Twin Peaks 3: Episode 14 Update

DATELINE:  We See Dead People

bowie

Late David Bowie With Early MacLachlan

If we have learned any lesson this season, it is there is no such thing as a spoiler in Twin Peaks 3.  David Lynch’s surreal series is moving toward its conclusion, and the old characters, however dead they may be, are still viable plot movers.

Old time fans will be glad they have hung on to the lunacy by this time. Lynch now has begun to weave clips of the original show, 25 years ago, into the new plot.

This episode featured old Lynch as FBI Director Cole recounting a dream to Miguel Ferrer as his assistant Albert. In it, we see dark-haired young Lynch in conversation with young, still-dark haired Kyle MacLachlan as Agent Cooper. Director Cole’s old partner and friend shows up from 25 years ago, and it is none other than the late David Bowie.

He is in a scene with the late Miguel Ferrer.

Dana Ashbrook is now on the Twin Peaks Police Force, and James Marshall is now a night watchman in the infamous Twin Peaks Hotel. There, he works with a British boy who looks like his son—and has been directed to Twin Peaks by cosmic forces to find his “destiny.”

Lynch continues to be a grand proponent of directing actors to stare blankly at each other. It is both insightful and hilarious. He does it best with Ferrer who notes the absurdity of the universe.

We now learn too the connection between missing agent Dale Cooper, his assistant Diane, and the weird counter-point of Naomi Watts as Mrs. Dougie Jones.

The episode is dedicated to the memory of David Bowie who probably wished he could return to reprise his role in this grandiose season.

Week 6 Comes to a Header Thanks to David Bowie

DATELINE: Indy, a Space Oddity

 Featured image

The press called him robotic this week, and now the game at Indianapolis has answered the question.

The man who took Julian Edelman to the Montana mountains to experience bears while they practiced this summer showed how fearless he is. Wild horses, nor even wild Colts, could deter him from entering the arena of the enemy.

Tom Brady, automaton for seventeen years in Foxboro, now rivals the HAL series of 2001: A Space Odyssey. While he looks like a man who has been in suspended animation, he is simply football’s Dorian Gray. There is a portrait in his attic that has frayed around the edges.

Brady has outdone David Bowie’s Major Tom. He is the real Captain Tom.  Ground Control was a problem for the Patriots—and they seemed to have lost contact with Tom.

Brady is the man who always makes the grade—and the media knows whose Uggs he wears. Ground Control asked Tom to leave the pocket if he dared.

Tom informed Ground Control that he could not leave the pocket unscathed. As he stepped over the line, he felt like he was floating in a most peculiar way. Tom made the stars look different in the Coltish alignment. Bad Luck showed up only once for the Indy team.

The blue uniforms seemed far above the world—in their own quantum universe where fake punts are normal and surprising.

Major Tom stayed quite still. He knew which way to send these space cadets. Ground Control to Major Tom: the Indy Colts’ circuit is dead. There’s something wrong; this time Major Tom heard them loud and clear.

The Colts were sent reeling far above the Moon where no amount of compressed air could save them from the tin can offense they gave.

Ground Control to Major Tom: you are still on schedule for Super Bowl.