as you listen to my film contributions. All right. Let's just run with it. Yeah.
Should I just start off with one of these columns? Well, I was going to start by saying this should be a really exciting episode because major Briggs gets abducted by aliens or something else happens to him, but he gets abducted by aliens and he gets ex-filesed. Exactly. This is when he leaves for the ex-files several years in advance and then Cooper gets suspended from the FBI.
Right. And Josie returns like those three things should be exciting things, but I had a really hard time being into this episode. You told me you watched it twice and kind of half paid attention both times. This is true.
That is exactly what I did. I don't. I don't entirely blame you. So yeah, where would you like to begin?
Beginning with the wake or? We kind of have to. Okay. The opening, I feel, is...
This is also the first time jump that we've had that they really... True. And they call that out three days later. Yeah.
Opening, I feel like, is immediately pretty strong, not only because of catching him off guard with like, here's a time jump, but also we were just talking about her last week, Grace Abriski, and how good she is. And I don't use her enough. And here's a really great scene with her. Like, at the very least revealing to where she's at after all this has happened.
And also, just, you know, anytime spent with Sarah's time getting to know Sarah better. And I think it's really great. I think Kyle McLachlan does his best to be like, calming Cooper at this time, but also like, I wouldn't buy it if I were in Sarah's position. Like, I wouldn't be that comforted.
But I like that even though that happens immediately after her comment about Leeland always finding the other earring. Like, that calm's not going to be with her. Sarah's life has been torn to shreds and Grace Abriski really, really does a great job. So, you know, living that and portraying that on screen.
I really hope Grace Abriski is in the revival. That would be great. I would love that. Like, I want to know what Sarah Palmer has been up to.
What if the revival was like the fourth season of rest of development? And you just spent a lot of time each episode with one character. As long as they're not green screening people into scenes, I think I would be on board. I didn't notice any green screening.
What are you talking about? It is bad. Don't do that. No.
Please don't. What was I gonna say? This is maybe a low-key spoiler alert. For the revival?
We talked about the one person show times announced for the revival, yes? Yeah. Okay. Let's talk about how Kyle McLachlan's been on Twitter a lot while he's filming.
Just like fucking around and like replying to some tweets. But seemingly not on set, ever? Like, Kyle McLachlan will be like, he'll find people who tag their post-winning peeks and then blow them up by being like, yep, pie and coffee. And something that person's life must be changed forever.
Like Grace by the presence of Kyle McLachlan. But he's never been like, Washington's really beautiful this time of year. Like, I don't know if he's like filmed in his scenes yet. I guess, yeah, that's a good question.
But I mean, David Lynch has also only been tweeting about his meditation foundation, so. Yeah. But that's like important stuff. Yep.
It is. It is. David, it's actually. Yeah.
And a Katy Perry, interestingly enough. Yeah, that is true. So I think, I feel like the big point of this scene and the big point of a lot of dialogue in this scene, specifically like Cooper's dialogue, is to like exonerate Leland and like make us comfortable with the reveal. Yeah.
I don't know. I really don't either. Because ultimately, like, ultimately, that's not respecting the victim. That's not like giving or respect to like what Laura went through.
You know, if you're tripping over yourself to, you know, make her a user. I don't know. Make people comfortable with. I don't know.
Right. It's an interesting choice at all to go with jumping to the wake, especially when the rest of what we see at the wake is just like, Hey guys, we don't know what we're spinning our wheels at this point. Let's start some weird plot threads that will carry through the rest of season two. And I don't, I'm not down clearly by telling my voice.
I'm not down. But it's like, what Cooper's saying in talking about Leland going to the light and making peace and more welcoming like, yeah, that's all it doesn't sit right with me. And it's so much more interesting to me that line that Sarah has about, about Leland always trying to get her earring because like that's just to me, like that tells me how Sarah feels about this and how Sarah feels about whether or not her husband was a monster or at times possessed by one. Like that's a character detail.
But here's the FBI agent who's been in town for three weeks telling you essentially brief is normal, brief is appropriate at this time. But also heaven is real. And I've seen it. My name is Colton Burpo and your husband and daughter are happy now.
Like no, it's, do you get my purple reference? I didn't. Okay. Well, one listener maybe did.
I don't know. Do you, do you feel like, do you feel like I guess the episode off to a bad start? Like do you feel like that almost at the tone for like, not only are we going to not respect the victim, respect Laura in this case, but as we're distancing ourselves from this plot line, we're going to lose respect for basically lots of different elements that were previously being carried very well in the show. Yes.
I feel like there's a lot of information dumping going on here, which is telling not showing, which is like the cardinal rule of writing. Great writing class 101. Yeah. Like there's that line where Cooper says, your husband went so far as to drug you, drug, I guess that's how you say that.
It's probably helpful for the use net people. Yes. Quite a bit. But like Sarah knew that at this point.
This is not news to Sarah. There's no reason for Cooper to be telling Sarah facts about herself. Cooper needs an editor is what he needs. Yeah.
That just really sticks in my mind because that's not good writing. I also want to take a quick sidebar because have you seen Masters of Master of None? Oh, I've seen the first three episodes of Master of None. I feel like this is what's going on in Master of, in the dialogue of Master of None.
It's first draft dialogue that really explicitly states the purpose of the dialogue without embedding that intent into like real speech. We probably should have a discussion amongst ourselves about that show. I imagine I just watched the episode that was based off of a Harris Whittles proposal. Wait, which one was that?
That's a third episode. But what happens in that episode? That's the Father John Misty concert episode. Oh.
It says story by Harris and then teleplay by Aziz and so forth. All right, he Harris. Yes. And I kind of get the same vibe from that show, but I wonder, I've been not seen all of it.
And I'm wondering now this early on whether or not that's like an intentional thing. I don't, I really don't think it is. I really don't think it is. You think that it is what they consider to be sophisticated when really it's bad.
I mean, I don't know how they feel about it, but like that is what that dialogue is. It's really unnatural and clunky. That show carries an era of being smart and sophisticated and thinking it is. Mm-hmm.
But I don't know. I don't know. You know what? Show doesn't carry an era of being smart and sophisticated at this point.
Tell me everything. Twin Peaks at the point at which they're like, here's a goofy mayor and is like political rival who's going to like be all upset because of like young women in their lives and let me tell you the story and Harry, when did the mayor run for mayor? Oh, I think it was 1960. Like fuck this.
You're out of wake. Goddamn wake. Look at you bringing it back. Back to the topic of the show.
Yeah. You can listen to our master of non-podcast, nowhere. You can read my tweets about master of non and give me some faves to let me know that you also recognize these issues in the writing. I do really like that show otherwise, but it bothers me that no one is talking about that.
Okay. God. Yeah. Also like what teen is marrying the mayor or the mayor's brother or whoever?
Hey, don't worry, Ashley. This is just the tip of the iceberg of this plot line. I love it. Alright.
So much. Hey, let's talk about our favorite. You want one of my columns now? Because it's a short one.
It's a short column. Alright. Let me with it. Donna.
Two people in love have caused all this. Donna. Yes, Donna. You have caused everything terrible that has happened in this town.
Yes, Donna. At the wake for your best friend's father who murdered and sexually abused your best friend. And your fill in best friend, her cousin. Uh huh.
And also, drug your best friend's father. Like, did all this terrible shit. Now is the perfect time to make it all about you and James. It's the perfect time.
It's the more appropriate time in life than after all this shit goes down to immediately be like, two people in love. No, God, no, Donna, stop. Meanwhile, Audrey is doing Donna's job by hanging out with Sarah Palmer and Donna's mom talking about what great friends Donna and Laura were. Yeah.
Audrey is doing this so right. She's great in that scene. I wish that Audrey got to interact more with like the other ladies of the show. Yeah.
Because she's really compartmentalized into this male world. Yeah, very, very much so. And I think you can kind of like. I want to go episode by episode and see which episodes pass the backdell test.
I'm guessing not many, if any. Because there's Norman Shelley. So like sometimes they can, they can pass. Sometimes, but then sometimes they're like, amen.
That's a lot of their conversations. Maddie and Donna might have talked about Laura at some point. Yeah. Or maybe they're just talking about James.
No, they do talk about James a lot. Yeah. There's maybe one scene where they talk about Laura. Yeah, I don't have high hopes.
I'm interested to learn though. Let's get some data. I mean, it's not like, it's not like Jurassic World where you're like, ah, a woman. I didn't see, I didn't see Jurassic World.
No, I didn't think you asked if I wanted to go see it. And I was like, I haven't seen, here's the thing. For me, Jurassic Park by my personal experience is a completely untainted series. Because I haven't seen Lost World and I haven't seen three.
And I haven't seen Jurassic World. I've only seen the good one, the best one, the only one that you need to see. And I've seen it a lot of times. I told you about how I watched the second movie over and over again as a child.
Yes, you have. And I might even like the second movie because Jeff Goldblum's in it. There you go. I love me some Goldblum.
Goldblum would actually be a great addition to Twin Peaks. Come and think of it. But I just like, you don't need any more, much like, also to bring a background. It's debatable to whether or not you need the next long chunk of Twin Peaks episodes in your life.
You don't need Jurassic Park 2.3.4. You just don't. You might need it. There definitely, in a lot of TV shows, there's a point where you should just stop watching.
Here's another way we can link, ah, ah, ah, Laura Dern. I'll just put that out there. Laura Dern. There you go.
There you go. There you go. There you go. There you go.
There you go. Alright. There you made that connection. Yeah.
But, okay. Let's take a real quick pause because there is a valid reason why you would stop watching right around this point because... The mystery's done. All of those plot lines are wrapped up.
There's starting new ones in this episode. And we know where they're going and it's not super great. You don't know where similar ones are going. I don't know where a lot of them are going.
You know, whatever. I'm not trying to be like, you don't know what you're in for here. But I'm trying to be like, you can tell by the way in which some of these plot lines are introduced, like the exposition dump style really gives away the... This is all it is.
This is all this plot line is, is the situation that you're going to see kind of play out again and again with very minor, like, and definitely not dramatic and hardly comedic, like, movement in any direction, in any semblance of plotting to it. It's like, here are these people who are in this situation. Crazy, right? There you go.
But I was going to say two really valid examples of like, shows that there's a clear point where you stop watching. Weeds? Okay. After season two when the suburb, the Gated Community burns down.
That's where you stop. Just like, her story ended there and she burned everything down. Great. Kind out to go out on.
I think I know what the next show you're going to say is. You probably do because we've talked about this before. Do you want to tell me? You're going to say lost?
No, I was going to say Dexter. Oh, that's a way better answer. I was just hoping that we weren't going to repeat it last week. No, because there's no clear point where you get to stop watching lost.
That's like, shit's just going forever and there's never a resolution. That's a tricky thing about lost. But Dexter, the end of season four, you hit this, like, cathartic high point, wraps up a lot of like, ongoing questions that the show had been raising as part of its premise, and then just creatively changes hands and turns into a totally different show. Yep.
But point being like, there is a point where like, you reach some kind of like narrative catharsis and you can just stop and like, you've enjoyed a good complete story that does not have to continue. Dexter spoilers incoming. I don't really don't care because I didn't say any Dexter spoilers. I'm going to see some Dexter spoilers.
Okay, let's go for it. I'm going to blow up Dexter. And to be fair, I haven't watched past season. What happens, what's the, give me a broad story summary of the season after season four?
I only watched part of it. season five is the one where he like, finds a girl in the Everglades. Okay, okay. It's the season where they go from like, can he like, be in a monogamous loving relationship to, here's our lady of the season love interest per season.
Right, right. Which is also the worst part of season two was his like, anyway, this is not to talk about what I didn't like about the good parts of Dexter. This is to say, it's like after season four, they were, they went to the drawing board and were like, what is a worse, how can we take the premise of this show, which is already pretty bad and it's remarkable that we made it good, which is that here is this serial killer who kills other serial killers, already kind of ridiculous, who then were supposed to be invested in despite his like complete emotional detachment because they're supposed to believe that he's like trying to be a good person. And like, like this total hot mess and it's like, also he's like, supposed to be dangerous and sexy and funny and I'm like, he's like, just kills and kills.
How can we make that worse? What if we focus on if his sister is in love with him? Okay. What if we add just a little dash of will they won't they incest?
It worked really great in the rest of the moment, right? He was, he was adopted, but they also took a character who had a lot of her own arcs, many of them romantic, but some of them like real arcs that came from like a real personal place for the character and then they were like, what if we just made her obsessed with a man and that's as far as we got. And that man is a brother. There we go.
Totally great direction to pull that show. I mean, I've told you this before, but they did an interview with the show runner for season four who had been, you know, an executive producer on the creative team the whole time, which is why he was able to kind of pull that season together so well and like, tile those strings up. And then he was saying that he said that there could only be like one more season kind of like wrapping up Dexter and really like going in on like the bigger questions that were still left and then showed him was like, nope, this show is going to run as long as it's making us money and they handed it right over to someone else. Now, this is something we're doing a lot of like, let's bring it back around.
I wonder if this is going to become a common thread for now. But talking about Twin Peaks, the lens of other television and other television through the lens of Twin Peaks, that could be interesting. Case study. They don't hand the show off to somebody else.
Twin Peaks goes on for rest of season two and they're like, eh, shit, canned. Goodbye. Go to some French investors to make your movies David Lynch because we want no part in continuing this. Goodbye.
Like, you could see an alternate universe in which they're like, OK, shit. A season two stumbles really bad. They're after the war of Palma thing evidently we fucked up there. Maybe let's give it to someone who's not David Lynch, but who we trust.
You could see an alternate version where they try to save Twin Peaks by doing that move, by pulling a by Dan Harmon. I was going to bring you. But who would they give it to then in that scope? That's something interesting to think about because this conversation may well have happened even.
They don't want to get too speculative here. But it's like, I can't imagine it was an easy decision to cancel the show that at least in its first season was such a phenomenon. Well, I mean, I think maybe the reason that that didn't happen was because the ratings were kind of too bad to save at that point. Whereas like, Showtime will really just like run something into the ground.
Is Louise also Showtime? I really want to say that it is, but I really might be HBO. I'm going to look at it really quick. OK.
In any case, Showtime, please don't order eight seasons of New Twin Peaks in one of the other. We don't need that. Just wait. Let's move on.
It was on Showtime. I knew it. Oh, God. Yeah.
We're going to be done. Now we're not going to get that sick insider Showtime access because we badmout them. Damn it. Let's talk about something else.
How about this? You name a character and we'll see if I actually remember they were in the episode and that they did things. Um, or you can talk about whatever you want to talk about. OK, I think I did not take a ton of notes.
Hank. Yeah, OK. I'm just going obscure. I'm really just trying to fuck you up.
No, Hank and Ernie share a column. OK, first point about Hank. They resolve what Usenet was so upset about, which is that. They do.
I was really excited about that, which is, hey, what happened when Hank had that gun point on them? But what happened to that dude's wallet? Yeah, but they don't really. They just say because he had that wallet, it was chill.
And now he's like, genre knows butt buddy. And like, despite being a quote. Don't explain how it went from, oh, I have my state prosecutors badge to like, we're BFFs now. I like kind of work with him.
We're business partners. Completely, completely no connection there. Hey, why are you under John's employee when you are a complete gun who had a gun pulled on him by John? Like, if I'm genre know, I'm not like, oh, yes, this man who has the prosecutor's license in these pockets, who I totally had the drop on, he is going to help me with my dirty work now.
Like, no, you just you. If you're genre know, you shoot first, ask questions later and bury the body somewhere between. Yeah, there's a river right there. Just kick it in.
And no one's going to miss Hank. But instead, we got Hank and Ernie. And here's my second point. We're supposed to believe Ernie's a hacker.
Yeah. Ernie is the least. OK, think about what computer hacking was. And he's a white-collar criminal.
Think about what computer hacking was in the popular consciousness in 1990. I mean, what is it now? Well, right now, it's like, I don't know, fucking someone who looks like Edward Snowden, probably is your like, thought, or like someone with a fucking Guy Fox mask on. Like, we've gone down a...
Oh, I meant just like, taping random stuff onto a black screen. We're talking about it. Yeah, yeah, yeah. Yeah, that's what I was talking about.
Yeah, that's never changed. But Ernie is the least fucking late 80s, early 90s, cyberpunk individual you can imagine. He's a used car salesman. I don't even buy the like, intelligent white-collar criminal from him.
He's a character who fell out of a sitcom. He's the wacky neighbor. He seems like he should be on Seinfeld as one of Seinfeld's disgrounded. What have I been saying about this plot line this whole time?
True, true. And God. And just like, you have to sit and watch Hank like Nogi, like, drunk Nogi Ernie in like a threatening manner for like a whole minute. Yeah, it's really excessive.
But also I have to tell you, actually, before you ask, yes, this is how head Roman behave on their own. Is it really? We're just like, ah, drunk Nogi, drunk Nogi, do this thing for me. It's about what I expect.
Dominance, masculinity. That all goes down. I believe it. No, they're behaving like four-year-old boys with the actual reality that seems to make no fucking sense.
These are not two criminal masterminds, including they're not because they both went to jail. Hank's plan was to go to jail to cover for another crime. Real smart move there. But it's, I mean, Ray Wise isn't on the show anymore.
So the screen time has to go somewhere. It's not on the show anymore in case you didn't notice. He's not going to rise from a grave and he's not going to be, you know, an apparition because Sarah's not in very much of the rest of the show. Yeah, yeah.
Moving on to... You want me to pick someone? I want you to... now that we've talked about the fucking dumb and dumber, we're not going to refer to Hank and Ernie as an Alan.
There you go. What's something that stood out to you and I said that I mean kind of like made you go, what the fuck am I watching right now? Oh, I think it's when the mayor and his brother have that fight because we're going to just be seen over and over again. And Donna like wrestles the plate out of their hands but does not like otherwise make herself helpful.
She's like really concerned about that plate and like I get that, my fear would be that that food would go everywhere and make a mess but like physically wrestling it from the hands of someone entangled in a physical fight. Like she didn't have to do that. She did not have to be in that scene. It's all about Donna isn't it?
It is. Okay. Moving on. What else happens?
You know who hangs out in this episode that should hang out more? I can guess. Is it a duo? Yes.
You're excited about Audrey and Bobby? Yes. Tell me how you feel about me Bobby. Well, my only real note is yes, yes, Bobby and Audrey, why aren't they in school?
I'll cap. I assume that Bobby hasn't been to school for three weeks at this point. When he said he had econ or home room or whatever. Audrey was not at school while she was kidnapped in Canada.
I think when you've been kidnapped and forcibly drug with heroin, you get an extension on your paper on 1984. The truancy officers should have been calling Ben or someone. Far before he was just like, well, Audrey will turn out where she won't. Right.
Okay. Other than Shintheby in school, how do you feel about the scene? I feel like the potential is there for great kind of speed between Dana and Sherylin. Yes.
I think the circumstance, the situation is less than stellar under which they're introduced. As like a potential duo. I love the setup. I love the idea that Bobby is wearing Leo's suit and it's too big for him.
He walks into Ben Horn's office and Ben Horn won't look at him. To be clear here, when did Ben get a couple of goons to throw people out of his office? They haven't been a picture. Since he was released from prison, you know, from jail.
I think he realized that he's playing. I'm going to go get a sandwich. He's going to work anymore. So maybe I need some muscle around in case I get a, in case a attempted arrest is made again.
Yeah. And then they can bring the sandwiches to him. Do you think the sandwich thing has worked for Ben in the past? Yes.
And he was like, so certain he's going to escape a rep. Yes. Yes. He's like talking to Jerry, Jerry talking about something Ben doesn't care about.
I'm going to go get a sandwich. Oh, yes. Sounds good. Bro, bring the back one.
I'm going to go get a sandwich. I got to go get a sandwich. She's like, there's one in front of you. He's like, you take that one.
Okay. But also Catherine's like, I don't want to do foot stuff today. I'm going to go get a sandwich. And done.
End of podcast. This is also seen with like not great dialogue. Right. What I'm saying is they lean a little too heavily on Audrey's around a man.
She hasn't been around before. Time to be kind of flirty with I like to lick. Oh, yeah. That was like it could.
It could also like Laura's ex boyfriend who is living with Shelley. I assume like Audrey knows at least one piece of information in there. Also, also Audrey's just been exposition dumped as I will term it. Not like a couple hours early in the day.
I don't think she's going to look at Bob, bring him like like it's just like a lazy version of Audrey. That's like she's always going to be flirty around a dude. Like I want to see these two who are just fucking precocious, mischievous, bad kids enjoy just being bad kids together. Instead of like any of this kind of like undertone of like sexual innuendo or any of that stuff.
I just want to see them both be like you're the fucking high school quarterback who's clearly here to like try and black me and my dad. My dad is a brothel owner who like made my life a living hell recently and has never been there for me. Let's just get fucking kind of like cruel and leave all any of this like any of this like hmm hmm. Two sexy people in the room together at the door because like that's clearly for like a fucking audience that like is not us I think.
Yep, that's pretty real. We appreciate that Twin Peaks has a lot of gorgeous people, Dana Ashbrook, oh my god, people on it. But we're not the ones who are like any pairing must then have like that kind of underlying tension. Yeah, absolutely.
And also he says thanks Audrey, you've saved me twice or whatever. She didn't save him that first time, she like set him up for failure which I love. And like he's not so stupid that he can't figure that out. Yeah Bob, he's like cut dumb in this scene.
It just seems like a dumb body. It seems like they like cut something out of the dialogue. Do you know what I mean? Like it's two scenes that they just kind of mesh together without.
Very possible. But again despite all this like stuff that's not good about this, it's fucking great to see those two in a scene together. Yes. I wish that Audrey and Shelley were friends.
That would be sick. Also why wasn't Bobby at the wake? He has like given up pretense of acting like he was dating Laura. You know what though Laura's funeral Bobby got in a fist fight so maybe he didn't get invited to the wake.
That's real, that's true. It's not getting invited the next week, the fucking old men because they got in a fight. It's one rule. Rule number one, two rules.
Rule number one, don't murder. Yeah I don't know about that rule. People break it but there's still consequences eventually. Rule number two, don't fight at a funeral or a wake.
Because then you get cut from the wake master list which is just the email blast they send out every time someone dies. Actually it's not a email blast, they just have Andy come up to everyone's house and be like, yeah it's gonna be a service, it's gonna be really nice. If you could bring your green bean casserole it went over real well last time. He has like a spreadsheet and everyone else is up in Canada doing a bus at One Eye Jacks and they're like, Andy just take RSVPs for the funeral.
Oh this is Jenkins, it would be really great if you could bring your corn muffins again. I really like those. I want to see Andy Brennan PI. You can have whatever, whatever twin piece of the toss you want.
I want Andy Brennan because of private detective. I want that to be his season three plot line. I want to talk about what my appeal was right? Yeah, him being mayor.
Yeah, I love that. What if it's both? Jerry Gurgic situation. What if it's private detective mayor?
Andy Brennan? Where was this going? I don't know where this going. We keep going, there's a shit ton of stuff that happens at the wake scene.
Like also Cooper being like, I'm just gonna go on vacation. I have a bunch of vacation time because I'm addicted to work but not anymore because the twin peeks have changed me. And you're like, yeah this is how they're gonna keep him on the show. Right, he's just gonna hang out.
Which would be totally interesting. Yeah, and he and Harry, do they have the heartfelt moment there or later in? No, not there. I think it's later at the station.
It's like right before the FBI and now he's walking. Okay, and then we like glaze over some like Audrey Cooper flirtation. This is, yeah, well this is the, this is what I call the exposition dump. As in, Audrey gets her chances with Cooper's shot down by Cooper.
Suddenly deciding to give Audrey the lowdown on what the fuck happened in Pittsburgh. It's also a very hand-pisted way of being like, remember that window-merroll thing we mentioned a couple of episodes ago? Hey, hey, but also, Audrey and Cooper not happening. Goodbye, let's seal that up and I hate it.
I hate that scene so much. Yeah, it's like also not. It's not like Sheryl and Finn's best acting moment. Like she can give a lot.
Right. But like the lines they gave her where she's like, oh you like saved my life and then break my heart. Yeah. And like one day I'm gonna be grown up and on my own you just wait like, what is she supposed to do with that?
Yeah. That is first draft dialogue. First draft dialogue. And like also the move, the move of Cooper to be like, here's why we can't happen.
Because people get close to me, get hurt. That's the worst. It's the most, it's the latest backstory you could come up with for an FBI agent because of course, of course, you go there. And it's on service of kind of planting the seeds for window-merroll.
And I'm just like, okay, all right. This is clearly, this is clearly a plot line. That scene is there to tell you, forget about ordering Cooper, which is like, please why? That was so interesting.
It was interesting to watch and get ready for this other thing that you're, that is supposed to help fill the void of having a main plot line. Yeah, that's what a lot of these scenes are really doing is like closing up one door, open up the other one, really in the same breath without any kind of- Without any nuance or like- Yeah. It's like, it's like if I were to open a door, well everyone in the room is watching me and then tell people, hey this door's open and you can walk through it. That's pretty much it.
If you want to walk through this door, I've just opened it. You watch me open the door. Here it is. Let's expect through the process of walking through the door and just be on the other side of the room and I'll talk you through the process of what's happening in that room and what we can maybe expect from the things that are in that room.
Was this during sweep's week? Like was this like, was this like kind of stuff that they're just like shit, we really got to like, let's just tell people what they're in for. There's only one scene that works like this in the episode that I like and can you guess what it is? No.
And it's like, it is maybe the, it is a better scene than what we've seen so far. Maybe in the grand scheme, maybe the best one between Andy and Lucy and Dick Tremaine. Shit, which one is that? Lucy is putting in a light bulb.
Yes, okay. No, we're like fixing the sprinkler. Okay, yes. No, no, no, she's putting in the big light thing.
Oh, she's putting in a light bulb. Okay. But Dick comes in. It's a big like unwieldy.
It's not like a tiny light bulb. Right. Dick comes in and is like, I've stopped smoking because yeah, the last time you set off the fire alarm and let a demon fucking get away and kill himself. So yeah, you should stop.
You prick. But anyway, it's like, I love the conceit of like the literal triangle with Lucy on the ladder and Dick and Andy on your side and Andy's move of like taking a couple steps up the ladder. Yeah. And then getting really close into the point where like Lucy is so clearly loving it that she's like, oh, just about to make out with Andy right there.
Like Andy is a boss in this scene. And then he like goes up the hawk and he's like, he's like, Lucy loves masculinity and moral. He doesn't say it exactly like that. And then he's like, do you think they went too far and like starts crying?
Oh, he literally just been like, we all need to be nice to Lucy. It's so good. Like that seems really good. Like the whole framing of it is like right out of like, is our town the one that always has two ladders?
I do. It's like a play where it's like being as literal as you can while still being like using space for the purpose of metaphor. It's like here's a triangle and Andy gets a good deal closer to Lucy and like that's all done really well. I feel like they do kind of like they give Dick to her name and like kind of like ring his neck a little bit by having him come in shape and be like, yeah, I really fucked up.
And before you resume is being like, just scummy and annoying. Like it works for me on so many levels. But it's also saying, hey, this is their plot line. Keep that in mind.
Like it's going to be this. It's going to be tug of war between Dick and Andy from now on. All right. You know what else happens in this episode?
No, don't. Cooper gets suspended from the FBI. I don't remember that happening at all. Just pulled out from underneath her feet.
He was going to go on vacation with major bricks. No peace in trouble with the federal government. The way in which they walk in. Do you want to know what my note is?
What? I mean, there's a Black person in Twin Peaks. Yeah. Yeah.
They walk in and then they show the shot of like Cooper. I think it's like Cooper, Harry, Andy, Lucy maybe. Hock is it? Anyway, they show the shot of the gang looking at gas, and I'm so surprised that they had their restraint to not put in a bum bum bum.
Because it's so, it's so clearly that. Yep. And with it with the reveal at YJAX of the Mountie being in on it and all this stuff, it's just like, it would have been a more interesting choice. I don't want to like, you'd be like, oh, you should have done this.
There's no should have done, Sierra. But it is so forced to be like, how do you change the stakes for an FBI agent? Take away their badge. That's almost too obvious, I think.
Season two of the X-Files. Yeah. Which came afterwards. But also, they could play around with that more in a way that Twin Peaks bias constraints won't be able to play around with.
Yeah. I don't know. I mean, it's just like an obvious choice, and they did it. And here we are.
Yeah. Because the basic, like, they have to keep him in Twin Peaks somehow. They can't write him out of the show. They good.
That would be like a worse choice. And in that case, we may not have even watched the end of the show. I guess. Yeah.
But like, really? Just like, turning your gun and your badge. And then he stands up all huffy. And it's like, yep.
It's really obvious. And then, well, Harry gets to do something interesting, where he's like, you need a warrant. Is that true? Is that accurate?
Yeah. They would have to go through like you problems. Let's talk about the Harry Cooper scene, because I do like it. Could we both like it?
Where he gets a little Bookhouse Boys badge. That is really cute. And the Green Butt skunk, is that's called? Yes.
It's a little fishing thing. Yeah. Yeah. So that's a great note to hit on.
It's like, yeah, this is like rural America, fishing, and learn how to do fly fishing. Fish and stuff. Fish and stuff. But like the act of the, I don't know if you're more technical here than the kind of the fly or whatever.
Anyway, it's sweet. Harry puts forward his feelings in this episode at one point. I think he says, I don't know what to believe anymore. And this gets back to what we're talking about a couple of episodes ago, which is like, we don't get the interior moments.
But they're trying to like, it's like, I realize that and they're trying to have him signal like, yeah, I'm having a real crisis of faith now. Things are weird for me. And I don't care. I don't care.
Michael Leking deserves better in terms of like showing. And again, not just telling. There you go. Screenwriting 101.
Yeah. Also, Josie comes back, but I don't really have a comment about that. I missed that the first time I watched this episode. That's a good, that's a good enough comment.
Because it's super quick. And he's like, OK, shit. Guess we'll see where this goes. They could have subbed a lot of Goopers.
Like, I didn't do this. I did do this with maybe a couple more seconds of like, what's up with Josie? Yeah. I feel like we're so far.
And I hope this doesn't become a trend just by nature things. But like, we're being maybe a little harsh, let's say. We're airing our feelings regarding this episode. And a lot of them aren't good.
There is a really interesting scene that I don't know how I feel about. And I want to talk to you about, though. And it's Catherine. Catherine announcing her return to Harry.
Yes. Thank you. She spends a good yarn. We're done with Tajamara.
That's good. And we get to see good acting. And I think a good story. I love the fucking, I ran out of tuna.
Kicker to Catherine's story. But where do you think Catherine's coming from here? In deciding to announce her return, her motive to announce it directly to Harry, and to make it appear as though she just returned. And like, what if there's any veracity to her story at all?
Because we don't know how she got out of the mill still. This is the only account we have of it. And it's clearly at least somewhat fudged. We don't know to what extent.
We don't know if some of it might actually be genuine. Sounds like you were really moved by Catherine's story. I wasn't moved by it. I was like, does Catherine seem like a type of person to?
I didn't believe anything. She said. You didn't believe anything. She said.
No. And it could tell that it'd be like she's playing Harry's a chump. But also, it would be really interesting to me, I think, if any of that was true. If Catherine really did not know.
Yeah, no. It would be super interesting for her character. If Catherine did not know how she survived. Because then it would mean in the face of all that, her resolve was immediately to fall on her backup yellow face plan, which doesn't excuse that at all.