lets rock1.jpgDirector: David Lynch
Writers: Mark Frost
Stars: Kyle MacLachlan, Elizabeth Anweis, Chrysta Bell

Review by Mary Cox

This season of Twin Peaks is another testimony to Lynch’s commitment to diegetic sound and to silence. Every episode ending with a performance at the Roadhouse is an obvious example of how Lynch uses diegetic music in his work, but the previous two seasons played with this (in an arguably less successful way) through moments such as James’ weird and unnecessary performance of “Just You.” Silence is just as important as diegetic sound for Lynch when it comes to building tension in his scenes. Some of the more long and drawn-out moments from this episode, such as the exit of Gordon’s French Woman, are set against an empty audio backdrop to really highlight and exacerbate our feelings of frustration.

Lynch did decide to cut us a break with the dynamic return of Audrey Horne, although her interaction with her soon-to-be ex-husband still heavily plays into the theme of impatience and waiting that we’ve seen throughout the rest of the episode. While most of the characters are somewhat the same as they were twenty-five years ago, Audrey has evolved from a shit-stirring schoolgirl into a viciously unhappy adult. The true identity of “Billy” clearly is a mystery, but one thing that we do know for sure is that he’s not the same person as Richard Horne. There’s been no clear explanation as to how Audrey escaped from her coma, but we do learn from Benjamin Horne that Richard never had a father. This definitely provides evidence to the theory that Richard is actually the son of Bob Cooper, who we know was seen exiting Audrey’s hospital room towards the end of the second season.

After Grace Zabriskie gave us another incredible performance as Sarah Palmer in her stunning supermarket meltdown, the scene between Hank and Sarah has a small detail that you might not have caught initially. It’s worth mentioning that the new season of Twin Peaks is definitely more connected to Fire Walk With Me than you might think. When Hank visits Sarah’s house, we get a quick shot of the infamous ceiling fan that we know is heavily symbolic of Bob/Leland’s abuse of Laura. When we connect this particular imagery to the unusual sounds coming from inside Sarah’s house, it’s possible to interpret that there’s still some connection to Bob or to the Black Lodge inside the Palmer residence.

The theme of tonight’s episode, as well as within the the last few episodes in general, is a criticism of impatience, and a meditation on the notion that “good things come to those who wait.” We’ve seen this motif in past episodes, such as in Part 11’s screaming woman in traffic, and the Mitchum Brother’s frustration with Candie in Part 10. This depiction of impatience has continued in Part 12 through Albert’s frustration at Gordon over his long goodbye with the French Woman, and through Audrey’s temper tantrum while her ex-husband is on the phone. Even Hutch and Chantal’s conversation about killing the Warden comes back to not wanting to drag things out.

We have also seen patience be rewarded. In Part 9, Betty Briggs is rewarded for waiting a quarter of a century to give Major Briggs’ capsule to Bobby and the other Sheriffs. The Mitchum Brothers are rewarded with 30 million dollars (and a cherry pie) by showing patience in Part 11. As fans of the series, we all are desperate to know the truth about the Black and White lodges, and to see Cooper make a full return. Lynch knows how we feel, and is imploring us to show a little patience and to enjoy this series while it lasts. Like Gordon Cole says to Albert: there’s a fine Bordeaux right in front of you, so sit down and drink it.

lets rock2.jpg

“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”t


1977 Movie Review: ERASERHEAD, 1977

Movie Reviews

Director: David Lynch

Stars: Jack Nance, Charlotte Stewart and Judith Anna Roberts

Review by Russell Hill


A deranged man is forced to look after his strange-looking baby and struggles to cope with his own demons.


David Lynch has always been an odd director. Turning narratives on their head, Lynch makes regular storylines seem unreal and not like anything which is based on reality. Take Blue Velvet for example – it’s a love story at first but weird and fantastical individuals appear throughout. Eraserhead is no different, especially as its imagery and storyline is more akin to Salvador Dali’s Un Chien Andalou.

Harry Spencer (Nance) lives in squalor. With an untidy apartment, Spencer leads a twisted existence. His strange girlfriend Mary (Stewart) informs him that she has given birth to a grotesque-looking child. Spencer and Mary struggle to cope looking after a deformed child and she leaves them both. Spencer tries to juggle his romantic feelings for the girl who lives opposite him with caring for his child. Will Spencer give into his rage and kill his child?

Eraserhead is certainly not for family viewing. Its use of strange imagery is similar to what might be in the psyche of a demented maniac. However, for adult viewers, it’s a fascinating film. As any new father learns, their baby can be terrifying. Although Eraserhead takes the metaphor to a completely different level, especially as the child doesn’t look human, one can sympathise with Spencer.

Lynch’s direction is sublime. Eraserhead was his first feature-length film and shows a truly great director in his infancy. The film touches on a subject which was very important to Lynch, especially as his own child had recently been born with clubbed feet. Although basing a character on his own personal life and turning it into an alien-like creature might be a step too far, the similarities are certainly evident.

Although it is an odd movie, Eraserhead is one of the best surreal films to have been made in the past fifty years. It isn’t surprising that it has been likened to the work of Luis Bunuel and Last Year at Marienbad because it takes several viewings to fully appreciate.



twin peaksTitled: Part 10: Laura is the One

Director: David Lynch
Writer: Mark Frost

A lot of missing pieces are finally starting to come together on this week’s installment of Twin Peaks. Even though we have a lot more information to work with now, more questions have been raised than those that have been answered. Richard Horne, a certified bad dude who’s somehow involved with Chad and Red in moving drugs across the Canadian border, has now been established as the grandson of Benjamin and Sylvia Horne. After murdering Miriam, and arranging for Chad to intercept the letter she wrote to Sheriff Truman which detailed all of his crimes, Richard violently robs his grandmother and states his intention to flee the country.

Richard bears a striking resemblance to the only member of the Horne family who is currently missing from the series: Audrey. If Richard is Audrey’s son, that begs the question: where is Audrey, and how did her son end up being such an asshole? The last time we saw Audrey was at the end of the previous season, when she was in a coma and was visited by Doppelganger Cooper. Technically, that could mean Bob (through the medium of Doppel Coop) is Richard’s father. Before this episode premiered, some people theorized that Audrey was actually the eccentric billionaire funding the box in New York that leads to the Black Lodge. The reveal that Richard is the grandson of Benjamin makes this slightly less likely in my book, but when it comes to David Lynch, all bets are off until we see something concrete.

Arguably, the best moment of the episode is shirtless Cooper at his doctor’s appointment. Anyone who doubted that Kyle MacLaughlan is still hot after two decades has been thoroughly proven wrong. Cooper also makes a good impression on Janey-E with those pythons he calls arms, and she seduces him in a simultaneously awkward and amazing sex scene. Despite his revitalized love life, Cooper has yet another problem heading his way. Duncan, who we know is working for Bad Coop in Vegas, is orchestrating a conspiracy to convince the casino-owning Mitchum Brothers that Dougie personally sabotaged their plan for insurance fraud.

Meanwhile, Jerry Horne is still high out of his mind in the woods. Is he on a spirit quest to find the entrance to the White Lodge? Or did he just make the rookie mistake of eating too many edibles? Speaking of the White Lodge, Bobby and Truman were noticeably absent from this week’s episode. We do get a moment with Hawk as he speaks on the phone to the Log Lady, who presents a cryptic message, including the episode’s tagline, “Laura is the one.” This premonition, paired with Gordon’s sudden vision of Laura, seems like it’s foreshadowing the return of Laura Palmer.

The construct of time is something that Lynch likes to play with in his work. Even with the established flashbacks that show nuclear testing in the 1940s, I’m not sure that we’re always seeing events in chronological order in this season. The question is presented to us on multiple occasions throughout the series: is it future, or is it past? One thing I’d like to point out is tonight’s performance at the Roadhouse was by Rebekah Del Rio, who previously fulfilled a similar role in Lynch’s masterpiece, Mulholland Drive. In that film, Del Rio’s performance of Llorando, a Spanish version of Roy Orbinson’s Crying, is the dividing point between the fantasy and reality of the film.

Is the Roadhouse a parallel for Club Silencio? It’s absolutely no coincidence that Del Rio is performing in a black and white zigzag dress against a red curtain background, evoking imagery of the Black Lodge itself. Is this episode going to be the line between the illusion and reality of Twin Peaks? We won’t know until next week.


“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”