Part 15

This is one of those hours of the return that has a little bit of everything. The tone jumps around between the goofiness of the original, the darkness of the film, the slow austerity of Part 12, the weirdness of Part 8, and some powerful emotional moments. In short, it runs the gamut of David Lynch in a little under an hour, and blends it all together seamlessly. Unlike some previous parts such as 8, there isn't really any general pattern or quality that the episode as a whole falls into. It's just a mix-up of different good elements that must be reviewed on their own merits.

The episode kicks off with a sudden and surprising resolution to the Nadine Ed Norma love triangle. It is something of a Deus Ex Machina, and in the hands of any other director this material would seem choppy and overly convenient, but Lynch makes it work extremely well with the dreamy quality he often infuses into his work. The end of this segment seemed like a direct counterpoint to the scene with Norma and Ed in a car in the Missing Pieces, in which they hear distant-sounding music on the radio and Norma compares it to their relationship; "It's me and you Ed. You can barely hear us." By contrast, the segment in this episode ends with loud music playing not just over them, but then over the whole town and the sky. Now everyone can hear them.

From this cathartic moment, we jump right into the polar opposite; the insanity of Part 8. The episode brings back the feel and many of the elements of Part 8 and uses them in the present time-line to deliver some answers and what would presumably have been Bowie's cameo had he been able to shoot before his death in 2016. The actor who dubbed Bowie's old line in Part 14 is brought back here to deliver some new lines. This explains why they did it in the first place; to maintain consistency in the voice. In the brief snippet played in Part 14, I thought Nathan Frizzel's impression was spot-on. However, hearing more of it in this episode made me realize that it's actually god-awful. I didn't find this too distracting though, because I was very excited to finally be getting some answers. Mind you, the scene doesn't answer all the questions about Jeffries. Not by a long shot. But it gives me enough that I'm pretty sure we won't get any more of Jeffries outside of maybe the Final Dossier. It also promises some answer or advancement on the question of who Judy is. I've already gone on way too long on the convenience store segment, but it is just so well executed and there is so much to talk about. It gave me a thrill to see Jumping Man, the convenience store, the room from Laura's painting in FWWM, and Phillip Jeffries again. Also, I think we might have been a bit hasty in declaring the Experiment as the mother mentioned by Naido. I think the eyeless woman who opened the door for Doppelcoop in this episode is just as likely a candidate.

After these two extended segments, most of the rest of the episode is just small bits with a variety of story lines, including the shocking arrival of Chantal, the shocking conclusion of Steven's story, and the shocking (no pun intended) scene at the Jones household that heralds the death of Dougie and the return of Cooper. If I'm right about that, I'll be very glad because it will mean more time with him than just one scene at the very end.

There is one other extended segment in the episode, and it comes near the end. We all knew that Catherine E. Coulson (The Log Lady) tragically passed away before filming officially began so they rushed to shoot some stuff with her ahead of time. However, I had assumed that Margaret Lanterman's scene in Part 11 would be her last due to the slightly more final way that Hawk said goodnight at the end of the call. As it turns out, they had one more scene up their sleeves, and this time it's definitely the last one. In this episode, we say farewell to one of the most beloved characters in the town of Twin Peaks, and it is executed beautifully and respectfully. By the end I was weeping. Both Catherine E. Coulson and the character she portrayed will be dearly missed.

All in all, another strong Part in Lynch's 18 hour movie. It delivered a lot of emotions and a decent amount of answers. If I were to add anything else it would be that Mark Frost's cameo was great and I have about zero understanding of that last scene.

Episode 15 of Twin Peaks Season 3, titled "There's Some Fear in Letting Go," directed by David Lynch and co-created with Mark Frost, serves as a contemplative and emotionally resonant chapter within the season's complex tapestry. This episode balances moments of poignant closure with unsettling developments, weaving together character-driven narratives and advancing the overarching mythology. It functions as both a reflective pause and a setup for the impending climax, marked by Lynch's signature blend of surrealism, symbolism, and intimate human drama.

The episode opens on a tender and long-awaited moment as Big Ed Hurley (Everett McGill) is finally freed from his complicated relationship with Nadine (Wendy Robie) and approaches Norma Jennings (Peggy Lipton) at the Double R Diner. Their heartfelt reunion, underscored by Otis Redding's soulful "I've Been Loving You Too Long," is a deeply satisfying payoff for fans invested in their decades-long, star-crossed romance. This scene exemplifies the episode's ability to balance nostalgia and emotional depth, providing a rare moment of genuine happiness amidst the series' darkness.

In stark contrast, the episode also presents one of the most heartbreaking sequences in the revival: the final moments of Margaret Lanterman, the Log Lady (Catherine E. Coulson). Her phone call to Deputy Hawk (Michael Horse), informing him of her impending death, is delivered with quiet dignity and profound sadness. This farewell is a poignant reminder of the series' roots and the passage of time, marking the end of an era and adding emotional weight to the narrative.

Meanwhile, the malevolent doppelgänger Cooper (Mr. C) visits the convenience store, encountering the Woodsmen and Phillip Jeffries. This surreal and cryptic scene deepens the series' mythological layers, with Mr. C seeking answers about "Judy," a mysterious entity central to the season's cosmic struggle. The interaction is charged with eerie symbolism and unsettling imagery, characteristic of Lynch's exploration of metaphysical themes.

The episode also reveals key character connections, notably that Richard Horne is Audrey Horne's son, adding complexity to Audrey's storyline and raising the stakes for her character arc. This revelation intertwines personal drama with the larger narrative of corruption and darkness permeating Twin Peaks.

Other subplots unfold with varying degrees of intensity. The introduction of Ruby (Charlyne Yi) at the Roadhouse, her frantic escape from aggressive patrons culminating in a primal scream, adds a raw and visceral energy. The scene is a striking example of Lynch's ability to evoke discomfort and empathy simultaneously.

The episode's cinematography, by Peter Deming, continues to impress, capturing the contrasting moods-from the warm, nostalgic interiors of the Double R to the shadowy, otherworldly spaces inhabited by Mr. C. The editing by Duwayne Dunham maintains a measured pace, allowing emotional beats and tension to resonate effectively. Angelo Badalamenti's sparse score and ambient sound design enhance the episode's immersive atmosphere.

"There's Some Fear in Letting Go" explores the inevitability of change, the confrontation with mortality, and the persistence of evil. The title resonates through the episode's juxtaposition of endings and new beginnings, as characters face loss, revelation, and the unknown. The interplay of light and darkness, hope and despair, continues to underpin the series' exploration of human and supernatural conflict.

The episode was praised for its emotional depth, strong performances-particularly from Everett McGill, Peggy Lipton, and Catherine E. Coulson-and its balance of narrative closure and mystery. Some viewers noted a certain looseness in pacing and narrative cohesion, but these aspects are consistent with the series' avant-garde approach and thematic ambition.

In the broader context of television and cinema, this episode exemplifies Twin Peaks' unique ability to blend genre storytelling with poetic and symbolic imagery. Its exploration of themes such as mortality, identity, and cosmic evil situates it within Lynch's broader oeuvre and the evolving landscape of auteur-driven television.

There's always felt like there's something missing in this revival, and I think I finally realized what it was after this episode. I miss the mystery. Sure, there are so many questions that haven't been answered regarding just about everything, but the mystery isn't as prevalent as it was in the original series. Tuning in to each episode was a must because the mystery had me glued to each episode. It'll be hard for me to ever not tune in for an episode of the revival, but it's nowhere near the excitement that was brought by the 90's series. With that said, I quite enjoyed this episode for a few reasons. For one, Ed finally had his moment with Norma. That whole opening sequence was so damn satisfying for so many reasons. Also, the scene in which bad Cooper/Bob talks to a massive teapot (the physical representation of a dead Phillip Jeffries) was something to behold. How exactly to explain that scene isn't something I can provide, but it sure was Lynchian. This scene also gave us another name to remember to look out for, Judy. She joins Billy as the most sought after people in this world as of now. And let's not forget that right after that scene, bad Cooper met (his son?) Richard Horne and beat the crap out of him for saying who his mother was. Hmmmm…. I think the other important thing to note was the passing of the log lady. Catherine E. Coulson passed on in real life awhile back, but this ending to her character was effectively poignant. Overall, this week of Peaks was solid, but it continues to lack a few things that made the original series special.

7.6/10

Part 15. My heart is in a million pieces.

Starting off plain and simple, a great episode overall, we get plot progression, and some very sad finales.

Mr. C is being a weirdo again doing weirdo things. He visits the convenience store we see multiple times and sees some Woodsmen in it. More odd stuff, exactly what I needed for the story narrowing to its end.

Dougie.. ahem, I mean Coop, watches a TV show and it reminds him of something? I suppose, the whole idea of a team and the face of the old dude reminding him of Gordon. Anyway, soon after, he has the bright idea to stick a fork in an outlet. Apparently he didn't read the safety books that were given to him in elementary school. We'll see how that goes.

Margaret. The loss of a major, simple, mysterious and helpful character. A tragedy! But what an ending, always a pleasure to have you around Catherine. Rest in the greatest peace you'll ever find.

An episode where we get a whole canvas of Lynch various styles. Happiness, twisted weirdness, wickedness and sadness.

Evil Cooper is still looking for answers and seeks out Phillip Jeffries who is now represented by some giant kettle. Evil Copper wants to know why Jeffries has ordered to have him killed and about a woman called Judy,

Richard Horne recognised Evil Cooper as the FBI agent who once knew her mother and confronts him. Evil Cooper subdues him and takes Richard on a truck ride where he would explain everything to him.

Dougie Jones while having cake and watching television hears something like Gordon Cole's name and gets himself electrocuted.

At the roadhouse James Hurley gets attacked and his workmate Freddie helps him out by knocking them out with his green glove.

Nadine decides to shovel herself out of her mess with one of Dr Jacoby's golden shovel. She tells Ed that she has been selfish and he can go and spend the rest of his life with Norma.

David Lynch had great fun playing with the audience as Norma rebuffs Ed in the cafe as she talks to her business partner. The disappointment in Ed's face as he sits alone drinking coffee, his hopes and dreams dashed once again, then Norma joins him.

On a sadder note the Log Lady makes her final appearance, she tells Hawk she is dying and her log is turning gold.