The camera floats around the building’s exterior, then dives into its single window.
Cut to: an island in a purple ocean, upon which is a strange, alien-looking building - a castle, or some sort of fortress. Cut to: some strange otherworldly creature vomiting eggs into a void. Only it’s not empty: in jerky, stop-start footage, we see more of the charcoal-black men - “woodsmen,” according to the credits - flitting around the frame like insects. The chaos finally resolves into the facade of a gas station in an abandoned town, perhaps one of the towns that was cleared for the explosion.
And then: a good five minutes of discordant, abstract noise, accompanied by discordant, abstract imagery that’s impossible to describe here in a way that’d do it any justice. We pass the threshold of the plume, like a doomed spaceship falling into a black hole’s event horizon. And then we’re diving down toward the explosion, heading straight into the center of the cloud. The camera takes us high above the test site, relying on some remarkable CGI to go soaring through the sky as the mushroom cloud spreads in slow motion below. July 16, in fact: the date that brought the conclusion of the Manhattan Project, the date of the first successful atomic bomb test.
#TWIN PEAKS SEASON TWO EPISODE 8 FREE#
Is he still Evil Cooper? Is he free of BOB? If so, what does that mean for Dougie? What does any of it mean?įrom there, the action cuts abruptly to White Sands, New Mexico, in July 1945. Not long after Ray departs, so do the spirits, and Evil Coop sits up again, apparently unharmed. We watch an entire NIN song, just plonked in the middle of the episode, because why wouldn’t there just be a live NIN clip in the middle of an episode of Twin Peaks? Once they’re done, we cut briefly back to Evil Cooper, lying dead in the sand. that may be the key to what this is all about.” Yes, Ray, did you ever.Īt this point, the episode cuts to the Roadhouse, where Nine Inch Nails are performing. We see him making a frantic phone call, telling whoever he’s talking to that “I saw something in Cooper…. (I’ve upped the exposure several stops in the image above, because he’s almost impossible to see, but he’s there alright.) Monroe flees in terror, jumping into his car and driving like all the devils of hell are following him - which they may very well be. It looks for a moment like they’re going to tear him apart blood starts to cover his face and body, and then - most unnervingly of all - the camera slowly zooms in and we see a grinning, disembodied face next to Cooper’s inert body.
#TWIN PEAKS SEASON TWO EPISODE 8 TORRENT#
A torrent of shadows - all of whom look suspiciously like the black-painted creature we discussed last week, the one who was in the cell in episode one and in the hospital last week, and who we’ll discuss further shortly - surrounds his body, pawing and tearing at him as Monroe looks on in horror. Monroe stops the car to take a piss, Cooper grabs the gun from the glovebox and gets out to menace him with it, only to find that for once, he’s been outwitted: the gun is loaded with blanks, and Ray has a gun himself, with which he duly shoots Cooper three times.Īnd then all hell breaks loose. There’s no honor among thieves, and Ray holds out for cash - more, perhaps, than was agreed on, because Cooper seems less than amused with his demand. Monroe has some information that Evil Cooper wants. The episode started conventionally enough - Evil Cooper, fresh out of jail, is in the car with Ray Monroe, whose presence he demanded as part of the escape deal he “negotiated” last week with the warden of the prison where he was being held. But then, in its own strange way, it was none of those things (except surreal, because duh), because it made sense in its own manner… or, at least, I think it did, because I think what we saw last night was BOB’s origin story. In one way, what we saw last night was the most cryptic, surreal and indecipherable episode of television that Lynch - and, quite possibly, anyone else - has ever made. The rest of the season has been surprising in its unrestrained Lynchianism, but Episode 8 was perhaps the single most Lynchian thing that David Lynch has devised.
Last week I wrote about how far Twin Peaks has come from being a murder mystery, which honestly is an angle I wish I’d saved for this week, because hoooooo boy was last night’s episode about as far from a murder mystery as one could get.
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