Twin Peaks Just Keeps Getting Stranger (Thank Goodness)

Before she passed away from natural causes (a street fight), the great Dr. Maya Angelou once said, "When people show you who they are, believe them."

Last week's two-part premiere of David Lynch's longest art film to date unsurprisingly baffled many and enraged more than a few.

What WAS this thing?

Because it surely wasn't a continuation of the cozy murder mystery many had mistakenly believed the first two seasons to be.

Twin Peaks was also the chocolate bunny Lucy Brennan (Kimmy Robertson) ate out of the evidence locker that later spurred a debate about whether it was ever important in the first place.

For a 27-year-old series, the thrill of discovery here is just so palpable and delightful and I can't remember the last time I was this excited about a TV series.

[...] Cooper entered a window where he encountered an eye-less Japanese woman who spoke in clicks and seemed distressed by the random banging on a nearby door.

Because this is Twin Peaks, this entire sequence was nearly dialogue-free and filmed in stilted, sped up, and occasionally backwards footage, as though David Lynch's copy of FinalCut Pro had a glitch and he just went with it.

[...] Cooper re-entered the cube and found himself in a new room, this one inhabited by someone the credits listed as "American Girl" but was played by the same actress (Phoebe Augustine) who played Ronette Pulaski in the original series!

[...] Cooper stuffed himself into a wall outlet.

[...] Dale Cooper slithered out of an electrical socket, which the sex worker Jade found very confusing.

[...] Dale Cooper needed her, as his re-entry into human form had left him, uh, developmentally disabled and he was not transitioning to the realm of the living very well.

Back in Twin Peaks proper, we were then treated to what I am guessing was David Lynch and Mark Frost's way of brutally lampooning Old School Twin Peaks.

Because holy jeez was everyone, uh, not very smart anymore.