Part 11

Another episode that feels more like a filler than a killer. But I can't deny it was fun at least. As bizarrely fun as anyone could expect from Lynch.

It took the first six parts of the return to establish all the characters and locations, and as a result each episode was entirely unique and unlike the others. It was thrilling to see something totally new each week, but also a little bit frustrating as the pace was rather slow and the wait between new scenes of a particular story were excruciatingly long. But after part 8, all of this changed. The last three parts (including this one) have been far more consistent, moving the plot along at a respectable pace and revisiting each of our three main story lines (Dougie, The FBI stuff, and the Twin Peaks stuff) at least once. This has made for a more satisfying viewing experience but also means that there's far less to say about it.

This hour of the return was in fact split pretty evenly between the three main plots. The first act dove deep into the Briggs family dynamic. I've been itching to know what the dynamic between Bobby and Shelly is and this episode finally gave me that. We also finally get to spend a chunk of time with Becky, who was introduced beautifully in Part 5 and then not really revisited properly until now.

The second act focused on the FBI investigation. This has been my favourite plot in the return so far, largely due to the excellent cast of characters involved (Gordon, Albert, Tammy, Diane, etc). It is also the fastest moving, taking us from the glass box to Yankton to Buckhorn. Every time the plot shows up on screen I get excited because I know that major progress is about to be made. This episode was no exception. Not only did we get some major plot motion, but we got both of the shots of Gordon from teasers (the shaky blurry screaming and the doughnut).

The final third of the episode focused on the most controversial plot in the return, the wacky misadventures of one Douglas Jones. This episode resolved one of the primary factors of tension surrounding him in the most unexpected and hilarious way possible. I enjoyed it immensely, but it also leaves me wondering where this is going because in one fell swoop all of the forces immediately threatening Dougherty have seemingly been nullified. It makes it seem like the buildup of those mobsters was ultimately all for naught.

All in all, this was another strong part in the return that continues the slow-moving fast- feeling methodical pace of the last two. I am really missing Audrey and Big Ed though.

This episode was an utter treat to watch in a three thirds package. The disturbing and dramatic events and mystery in the town of Twin Peaks, the scary and surreal moments around the FBI investigation in South Dakota with black comedy in there, and the hilarious and heartwarming trip of the awakening of Dale Cooper. Once again, I'll try to describe it without spoiling it.

The town of Twin Peaks third really shows how much it has changed over 25 years and the episodes so far. The change from a wacko light- hearted town to a dramatic place filled with traumatic circumstances building up to something even more sinister. I gonna be honest, this third was a drama through and through with mysteriously disturbing scenes sprinkled in, but it was the most well-made drama I've ever seen. The fantastic use of a sinister score and phenomenal cinematography during moments of shock and distress.

The FBI investigation stirs up tension in South Dakota with a amazingly surreal moment that takes up plenty of the third. A surreal moment that gives you a area of safety away from another area close-by that seems to be the source of scary uncertainty and, destroys it completely...then calms you down a bit soon after. This third also builds some tension the two main men and Diane as we try to figure out what's she's trying to do.

Next is the Dougie's Dale Cooper awakening that brings him getting closer and closer to being good ol' Dale Cooper again. While it builds tension on what the two men are going to do to Dougie, but I got very curious on what's going to happen next. The set-up and pay-off was absolutely marvelous to where I was laughing with a lot of joy and excitement inside me. Soon after, the pay-off leads to something so sudden, but warmed my heart so much that I nearly teared up a little. This leads to a amazing last scene that made my day with one quote and expression that told so much on what has happened to Dougie.

Overall, I loved it from beginning to end. It put together so many emotions that I didn't know what to do with myself. This was truly a emotional rollercoster.

David Lynch and Mark Frost's eleventh episode of Twin Peaks Season 3, titled "There's Fire Where You Are Going," stands as a dynamic and multifaceted installment that expertly balances intense action, emotional drama, and the series' trademark surrealism. Directed by Lynch, this episode propels the narrative forward with a sense of urgency while deepening the emotional complexity of key characters and expanding the mythological framework that underpins the show.

The episode opens with a tense and chaotic sequence involving Bobby Briggs (Dana Ashbrook), Shelly Johnson (Mädchen Amick), and Becky Burnett (Amanda Seyfried), whose fraught family dynamics unfold amid escalating violence. Becky's erratic behavior, including a reckless car drive with her mother clinging to the hood, exemplifies the episode's exploration of trauma, dysfunction, and the cyclical nature of abuse. While some viewers found Becky's rapid emotional shifts challenging to fully accept, these moments underscore the raw and unpredictable realities the characters face.

Parallel to the domestic turmoil, the episode delivers gripping suspense through Sheriff Frank Truman's (Robert Forster) investigation and the escalating threat posed by Mr. C (Kyle MacLachlan). The narrative tension is heightened by a series of gunfights and confrontations, including a dramatic shootout outside the Double R Diner that showcases Lynch's mastery of blending violence with atmospheric tension. The episode's pacing, while brisk, allows these moments to resonate emotionally and narratively.

A standout sequence involves the mysterious and disturbing figure of a possessed, vomiting teenager, whose repetitive screams inject a surreal and unsettling energy. This scene exemplifies Lynch's ability to merge horror with dark humor, creating moments that are simultaneously disturbing and oddly compelling. The episode's tonal shifts-from soap opera drama to thriller to supernatural horror-demonstrate its narrative versatility and Lynch's confidence in navigating diverse genres.

Cinematographically, Peter Deming's work continues to impress, capturing the contrasting moods of the episode-from the claustrophobic interiors of the Briggs household to the expansive, shadowy woods surrounding Twin Peaks. The editing by Duwayne Dunham maintains a tight rhythm, balancing action sequences with quieter, character-driven moments. Angelo Badalamenti's sparse but evocative score enhances the episode's emotional depth and suspense.

Thematically, "There's Fire Where You Are Going" delves into the destructive cycles of violence and addiction, the complexities of family relationships, and the pervasive influence of evil forces. The episode's title, referencing a warning of impending danger, resonates throughout the narrative, underscoring the characters' struggles against both internal demons and external threats.

Critically, the episode was praised for its intense storytelling, strong performances-particularly from Dana Ashbrook, Mädchen Amick, and Amanda Seyfried-and its successful blending of disparate tonal elements. Some criticism was directed at the unevenness of certain character arcs, but overall, the episode was recognized as a vital and compelling chapter in the season's unfolding saga.

In the broader cultural and cinematic context, this episode exemplifies Twin Peaks' unique capacity to fuse the surreal with the grounded, the mythic with the mundane. Its exploration of trauma and evil aligns with Lynch's broader thematic concerns, while its narrative complexity reflects contemporary television's embrace of serialized, auteur-driven storytelling.

Lynch is boring me by now. Twin Peaks used to be quality; now it's just nonsense. I really disliked this episode. Zombies and spirits and alternative dimensions... My ass!