Part 3

Solid, funny and really entertaining episode that reaffirms the quality of this season looks to put 'Twin Peaks' back to its former glory. Only David Lynch could deliver this goods.

So Agent Cooper finally escapes to the real world but he is not the same person, all those years in the Black Lodge has taken its toll on him.

Twin Peaks pays little heed to new fans. This third episode has a surreal, warped 15 minutes sequence as Cooper makes his way into the real world and evil Cooper tries to resist going back to the Black Lodge.

A purple tinged set, an Asian woman making noises and Cooper staring blankly into space. Through an electric socket Cooper emerges and gets mixed up with a fatter lookalike called Doug who in turn ends up in the Black Lodge. Cooper now a blank goes to a Las Vegas casino where he quickly makes himself known as Mr Jackpots as he is guided mysteriously to win big time.

We also see the return of the FBI agents Gordon Cole (David Lynch) and Albert Rosenfield (Miguel Ferrer) assisted by new agent Tammy Preston (Chrysta Bell.) They are investigating the mysterious New York killings until Cole gets word that Cooper has been found.

It was bittersweet to see Albert, he was one of my favourite characters in the original Twin Peaks and yet my delight is tinged with sadness due to the actor's death earlier in 2017.

This episode was slower paced especially in the scenes set in Twin Peaks with Hawk, Andy and Lucy with their lethargic way of talking.

Lynch went weirder, slower and more surreal, yet he still has room for a great cameo performance such as Meg Foster as the cashier in the casino. Just look at the way she goes from being smiling to genuine concern when she meets Cooper and he asks for help.

While there were many things that I loved about the first two parts, I found that the editing and pacing as well as certain elements were a little rocky. This episode took a far more narrow approach, focusing almost entirely on a single story-line. This, combined with a whopping dose of humour made this the strongest hour yet of this revival. Some of the moments in this episode had me rolling with laughter. A large portion of this episode felt very similar to the scene with the old waiter in the season 2 premiere, or the scene with the old banker in the season 2 finale, by which I mean that it was long, drawn out, and equal parts frustrating, hilarious, and terrifying. It is Lynch at his best. That's what this whole episode felt like.

A note for anyone that is confused; episodes 3&4 were released a week early in the United States, the UK, and Canada via the On-Demand branches of the channels responsible for broadcasting the revival in these countries. This is why I have already been able to see it, despite the fact that it has not been released some places. I feel sympathetic for all those who can not see these episodes yet because of the country they are in. As a Canadian, I have often been in your situation and I know exactly how you feel.

The 2-part episode last week was strange and obscure, but it was special because it was the return of something people have wanted for decades. I was able to forgive some of the frustrating things because of the pure nostalgia alone. Part 3 took us deeper into the weird and somewhat nonsensical as good Cooper found himself out of the black lodge but into a world he is all too unfamiliar with. After nearly 15 minutes spent with a blind Asian woman making noises and gestures while Cooper blankly stares on, I thought for sure we would spend the whole hour in this place. Luckily, Coop managed to escape through a machine and back into the real world (we think) and hopefully soon to be on his way back to Twin Peaks. Of course, it wasn't that easy. It became increasingly clear that this Cooper won't be able to officially come back without the bad Coop (presumably Bob) to be eliminated. Both of them were impacted when good Coop made his way back, with both puking up some sort of disgusting residue. Boy that was all too Lynchian, wasn't it? This episode was the much slower of the 2 aired tonight, but I'm still hooked. Watching Cooper walk from slot machine to slot machine racking in thousands? That was dynamite.

7.3/10

David Lynch's direction of the third episode of Twin Peaks Season 3, titled "Call for Help," continues to immerse viewers in the series' signature blend of surrealism, psychological tension, and layered storytelling. Created by Lynch and Mark Frost, the episode deepens the enigmatic narrative threads introduced in the first two installments, while expanding character arcs and reinforcing the atmospheric intensity that defines the revival. This episode stands as a testament to Lynch's ability to balance cryptic symbolism with emotional resonance, crafting a viewing experience that demands attentive engagement and rewards interpretive reflection.

The episode opens with a chilling continuation of the Black Lodge storyline, where the trapped Agent Dale Cooper (Kyle MacLachlan) navigates a labyrinthine and nightmarish realm. His interactions with the mysterious and unsettling figures inhabiting this space, including the Man from Another Place and the enigmatic Laura Palmer, are marked by cryptic dialogue and symbolic gestures. The cinematography here employs stark contrasts, disorienting angles, and a muted color palette that evoke a sense of claustrophobia and existential dread. These sequences serve as a metaphysical counterpoint to the more grounded, yet equally tense, events unfolding in the "real" world.

Back in Twin Peaks and its surrounding regions, the episode introduces new characters and develops ongoing arcs. The investigation into the murder of Ruth Davenport in Buckhorn, South Dakota, progresses with the involvement of Sheriff Frank Truman (Robert Forster), who arrives to assist in the case. His arrival brings a sense of gravitas and continuity, linking the new narrative threads to the original series' legacy. Meanwhile, the doppelgänger Cooper's sinister presence looms large, as he manipulates and intimidates those around him, exemplified by his cold-blooded murder of Phyllis Hastings in the previous episode and his interactions with other characters.

One of the episode's most striking scenes involves a tense and surreal encounter between the doppelgänger Cooper and a mysterious figure known as the "Fireman," who appears to offer cryptic guidance. The dialogue is sparse yet loaded with symbolic meaning, reinforcing the themes of duality, fate, and cosmic struggle. This scene exemplifies Lynch's mastery of minimalist storytelling, where silence and ambiguity carry as much weight as explicit exposition.

The episode's pacing is deliberately measured, allowing moments of quiet tension to build gradually before erupting into bursts of violence or revelation. The editing, by Duwayne Dunham, skillfully balances these shifts, maintaining narrative coherence amid the episode's complex structure. The use of sound design-ranging from eerie ambient noises to sudden, jarring effects-enhances the immersive quality, drawing viewers deeper into the series' unsettling atmosphere.

Performances remain a highlight, with Kyle MacLachlan delivering a nuanced portrayal of both the real Cooper and his malevolent double. His ability to convey subtle shifts in demeanor and intention adds layers to the narrative's exploration of identity and corruption. Supporting actors, including Robert Forster, Matthew Lillard, and Madeline Zima, bring depth and authenticity to their roles, grounding the surreal elements in human emotion and conflict.

Visually, the episode continues to employ Lynch's trademark aesthetic of blending the familiar with the uncanny. The production design juxtaposes the rustic charm of Twin Peaks and Buckhorn with the eerie, otherworldly environments of the Black Lodge and the mysterious glass box. Makeup and costume design contribute to character differentiation and thematic symbolism, particularly in the portrayal of supernatural or altered states.

Thematically, "Call for Help" delves into the nature of evil, the persistence of trauma, and the search for redemption. The interplay between the physical and metaphysical realms underscores the series' ongoing meditation on the boundaries of reality and the influence of unseen forces. The episode's title itself suggests a plea for assistance, reflecting characters' struggles against overwhelming darkness and the hope for intervention.

Critically, the episode was praised for its atmospheric direction, complex narrative layering, and strong performances. Some viewers noted the challenging pacing and abstract symbolism as potential barriers to accessibility, yet these elements are integral to the series' artistic ambition and narrative depth. The episode exemplifies Twin Peaks' commitment to pushing the boundaries of television storytelling.

In the broader cultural and cinematic context, "Call for Help" situates Twin Peaks within a lineage of avant-garde and surrealist media, drawing on influences from Lynch's filmography and beyond. Its exploration of duality, identity, and cosmic conflict resonates with themes common in literature, theater, and philosophy, inviting interdisciplinary analysis.

"Call for Help" is a compelling and richly textured episode that deepens the mystery and emotional complexity of Twin Peaks Season 3. Through Lynch's visionary direction, evocative performances, and a layered script, the episode challenges viewers to engage with its symbolic language and unsettling atmosphere. It reinforces the series' status as a groundbreaking work that transcends conventional genre boundaries, offering a profound meditation on the human condition and the enigmatic forces that shape it.