Twin Peaks: In Hour 8, Lynch outdoes Lynch
If you thought “Twin Peaks” couldn’t get any weirder, you were wrong. And the latest hour of David Lynch’s “18-hour movie” has proven that. It’s exceeded, even shattered, all expectations. And it’s by far and away the strangest, most mysterious, horrifying and mystifying hour of television I’ve ever witnessed — and possibly that’s ever aired. It’s transcending the very medium itself. Frankly, it’s unbelievably to me that this is the kind of thing airing live on television every week (except for next week, because “Twin Peaks” will be taking a one-week break in favor of the Showtime premiere of “Snowden.”)
Unraveling this hours mystery is a near impossible task. It features almost no known characters (or at least we don’t know if we know them), the time and space of it goes far beyond what we’ve seen in the series thus far, and it features some Lynchified visuals more akin to the “Jupiter and the Space Beyond” sequence in “2001: A Space Odyssey,” the creation of the universe in “The Tree of Life” and the work of Stan Brakhage. Lynch has really outdone himself here.
But before get to the totally inconceivable, this hour lands on Ray and Bad Coop driving away from the prison. It’s a dark and shadowy drive, with enough mystery and tricks in itself to be totally and entirely satisfying. The two are headed to the “farm” and they pull over to take a leak. He wants some information from Ray, and Ray thinks that information is worth some money. While Ray relieves himself, Bad Coop pulls the gun from the dash and threatens Ray with it. But Ray tricked him, and it’s loaded with blanks. He shoots Bad Coop. Things get weird. The Woodsman, dark and shadowy figures from the Black Lodge, begin to appear and smear blood all over Bad Coop’s dead or dying body. It goes on and they begin to pull a fleshy egg sac out of his body with Bob’s face on it. Ray flees with terror, calls Phillip Jeffries and tells him what has happened. He also tells him that he’ll be ready for Bad Coop when he comes to the farm.
We cut to the Bang Bang Bar, where we’re treated with an uninterrupted performance by Nine Inch Nails. And that’s the last thing I’ll say that’ll make any sense. From here on out, I’ll attempt to describe and explain, to the best of my knowledge, all following events.
It’s 5:29 a.m. July 16, 1945, in White Sands, New Mexico, we’re witnessing the first Atomic Bomb test. Lynch slowly launches into the mayhem of its beautifully photographed mushroom cloud. Inside the smoke, we begin to see things on a molecular and metaphysical level as weird shapes and flashes of color begin to appear, much like those sequences I previously mentioned. And then we see an alien creature, which looks very similar to the creature that jumped out of the box in the premiere, spew out some sort of foamy liquid with that fleshy sac of Bob attached to it. It’s the creation of Bob, of evil itself.
We continue to move across nightmarish landscapes and oceans through a metaphysical world that I can’t really explain before scaling an oddly shaped building or mountain and into a tiny rectangular slot. Inside it, the Giants home. We last saw Giant in Hour 1 sitting across from Dale Cooper in the same beautiful black and white. Dale Cooper has been here before, I think.
Inside the room, the Giant and a lady, presumably his wife, receive a message in the form of a buzzing bell. The Giant begins to walk through some sort of lobby and stops in front of a giant movie theater screen. He watches everything that we just have — the Atomic Bomb, the imagery, the Woodsman and pauses it when he see the alien-looking creature spewing the egg of Bob. The Giant begins to float up and spray something golden into the air. The women walks towards the Giant and the golden dust forms into an egg or ball. It floats over to the lady and she kisses it. It has Laura Palmer’s face on it. She let’s it float up through a strange golden chute that sends it towards the screen, which now shows the globe, and Laura Palmer’s egg goes through the screen and towards the earth. It’s the creation of good, I think.
Fast forward 11 years, to Aug. 5, 1956, somewhere in the New Mexico desert. An egg lands and begins to hatch. Is it Laura’s? Is it Bob’s? Or is something else entirely? A bug crawls out of it. The Woodsman begin appearing on a highway. The most prominent Woodsman approaches the cars driving on a highway saying “Gotta light?” They flee in terror. We cut to a young couple on their first date, getting their first kiss. After the date the girl walks home and lays in bed. We also see a waitress in a diner called “Pop’s Diner” and a mechanic working on his car. They are all listening to the radio. The Woodsman sees a radio station and begins walking toward it. He walks in and crushes the receptionist’s head with his bare hand. It’s terrifying. It’s gruesome and gory. He walks into the booth and turns off the DJ’s music, grabs his head, and begins reciting a poem to anyone listening in:
This is the water and this is the well.
drink full and descend.
The horse is the white of the eyes
and dark within.
The mechanic, the girl and the waitress begin passing out. The bug crawls into the girls mouth and down into her throat. The episode ends.
Things to look out for
• Is the young girl Sarah Palmer? I think so.
• What is this poem? The second verse to the “Fire Walk With Me” poem? Or something else entirely?
• We saw Bad Coop wake up after he was shot. Will the Bobless doppelganger be any different?
• We now know who or what was hanging out by Bill Hastings prison cell, and walking down the hallway in the morgue. The Woodsman.
• Who’s side is Phillip Jeffries on exactly?
Assistant Lifestyle editor and television and film critic Jordan Musheno’s review of ‘Twin Peaks’ will run every Thursday in Showcase.