Lynch then sends us back to Twin Peaks, where Benjamin Horne ( Richard Beymer) is dictating orders to his new assistant ( Ashley Judd) - something about a skunk being in an important customer's room - and having a quick conversation with his pothead brother, Jerry ( David Patrick Kelly). There could be meaning here ultimately, but for right now, Lynch seems to want nothing more than to secure one's curiosity and a certain feeling of displacement. When David talks about his work and the project, his main mode is uninformed and indifferent to the meaning of his work, which also involves placing what looks like microchips into strange, locked-away slots. The glass box is one of those images where Lynch seems to be inviting theoretical readings, but is also being a big straightforward. David ( Ben Rosenfield), the young man looking after the glass box, starts up a romance with Tracy ( Madeline Zima) outside his top-secret workspace, where she drops off coffee for him. The sequence with the glass box in New York most directly resembles the rotted rooms and corridors of Inland Empire, lit by dim, stylish lampshades and littered with computers and cardboard. One might surmise that the use of surveillance equipment in the next sequence, the first of many exhilaratingly puzzling narrative passages, would suggest a direct connection, but it also feels fluid in Lynch's stream-of-consciousness unraveling. Jacoby receiving supplies and the look is steady but amateurish, like surveillance video. What's immediately clear is that the other Cooper (McLachlan with shoulder-length hair), decked out in a leather jacket and a snakeskin shirt, is a menacing beast out in the most lawless and feral parts of Lynch's American landscape.īefore we meet this new Dale Cooper, there's a flash to Russ Tamblyn's Dr. This is followed by some cryptic allusions that will require some research: "Remember 430," mentions of Richard and Linda, "two birds, one stone," and something like "you are far away." Considering that we will soon be introduced to a different kind of Cooper, one might surmise that the Cooper that we know and love is trapped away in the haunted red-draped room. Agent Dale Cooper ( Kyle McLachlan), as we remember him, is sitting with Carel Struycken's helpful giant who tells him to listen to the sounds of a phonograph. The overall spare aesthetic found in much of the opening diptych of episodes recalls the haunted spaces of Lost Highway, Inland Empire, and Mulholland Drive, but it opens with a nod toward its past seasons and the grainy black-and-white realm of Eraserhead, his astonishing debut.
Such is the feeling of watching the first 111 minutes of David Lynch's third season of Twin Peaks - also known as Twin Peaks: The Return - the master filmmaker's return to television after some 25 years and first major work since his 2006 behemoth, Inland Empire. The all-consuming sense of a distinctly American and thrillingly modern media machine at work powered the betrayal in Gone Girl, a feeling that first was born in the kinetic, hyper-connected technological world of The Girl with the Dragon Tattooand the not-so-true-to-life chronicling of real events in The Social Network.
The vast, wild world of The Grand Budapest Hotel required knowledge and comfortability with physical animation and shooting in closeted spaces, lessons that Wes Anderson learned from Fantastic Mr. Each film or work that they make feels like a summation of their past work and, finally, an act of transcendence from old ways of doing things. There's a common theory about being able to spot great artists on a roll.
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