Wounds and Scars

Lynch knows how to do some gracious,suave,etc.,portraits of women.We get a sample of his skills in this episode,where one has the chance to see this show's ALL four beauties (Lara Flynn Boyle,Mädchen Amick,Peggy Lipton,Heather Graham) ,three of them together.

Mrs. Graham enters the show.

"Audrey" is out for a nice picnic with guest star Zane,all is supposed to be calm,but unfortunately manages to look lugubrious,as if the two were out for a funeral,not a picnic.

Ian Buchanan is again very good and entertaining .

Towards the final,Lynch tries hard to get burlesque with the weasel stuff,but he is far from succeeding,except in a pejorative sense,the scene is disappointing,mechanical and dumb.("Moonlighting" often managed to have exquisite,tasty burlesque finals!)

I liked Lara Flynn Boyle,Heather Graham,Peggy Lipton and Ian Buchanan being in this show;for me,this is enough to provide a pretty good 5o min. show.But the rest is so fake,shallow,pointless and senseless.

Things move along at a rapid pace. Windom's efforts to win a chess match continue. The problem for Cooper is that the Sheriff has dropped into an alcoholic pit over the death of Josie. Meanwhile Ben Horne tries to destroy Catherine's plans by introducing the Pine Weasel, an endangered species. He knows how authorities will stop excavation to prevent the destruction of an endangered species. There is also something going on as a tall beautiful woman confronts Catherine. She is really mysterious and dangerous. We are also seeing facts in evidence but disbelieved made whole by the appearance of the log lady who was apparently abducted by aliens when she was a child. This matches up with Garland. Both of them have a set of triangular marks on their bodies.

"Wounds and Scars," the seventeenth episode of Twin Peaks Season Two, directed by James Foley and written by Barry Pullman, stands as a poignant and multifaceted installment that deftly balances emotional depth, narrative progression, and the series' trademark surreal atmosphere. Returning after a six-week hiatus, the episode re-engages its core themes of loss, trauma, and the supernatural, while introducing new characters and escalating tensions that propel the story toward its climax.

The episode opens with Sheriff Harry Truman drowning his sorrows over the recent death of Josie Packard at the Bookhouse, a scene imbued with raw grief and vulnerability. Michael Ontkean's portrayal captures Truman's pain and frustration, setting a somber tone that permeates much of the episode. Hawk's quiet support and the presence of the Bookhouse Boys underscore the community's fragile solidarity in the face of mounting darkness. This opening sequence grounds the episode emotionally, reminding viewers of the human cost behind the unfolding mysteries.

A significant narrative development is the arrival of Annie Blackburn, Norma Jennings's sister, played with warmth and subtlety by Heather Graham. Having left a convent, Annie begins working at the Double R Diner, where she quickly forms a connection with Agent Dale Cooper. Their initial meeting is charged with understated chemistry, hinting at a new romantic possibility for Cooper that contrasts with the lingering shadows of his past. This subplot introduces themes of renewal and hope amid the series' pervasive darkness.

Meanwhile, Cooper grapples with cryptic messages and visions linked to Windom Earle, his deranged former partner. The mysterious card and chess piece left by Earle-a black knight with a written move "Knight to King's Bishop 3"-signal an ominous game unfolding, blending the procedural with the metaphysical. The unsettling revelation that a man named Gerald Craig, believed dead for years, may be involved adds layers of intrigue and suspense. These elements deepen the series' exploration of fate, strategy, and the battle between good and evil.

The episode also addresses the strained relationship between Ed Hurley and Nadine Hurley, with Dr. Jacoby attempting to mediate their impending separation. Nadine's fragile mental state and her symbolic loss of her imagined superhuman eye reflect themes of identity, healing, and acceptance. This subplot provides moments of both humor and pathos, illustrating the series' ability to blend the surreal with the deeply human.

One of the episode's highlights is the Save the Pine Weasel fundraiser and fashion show hosted by Ben Horne, featuring a flamboyant and awkward performance by Dick Tremayne and models including Lucy and Andy. This sequence injects dark humor and social satire, contrasting with the episode's heavier themes. Ben's apparent transformation into a do-gooder, coupled with Catherine Martell's skepticism, adds complexity to the town's power dynamics.

James Foley's direction balances the episode's tonal shifts with a measured pace and atmospheric visuals. The muted color palette and naturalistic lighting enhance the mood of melancholy and suspense, while the editing weaves together multiple storylines with clarity and rhythm. Foley's cinematic background is evident in the episode's polished composition and nuanced character focus.

Performances across the cast are compelling. Kyle MacLachlan's Cooper remains the calm, insightful center, navigating the episode's emotional and supernatural complexities with grace. Heather Graham's Annie brings a fresh and hopeful energy, while Michael Ontkean's Truman conveys profound grief. Peggy Lipton and Kimmy Robertson add warmth and humor in their respective roles, and Kenneth Welsh's Windom Earle looms as a menacing presence.

Thematically, "Wounds and Scars" delves into motifs of loss, renewal, and the interplay between human vulnerability and supernatural forces. The episode's title evokes the emotional and physical scars borne by the characters, as well as the wounds inflicted by betrayal and violence. The recurring imagery of light and sound-such as the white light and owl calls-connects characters' experiences to the series' broader metaphysical mythology.

Culturally, the episode exemplifies Twin Peaks' innovative narrative style, blending soap opera melodrama, mystery, and supernatural horror. Its exploration of psychological trauma, community resilience, and metaphysical inquiry situates it within a tradition of American Gothic and postmodern storytelling. The episode's emotional depth and symbolic richness contribute to the series' enduring influence on television narrative.

While "Wounds and Scars" is praised for its atmospheric direction, strong performances, and thematic depth, some viewers may find its multiple subplots and tonal shifts challenging. The episode requires attentive viewing and interpretive engagement, which may not appeal to all audiences. However, these qualities contribute to its rich texture and narrative complexity.

It is no secret that the show lost steam starting from episode 10 of the 2nd season, and it lasted 4 to 5 episodes, but by now, the show has gotten back on track. There are still some flaws, but the direction and writing already have the same tone and feel as it had before when Laura's mystery wasn't solved yet. The suspense is there once again, and the characters' plots are finally coming full circle. If you watch this series, and learn about the downfall in the middle of the season, don't worry, it lasts at most only 5 episodes. Plus, even when Twin Peaks was at it's weakest, it is still better than most Television shows out there. Twin Peaks is surely going to keep the plots coming!