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Mädchen Amick (#110 of 3)

Twin Peaks: The Return Recap Part 13

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Twin Peaks: The Return Recap: Part 13

Suzanne Tenner/Showtime

Twin Peaks: The Return Recap: Part 13

Last night’s episode of Twin Peaks: The Return testified to the life-affirming power of cherry pie, gave viewers an object lesson in Existentialism 101, and suggested, in suitably surreal fashion, that the more things change, the more they stay the same. A recurrent leitmotiv in the show’s iconography, cherry pie signifies David Lynch’s unabashed embrace of old-fashioned Americana, a deep-running feeling of kinship and respect for the salt-of-the-earth denizens of the country’s outlying and often overlooked small towns. In “Part 13,” a damn good slice of cherry pie plays a pivotal role in several storylines.

Twin Peaks: The Return Recap Part 11

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Twin Peaks: The Return Recap: Part 11

Suzanne Tenner/Showtime

Twin Peaks: The Return Recap: Part 11

Where last week’s episode of Twin Peaks: The Return brought intimations of encroaching darkness on a tide of unflinching violence and male brutality, last night’s installment divides its time pretty evenly between domestic drama, furthering the show’s overarching mythology, and an extended set piece of seriocomic pop surrealism. In a tidy structural parallel, “Part 11” opens with a pair of scenes that extend (and complicate) events from last week. The first reveals that eyewitness Miriam Sullivan (Sarah Jean Long) somehow survived Richard Horne’s assault and attempted assassination via makeshift gas-oven-and-candle explosive. It’s safe to say that Horne’s misdeeds will now see the light of day, setting up an inevitable showdown with the authorities that seems likely to end in a hail of bullets.

Twin Peaks: The Return Recap Part 5

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Twin Peaks: The Return Recap: Part 5

Showtime

Twin Peaks: The Return Recap: Part 5

The establishing shot of the glittering nighttime Las Vegas skyline that opens “Part 5” of Twin Peaks: The Return dissolves to a street-level prowl through an old-school, neon-lit district before cutting to the Rancho Rosa billboard, moodily lit by a spotlight. The hit men who’ve been lying in wait for Dougie Jones (Kyle MacLachlan) report back that his car hasn’t moved. And for the first time, we’re introduced to their higher-up: an agitated woman sitting behind a cluttered desk, with a makeup smudge (or faded bruise) visible on her cheek, who hastily sends off a text that cryptically reads “Argent 2.”