Part 10

Goofy and sinister sums up this episode. Twin Peaks always had violence against women, after all the body of Laura Palmer is where it all started.

Nasty Richard Horne battered a witness to his crime when he then attacked his own grandmother for money.

We have a focus on the sinister Mitchum brothers. Rodney gets smacked in the face by a remote control by the ditsy Candie who also shows signs of other worldly brain activity.

The Mitchum brothers are in a collision course with Dougie Jones as Dougie is framed for the brothers troubles.

Yet the goofiness is provided with Janey-E realising that her husband has suddenly lost weight, became muscular, fit and healthy. She suddenly now wants to seduce him.

The biggest surprise was to see Albert having dinner with a female and smiling away. Just a little moment that rounds his character.

While maintaining a comfortingly linear structure, Part 10 also contains some of the weirdest moments found in this season so far. Some of the humor is ridiculously absurd to a point of near shock; I'm both pleased and astounded that this late in his career Lynch still manages to be unpredictable. But, however comic some highlights (including the most bizarre, yet funny sex scene in the history of television) of this episode may be, there is still plenty to make even the least sensitive shiver. In between the zany, surrealist gags are various moments of absolute HORROR in its purest, most tormenting form. Seriously, some of the content here is disturbing even for David Lynch, but it only adds to the watchability since I am at the edge of my seat awaiting whatever conclusion may come out of such events.

Unfortunately, some moments were rather tedious and this may be my least favorite episode so far (but that's hardly saying anything considering I rewarded it with a 9/10 which is, obviously, GREAT), but I am still hooked and entertained to an extent that no other show on T.V. can make me. Through many recent plot progressions, Lynch and Frost have now added to the everlastingly enigmatic world of "Twin Peaks", and I'm loving it!

If you take the music out, this episode is disappointingly short. There are some interesting things that occur. First of all, there is Dougie, who walks through life totally out of the loop. He becomes the object of a plot at insurance fraud. The bad guys want to frame him, but since nothing fazes him anyway, who cares? We meet two brothers who are supposed to be his adversaries. We have the continuation of that violent kid who ran over a little boy attacking his own grandmother and taking everything she has. There is also probably a reason that we are focused on his mentally challenged cousin. He also killed a woman in a motor home. I would guess that next time we get back to the doings concerning bad Cooper. It seems like an eternity to get to the end. Once again, we are led into the rabbit hole.

I was either grinning or downright furious while watching this episode. Grinning at the great moments that once again warmed my heart and made me laugh hysterically (Oh, dougie!), or Furious (freaked out too) at every moment featuring the cold-hearted Richard Horne and abusive Steve. Plenty of important and gripping moments with more...just fun moments. It was short but effective.

I don't have much to say without spoiling it. My main complaints are that the episode was a bit too short and a tiny bit lacking in important moments.

Fun episode overall.

The tenth episode of Twin Peaks Season 3, titled "Laura Is the One," directed by David Lynch and co-created with Mark Frost, stands as a pivotal and emotionally charged installment that balances the series' trademark surrealism with deeply human moments and significant narrative progression. This episode intricately weaves past and present, memory and reality, while centering on the enduring mystery and emotional weight of Laura Palmer's legacy, reaffirming her as the heart of the Twin Peaks mythos.

The episode opens with a haunting scene at Laura Palmer's grave, where Donna Hayward (Lara Flynn Boyle) confronts the lingering presence of Laura's ghost. Boyle delivers a powerful performance, capturing Donna's mixture of grief, anger, and desperation. This moment encapsulates the episode's thematic core: the inescapable impact of trauma and the haunting persistence of the past. The graveyard scene is both raw and poetic, setting a tone of melancholy and unresolved pain that permeates the episode.

Parallel to Donna's emotional journey, the episode explores various subplots that deepen the narrative complexity. The arrival of Dick Tremayne (Ian Buchanan), a slick and somewhat obnoxious character vying for Lucy's (Kimmy Robertson) affection and the paternity of her unborn child, introduces a touch of dark humor and social awkwardness. Buchanan's performance adds a layer of levity while highlighting the series' ongoing exploration of complicated human relationships and desires.

A significant portion of the episode focuses on the enigmatic Harold Smith (Lenny von Dohlen), a reclusive orchid grower who harbors a profound and obsessive connection to Laura Palmer. His scenes with Donna reveal a fragile, wounded character whose emotional vulnerability contrasts sharply with the darker forces at play elsewhere. The interaction between Donna and Harold is tender and unsettling, underscoring themes of loneliness, obsession, and the search for connection.

Visually, Peter Deming's cinematography captures the episode's contrasting moods with finesse, from the somber, misty graveyard to the intimate, cluttered spaces of Harold's home. The lighting and color palette emphasize the episode's emotional depth and eerie undertones. The editing by Duwayne Dunham maintains a contemplative pace, allowing scenes to breathe and the emotional weight to settle without rushing.

The episode also features subtle but impactful appearances by other characters, including Audrey Horne (Sherilyn Fenn) and James Hurley (James Marshall), whose brief interactions evoke nostalgia and hint at unresolved tensions. The integration of these characters enriches the narrative tapestry, connecting the revival to the original series' emotional landscape.

Musically, Angelo Badalamenti's score is used sparingly but effectively, enhancing key moments with its haunting melodies. The episode's sound design contributes to the immersive atmosphere, blending naturalistic sounds with moments of eerie silence that heighten tension and introspection.

Thematically, "Laura Is the One" delves into the persistence of memory, the complexity of grief, and the elusive nature of truth. Laura Palmer's presence looms large, both as a literal ghost and as a symbolic force shaping the lives of those around her. The episode reflects on how trauma reverberates through time, affecting individuals and communities in profound ways.

Critically, the episode was praised for its emotional resonance, strong performances-particularly by Lara Flynn Boyle and Lenny von Dohlen-and its ability to balance character-driven drama with the series' overarching mystery. Some viewers noted the slower pacing and focus on intimate moments as a contrast to the more surreal and action-driven episodes, but these qualities were largely seen as strengths that deepen the narrative.

In the broader cultural and cinematic context, "Laura Is the One" exemplifies Twin Peaks' unique blend of soap opera, psychological drama, and supernatural mystery. Its focus on character psychology and emotional complexity aligns with Lynch's broader oeuvre, while its narrative structure challenges conventional television storytelling.

"Laura Is the One" is a poignant and richly layered episode that reinforces Laura Palmer's central role in the Twin Peaks saga. Through Lynch's visionary direction, compelling performances, and evocative production, the episode invites viewers to engage with themes of memory, loss, and identity. It stands as a testament to the series' enduring power to blend the surreal with the deeply human, encouraging reflection on the mysteries that haunt us all.