Part 13

Audrey forgot who she is and how to get to the Roadhouse. She wants to go there and check if Billy is OK (although I have lost track of who Billy may be) but she also wants to stay with hubby Charlie.

This is gut-wrenching stuff.

Before that, a mildly entertaining scene with evil Cooper settling scores with Ray and more of the unbearable catatonic Cooper with the Mitchum brothers. Janey was back, too, wispering more sweet "Oh Dougie".

Really romantic stuff.

When I saw James playing at the Roadhouse I felt relieved, because I knew the episode was about to end, with the usual dose of doe-eyed pretty girls, lost in their love dreams (or nightmares, such as Becky).

Only this time we had five more minutes of no action, following the Roadhouse scene, with a troubled Ed staring at the gas station and moping about Norma.

Groundbreaking stuff.... ooops, apologies... I forgot... each episode is just more awsome than the previous one.

We are running into the final strech of the season and things start to gearing Up. Even when it's not the expected of hoped, The Return keeps you watching and watching. Waiting for some kind of resolution.

*7.5* All right, I know that hardcore twin peaks fans might get offended by this review but I have to say this - this show might be an interpretation of modern art or a satire of comedy itself or some other smart concoction by David Lynch, but at the end of the day it's just not good TV. I respect David Lynch and I realise that his directing skills are good and he does spew out some good scenes, but the majority are just so boring (regardless of the intelligence behind the scene) that I find myself disinclined to watch it because of the slowness but also inclined because of the interesting story.

My Monday routine is that I wake up and I watch two shows, Twin Peaks and Game of Thrones. I decided to watch Twin Peaks first because it's always best to leave the best to last in my opinion. And boy was I right. Twin Peaks was a bit better than usual I have to say. The scene with the doppelgänger and his tense showdown was actually done really well and the only reason I've given this episode a 7.5. A reason that I respect David Lynch. However, the rest of the episode was the same. I understand that Dougey is slow, it's just not funny, I don't want to watch him bumping in to doors all season and repeating the last words that everyone says nor do I want everyone else to be oblivious to his obvious mental retardation or be content with the stupid reasoning that was given before. I want the old Dale Cooper back from before the revival, we've waited for 10 episodes with scene after scene of stretched out stupidity and thought to ourselves that any minute now it'll get better and it's worth the wait because David Lynch will make it interesting, but at least make this interlude entertaining... it's just bad TV.

With regards to the rest of the episode, it was the same old as before. I guess, the other straws of plot lines are okay and even though it's not something extremely satisfying right now, it might get more interesting later; we'll have to see. Overall though, I stand by what I said, at least make the interlude interesting, we need better character development of the people that we've missed since the 1990's and if we are only getting tiny snippets... MAKE IT MORE INTERESTING!!! Overall, this show has an interesting premise and plot and the directing can be good at times but most of the times it's just waiting to see when something interesting will happen and the plot will be told satisfyingly.

If you want to know real TV, then watch this and then go watch the latest episode of Game of Thrones immediately after, you'll see the difference. Maybe then the 9 that this episode has will come down to where it really deserves to be.

Part 13. What can I say at this point?

To be very honest, I was expecting the series to move at a much quicker pace than expected. Look, I appreciate and love Lynch, and all of his works, but truth is, the Return could have easily used 4 less episodes. Or even more to be honest. Even though I love every episode, some feel lacking and like fillers.

This episode was very mild, I binged watch it along with the next ones and I have to say it was definitely a weaker episode.

Not much plot progression, except for the obvious focus on Mr. C, which just proves how malicious he really is. Otherwise, and apart from the Audrey scene (always a pleasure to see her!), not much else to be said and summarized.

All in all, a great episode in general TV terms, but in the greatness of Twin Peaks: The Return, it is rather mild for what it offers.

The thirteenth episode of Twin Peaks Season 3, titled "What Story Is That, Charlie?", directed by David Lynch and co-created with Mark Frost, is a compelling blend of narrative progression, character study, and the series' signature enigmatic ambiance. This episode deftly balances moments of levity, emotional depth, and suspense, weaving together multiple storylines while deepening the psychological complexity of its characters. It stands as a testament to Lynch's mastery of mood and atmosphere, offering viewers both familiar elements and fresh mysteries.

The episode opens with a delightfully surreal and humorous sequence featuring Dougie Jones (Kyle MacLachlan) dancing joyfully into the Lucky 7 Insurance office, accompanied by the Mitchum brothers and the Pink Ladies bearing gifts for his family. This scene provides a welcome contrast to the darker threads of the narrative, showcasing Lynch's ability to infuse warmth and whimsy into the series' otherwise tense and mysterious tone. The playful energy here is infectious, and the visual composition-bright, colorful, and lively-feels like a brief respite from the series' more somber moments.

Meanwhile, the malevolent doppelgänger Cooper (Mr. C) continues his ominous journey, arriving at The Farm in Montana. His encounter with Ray Monroe culminates in a brutal arm-wrestling match that asserts his dominance, a moment charged with raw physicality and menace. The scene is notable for its stark lighting and tight framing, emphasizing the primal struggle between these characters. The presence of Richard Horne, who senses something unsettling about Mr. C, adds further tension and foreshadowing.

Back in Twin Peaks, the episode explores the troubled relationship between Audrey Horne (Sherilyn Fenn) and her husband Charlie (Clark Middleton). Audrey's erratic behavior and emotional breakdowns are portrayed with haunting intensity, highlighting the psychological grip Charlie seems to hold over her. Their interactions are charged with ambiguity and menace, raising questions about control, identity, and reality. This storyline is one of the episode's most compelling, with Fenn delivering a nuanced and vulnerable performance that anchors the surreal elements in human emotion.

Additional scenes provide insight into secondary characters and subplots. Tony Sinclair's failed attempts to frame Dougie and his subsequent confession to Bushnell add layers of intrigue and moral complexity. The return of Big Ed Hurley (Everett McGill) and James Hurley's (James Marshall) heartfelt performance at the Roadhouse inject moments of nostalgia and emotional warmth, reminding viewers of the series' roots in community and personal connection.

Cinematographically, Peter Deming's work continues to impress, capturing the contrasting atmospheres of bustling interiors, shadowy woods, and intimate domestic spaces with precision and mood. The editing by Duwayne Dunham balances the episode's tonal shifts, maintaining a rhythm that allows tension and emotion to build organically. Angelo Badalamenti's sparse yet evocative score complements the visuals, enhancing the immersive quality without overwhelming the narrative.

Thematically, "What Story Is That, Charlie?" delves into duality, control, and the struggle for selfhood. The episode's title references Audrey's poignant question to Charlie, symbolizing the broader quest for understanding and agency within the series. The interplay between light and darkness, sanity and madness, and freedom and captivity permeates the narrative, inviting viewers to reflect on the nature of identity and power.

Critically, the episode was praised for its strong performances, particularly from Kyle MacLachlan and Sherilyn Fenn, and its effective blending of humor, suspense, and emotional depth. Some viewers found the pacing uneven and the narrative complexity challenging, but these aspects are integral to Twin Peaks' artistic ambition and distinctive style.

In the broader cultural and cinematic context, this episode exemplifies Twin Peaks' role as a pioneering work in television, blending genre elements with avant-garde storytelling and psychological exploration. Its influence is evident in contemporary series that prioritize mood, symbolism, and character-driven narratives.

"What Story Is That, Charlie?" is a richly layered and emotionally resonant episode that advances the narrative and deepens the thematic complexity of Twin Peaks Season 3. Through Lynch's visionary direction, compelling performances, and meticulous production, the episode invites viewers to engage with its multifaceted storytelling and haunting atmosphere.