1:13 – In the trunk

Depending on the version you're watching, this is either the point at which Part 1 seamlessly transitions into Part 2, or its the final scene that leads to the disquieting credits in what amounts to something of an anticlimax for the first installment of The Return. Parts 1 and 2 aired together on Showtime as … Continue reading 1:13 – In the trunk

1:12 – Holding

Back to the Police Department in Buckhorn. Bill Hastings (Matthew Lillard) sits in an interrogation room with his head in his hands. Det. Macklay (Brent Briscoe) observes him through the obligatory two-way mirror. The decor is grey scale; it feels as though we're deep in the belly of some grim ocean liner. Don Harrison (Bailey … Continue reading 1:12 – Holding

1:11 – Boxes

So far we've had the sinister glass box, Dr. Jacoby's delivery of shovels, even Ruth Davenport's apartment could be viewed as a kind of locked box... Part 1's preoccupation with boxes - and openings - continues as we return to the Twin Peaks Sheriff's Department. Following his late night phone call with Margaret Lanterman, Deputy … Continue reading 1:11 – Boxes

1:10 – Print match

Lynch establishes that we're back in Buckhorn with a shot of the Police Department exterior that strongly calls to mind the kind of front-on set-ups scene in 1986's Blue Velvet. In fact, Buckhorn feels kind of similar to the Lumberton of that film. A sort of seemingly wholesome Middle American town with, of course, a seamy underbelly. … Continue reading 1:10 – Print match

1:9 – My log has a message for you

When Mulholland Drive was first released it was marketed with a set of 10 'clues' to help viewers navigate the film's Möbius strip narrative (and forewarn of its canny complexity). One of these clues asked us to "notice appearances of the red lampshade". The lampshade in question sat in the home of Diane Selwin (Naomi Watts), on … Continue reading 1:9 – My log has a message for you

1:8 – Buckhorn, South Dakota

The concept of a complete human head transplant has been an infrequent but potent element of horror and science fiction, but its a fixation that has also proven durable in the medical world. Though never successfully achieved (at the time or writing), its a controversial subject fraught with ethical implications. Those in favour, like Italian … Continue reading 1:8 – Buckhorn, South Dakota

1:7 – Intimacy

We're back in New York and the studio apartment containing the glass box. The quiet hum of machines rests in the background. Sam Colby (Benjamin Rosenfield) attends to his work. We can safely assume that this is the next night. On hearing the buzzer go, he steps out into the lobby to investigate and finds … Continue reading 1:7 – Intimacy

1:6 – A world of truck drivers

Boom... Bap... Boom-Bap... The sound you are hearing as the scene opens is David Lynch's own remix of "American Woman" by Muddy Magnolias. It is pointedly the loudest element so far in the sound mix (something Lynch himself is acutely involved in). The stark beats are an eerie counterpoint to the visuals. Another of Lynch's … Continue reading 1:6 – A world of truck drivers

1:5 – Two Trumans

With golden sunlight pouring through the branches of the woodland backdrop, we visit the Twin Peaks Sheriff's Department for the first time in over 25 years. Lucy Brennan (Kimmy Robertson) is sat behind reception. The change in her name as advertised on the counter brings us right up to speed with efficiency. Her and Andy … Continue reading 1:5 – Two Trumans

1:4 – R-E-S-P-E-C-T

Our first return trip to a primary location from the series' original run, and its the Great Northern Hotel. Lynch triggers us with that classic establishing shot - the hotel structure over the tumbling waterfall. It's the first scene of The Return that feels like coming home. As intimated last time, the subject of female … Continue reading 1:4 – R-E-S-P-E-C-T