Part 14

While I have loved the slow, atmospheric nature of the new Twin Peaks, I know a lot of people who have become increasingly fed up with the show's excruciating pace and seemingly pointless scenes. I think those people will love this part. In terms of pure plot progression, this is probably one of the most important parts so far. I honestly can't think of a single wasted minute in this part. Every scene has a purpose, and every moment rackets up the tension. That's the other thing that makes the episode so great; the tension. I felt like the characters were in genuine danger or distress at every moment. I hardly eased off the edge of my seat during the whole hour.

The opening sequence drops yet another of the satisfying exposition bombs the FBI plot has become known for. I always perk up when Gordon shows up on screen, because I know that a few of the long-coveted answers may be near. They (and we) are so close to the answers that I can almost taste it. This is when a mystery becomes most tantalizing; when it is just out of reach. This sequence also provides the most laugh-out-loud weird-out moments of the episode.

Hot off the heels of the opening scene, the episode does not slow down but instead gives us a satisfying comeuppance and the long-awaited Jack Rabbit's Palace sequence. I've been anticipating this moment since Part 9, and it did not disappoint. Not only is the denouement strange, revealing, and surprising, but the build-up to it is absolutely perfect. Since season 1 we have heard about the "darkness in these woods", and as our intrepid heroes travelled east from the palace, I felt like we were really seeing that darkness for the first time. The tension before and during the arrival at the site is some of the greatest I've ever seen.

The second half of the episode contains a scattered assortment of scenes with different residents of Twin Peaks. At the start of each one, I breathed a sigh of relief as I thought the episode was about to slow down a little. It never did. Despite the fact that they follow characters on the fringes of the story who had thus far seemed insignificant, each of these scenes is intensely gripping and surprisingly revealing in their own way. The scene with Sarah Palmer is obviously a standout, but I enjoyed the scene with James and his friend and the scene with random people in the Roadhouse way more than I expected to when they started due to their unexpected significance to the plot.

Overall, I would say that this is without a doubt the strongest hour of the Return so far. It doesn't have many scenes, but every one of them is gripping and relevant. I absolutely loved it.

The fourteenth episode of Twin Peaks Season 3, titled "We Are Like the Dreamer," directed by David Lynch and co-created with Mark Frost, stands out as one of the most densely packed, thematically rich, and narratively significant chapters of the series. This episode masterfully blends surrealism with procedural storytelling, delivering substantial plot advancement while maintaining the show's characteristic eerie and dreamlike atmosphere. It is a pivotal installment that deepens the mythology, expands character arcs, and sets the stage for the season's approaching climax.

From the outset, the episode strikes a balance between the supernatural and the mundane. One of the most memorable sequences features the Twin Peaks Sheriff's Department-Bobby Briggs, Hawk, Andy, and Sheriff Frank Truman-following Major Briggs' cryptic instructions to carry soil in their pockets as they venture into the woods. This ritualistic act, accepted without hesitation, exemplifies the series' seamless integration of spiritual beliefs into police work, a hallmark of Twin Peaks' unique narrative universe. The palpable tension and atmospheric cinematography in these scenes underscore the eerie mystery enveloping the town.

Simultaneously, the FBI's investigation progresses with Gordon Cole (David Lynch), Albert Rosenfield (Miguel Ferrer), and Tammy Preston (Chrysta Bell) receiving a revelatory dream from Cole involving actress Monica Bellucci. This surreal yet humorous moment adds a layer of meta-commentary, blending real-world celebrity cameo with the show's dream logic. The dream hints at deeper truths about the elusive Phillip Jeffries and the two Coopers, signaling significant breakthroughs in the overarching mystery.

The episode also delivers major plot revelations, including Diane's disclosure that Janey-E Jones is her half-sister, and the FBI's renewed focus on locating the real Dale Cooper, who remains trapped in the Black Lodge. These developments inject momentum into the narrative while maintaining an undercurrent of suspicion, as Diane's ambiguous loyalties cast a shadow over the FBI's efforts.

Within Twin Peaks, the discovery of the naked body of Naido (Nae Yuuki), the blind woman who previously communicated through enigmatic sounds, adds a layer of supernatural intrigue. The subsequent vortex in the sky that pulls Deputy Andy Brennan into a liminal space-presumably the White Lodge-where he encounters the Fireman (Carel Struycken) is a visually and thematically striking moment. This encounter offers exposition on the cosmic battle between good and evil, linking characters and events across dimensions. The episode's willingness to explore metaphysical realms through a character as unassuming as Andy is both endearing and profound.

Sarah Palmer's storyline reaches a chilling crescendo in this episode. Grace Zabriskie delivers a haunting performance as Sarah confronts a hostile trucker, culminating in a surreal and terrifying moment where she seemingly reveals a monstrous visage beneath her human exterior. This scene, blending low-budget special effects with Lynch's signature body horror, is unsettling and emblematic of the series' exploration of hidden darkness within familiar faces.

Musically, the episode's closing features a poignant performance by Julee Cruise at the Roadhouse, her ethereal voice providing a haunting counterpoint to the episode's tension and horror. This musical moment serves as a reflective pause, reminding viewers of the show's roots in mood and atmosphere.

Cinematographer Peter Deming's work is exemplary, capturing the contrasting moods of the episode-from the misty, mysterious woods to the claustrophobic and eerie interiors-with precision and artistry. The editing by Duwayne Dunham maintains a rhythm that balances exposition, character moments, and surreal sequences, allowing the episode's complex narrative to unfold coherently.

Thematically, "We Are Like the Dreamer" delves into the interplay of reality and dreams, the persistence of trauma, and the cosmic struggle between light and darkness. The episode's title itself evokes the series' recurring motif of characters as dreamers trapped within larger, often unfathomable forces. The blending of spiritual ritual, metaphysical encounters, and human frailty invites viewers to contemplate the nature of existence and the unseen battles shaping it.

Critically, the episode was lauded for its ambitious storytelling, strong performances-particularly from Grace Zabriskie and the ensemble cast-and its successful fusion of surrealism with narrative clarity. While some viewers noted the density of exposition and rapid tonal shifts as challenging, these elements are integral to the series' artistic vision and narrative complexity.

In the broader cultural and cinematic context, this episode exemplifies Twin Peaks' role as a pioneering work that transcends traditional television genres. Its melding of mystery, horror, and metaphysical inquiry reflects Lynch's auteur sensibilities and the evolving landscape of prestige television that embraces experimental storytelling.

In conclusion, "We Are Like the Dreamer" is a masterful and deeply affecting episode that advances Twin Peaks Season 3's mythology while immersing viewers in its haunting, dreamlike world. Through Lynch's visionary direction, evocative performances, and meticulous production, the episode challenges audiences to engage with its layered narrative and profound themes.

Gordon Cole after receiving news from Sheriff Truman tells Albert and Tammy of a dream he had featuring the actress Monica Bellucci in Paris. Gordon recalls seeing his younger self and the time when Phillip Jeffries returned briefly to the FBI office and pointed at Agent Cooper.

You can feel the plot lines converging as Gordon is told about the two Coopers. Diane reveals that Janey-E is her half sister and the FBI office in Las Vegas are told to find Dougie Jones.

In Twin Peaks itself. Hawk, Andy, Bobby and Sheriff Truman go into the woods following Major Briggs instructions and find a naked woman. Andy gets pulled into a vortex and sees the giant known as the fireman. This woman who has been into a cell for her own protection and Freddy, the security guard working with James Hurley and who has green glove look like that have a big part to play in events.

Sarah Palmer walking around all these years like a drunk, just see that big glass of Bloody Mary she has seems to have been inhibited by an evil entity all along as well.

This was a terrific episode, well paced, well plotted yet also bizarre and also brilliant. We actually got to see very little of Kyle Maclachlan which was mainly flashbacks from Fire Walk With Me that featured clips of David Bowie. Yet we now feel it is drawing together for some kind of showdown in Twin Peaks itself.

In what appears to be the oddest episode since the masterful eight entry, this mad surrealist ride is Lynch at his most surprising, humorous, and disturbing. The first twenty minutes of this episode are pure comedic gold, mainly due to Lynch's own eccentric performance as Gordon Cole. Brief flickers of the heavily bizarre pop up here and there during these opening scenes, and they are played mainly for laughs, and what laughs they are! Despite the gruesome material we are faced with later on in the episode, it deserves the label as being one of the funniest entries in the series so far if not just for these early, wildly comic moments. Of course, there are hilarious lines and scenes throughout the rest of the episode as well, including on sequence in a jail cell that is so damn disturbing I winced, but was also so damn funny I had no choice but to awkwardly chuckle, squirming gently in my seat, not even sure if my mind was in control anymore.

For the most part, this episode centers around the criminal investigation/police sector of the "Peaks" universe and features key scenes with many of the show's most likable and mature characters. Plus, Andy, the iconic comic relief character, is an unexpectedly major figure in this episode, and shows off his more serious side, one far removed from what we are used to. There's also some fascinating information given out by Diane in her scene, which implies some major future development with the Dougie Jones subplot (which, unfortunately or fortunately depending on your opinion of the character, is not explored any further in this entry), as well as Cole's enigmatic recollection of his dream in which he encounters Monica Bellucci of all people (who actually plays herself, and it is also said that Cole has had dreams featuring the actress before) and reminisces on an odd encounter he, Cooper, and Albert had with the long lost Philip Jeffries many years ago, which is famously depicted in Fire Walk With Me. And, speaking of FWWM, its starting to show its incredible significance to this new series quite a bit with many key images and references directly dealing with events from that film, so anyone whose watching this new series and has yet to see, or does not remember very well, FWWM is urged by myself to go out and (re)watch it right away, because it really is essential viewing in order to understand some major pieces of the "Twin Peaks" puzzle.

All in all, this is definitely one of the best episodes of the series so far, as we'll as one of the strangest, quirkiest, and objectively most important ones. It melds plot progression and insane experimental shenanigans together flawlessly, and this review barely even scratches the surface of this mini masterwork. So, if you've been sort of losing hope in the series (I haven't at all, but I do realize that some did not find the last couple of episodes to be particularly appealing), this insane fifty six minutes of comical, mysterious, and shocking genius will likely restore said hope.

Part 14. Finally, more plot progression after two mild episodes!

Now we're really picking up! Let's rock, but actually this time.

This episode starts greatly, and ends greatly. We see many references to the old series, more progression on the Brigg's mystery, and the Laura diary pages.

On the eye of the storm, Andy, Bobby and Hawk see a vortex in the sky, which transports an unexpected someone into an unexpected room. Finally, some insight on a dull 'comedic relief' character!

Sarah Palmer continues to be a troubled woman, with major mental health issues, which become super apparent in the final scene.

All in all, a lovely episode.