Twin Peaks 2.16-2.18

2.16 The Condemned Woman

“Never heard of a man who murdered by the rules.”

New evidence suggests that Josie shot someone in Seattle and might also have been the person who shot Cooper at the end of season one. We’ve known for a few episodes that Andrew Packard (Dan O’Herlihy) is alive, the man who used to own the mill and is Josie’s husband, before his supposed demise before the show began. Andrew Eckhart (David Warner), the man who made the plot to killMr. Packard, is in town and wants to meet with Josie, who was in on the plot and now knows Mr. Packard never died. We also see Josie has a Walther PPK, the type of gun that was used to shoot Cooper. The web of corporate greed grows bigger.

Both Bobby and Audrey are trying to learn the Horne business. Audrey is having trouble getting people to respect her and do the extra work she’s given them. Ben decides that he’s going to champion the lives of the innocent Pine Weasels threatened by the Ghostwood development project of Catherine. It’s unclear if this is a corporate ploy or if Ben is honestly trying to make up for his past wickedness.

It turns out that Josie did kill the man in Seattle and is Cooper’s shooter. She ends up also killing Eckhart, but dies when Cooper and Harry arrive at the scene moments later. Cooper sees a vision of Bob cackling and the audience is also shown Josie’s face screaming on the drawer knob of the nightstand. Can Bob traps souls or exhume them from their bodies? It’s unclear and unsettling what has happened and what it might mean.

2.17 Wounds and Scars

“It’s a pretty simple town. It used to be. I guess the world caught up to us.”

I usually don’t talk about the lines I pick from each episode, but the one above deserves some thought. The context is that Harry has hit rock bottom after discovering Josie’s true nature. The woman he loved ended up doing all sorts of horrible things. It’s clear that this is the moment where Harry becomes disillusioned with the image of the town he had before.

But has the world really caught up with the town or was it already there? Twin Peaks centers on many dark mysteries and they often come from within. However, it’s more complicated than that because of Bob, this evil entity that has directly come into contact with the world and sown evil in the town through his influence. So it’s complicated, nuanced and mysterious.

In contrast to the darkness Harry declines into, a lighthearted fashion show is held in order to raise awareness for the Pine Weasel. Dick heads up the show and it’s funny to see how the small town tries to imitate something from the big city but it doesn’t quite work. The result is hilarious even if the humor here is played too broad for the show’s tone. The ferret bites Dick on the nose and terrorizes the guests. Even the pine weasel is not innocent and helpless in Twin Peaks

2.18 On the Wings of Love

“I have to face the fact that I really don’t know how to be good.”

Cooper discovers that Windom was studying some of the same things related to Major Brigg’s work. It also turns out that Margaret and Major Briggs have tattoos from similar experiences that make a symbol seen in The Owl Caves outside of town. Cooper is reinstated into the FBI and given a new gun. Also, Gordon is back this episode!

This episode is a story of new loves and the bliss they bring. Gordon at the diner yells about how lovely Shelly is and she is embarrassed. Cooper begins falling for Norma’s sister, Annie (Heather Graham). She’s somewhat shy, recently out of a coven, and there’s something dark about her as well, a scar on her wrist that suggests a traumatic past. Audrey and John (Billy Zane), a dashing business associate, are also becoming an item.

This is also an episode of old loves and the pain that can return. Donna gains suspicions that Ben and her mom used to be an item. Instead of leaving it in the past, she continues to push and investigate. She also receives a letter from James. Is this pain she needs to work through or let go? She clings to it desperately, as if it’s all she has left of him.

© 2014 James Blake Ewing