One-third of it has happened again…
Twin Peaks (Season 3 Episodes 1-6)
When the return of Twin Peaks was announced with the tagline “it is happening again”, I think everyone assumed it was, at worst, just an echo of one of the series’ famous lines which happened to work well for a revival; or, at best, an indicator to the plot — that the strange, sometimes otherworldly events of the original series were about to reoccur. As it’s turned out, perhaps what the tagline is most applicable to is the series’ effect: 27 years ago, Twin Peaks pushed new boundaries for what could be done on television, and the medium as a whole spent a couple of decades catching up. Now, rather than merely return to what he did all those years ago, as most revivals do, co-writer/director David Lynch is once again pushing at the boundaries of what’s possible or acceptable on mainstream(-ish) television. If “it” is “David Lynch being way beyond everybody else”, then it is indeed happening again. If you were after a comforting pile of references, callbacks, reflections, and imitations of the original series, you’re going to be disappointed — as one or two critics have been. If you were after something new in the weird world of Twin Peaks, well, step on up.
Before the series aired, Lynch said that prequel movie Fire Walk with Me would be important to understanding what’s going on. As much as it’s possible to understand what’s going on in the new Twin Peaks, that’s very true — there’s a ton of stuff touched on that wasn’t part of the series. Tonally, too, this is much more aligned with the movie: there’s a brand-new murder investigation; it’s set largely outside of Twin Peaks itself; and some of the biggest moments are based more around emotional resonance than strict storytelling necessity. It’s also sometimes reminiscent of The Missing Pieces, or what Fire Walk with Me would’ve been if they had remained included, as it shoots off on scene-long tangents that don’t seem to connect up to anything else. Some people are assuming it will all make sense and come together eventually, but based on how many of those Missing Pieces went nowhere, I’m not convinced it will.
It’s also been widely reported that Lynch and co-creator Mark Frost wrote a single 400- or 500-page screenplay, shot it all, then chopped it up into 18 episodes in the edit. This I can very much believe. Individual episodes are almost shapeless as hours of television, and plot threads disappear for several episodes at a time, only to crop back up as if we’d never been away. While many series these days boast they are “actually an X-hour movie”, they still often function as individual episodes — they may not be completely standalone, but the shape of each hour, the way they’re paced and build to a cliffhanger, and so on, is episodic. Twin Peaks, however, feels like it means it — no doubt the legacy of Lynch’s production methodology.
Because of this, it feels tailor-made for binge-watching, except Lynch himself requested that it be released weekly, reportedly because he didn’t want to spend three years making something only for people to polish it off in a weekend. I can understand that position, but given the pace of the series, I can’t help but feel it would be better binged. When it’s over, a lot of viewers are going to remember the Dougie Jones material as a long, slow trudge, possibly putting it on a par with some of the worse plotlines from the middle of season two, and that would be ameliorated slightly if it could be consumed across a few consecutive hours rather than several weeks (or, possibly, months). Of course, I’m not sure Lynch cares about that. He may be planning something different altogether. What that plan is, maybe we’ll never even know.
Some five-and-a-half hours into this 18-hour movie, Dougie hands his boss a stack of files. The boss slowly looks through them one by one, baffled by the seemingly senseless doodles Dougie has scrawled all over the pages. But after a while he begins to see a pattern, and comes to understand something. In the end he thanks Dougie. Dougie, as ever, looks blank, before doing a failed imitation of being a normal human being. Is Lynch deliberately setting out to say that he is Dougie and we are Dougie’s boss? That all of us are taking a long, slow look at Lynch’s indecipherable doodlings until we eventually discern some meaning. Or is it just a scene in Lynch’s world that we can coincidentally project that interpretation on to? As ever with David Lynch, I’m not quite sure.
Doctor Who (Series 10 Episodes 6-9)
Well, I suppose it was too much to hope it would last. The most consistently great season of Doctor Who in over half a decade threw it all away with a frustratingly variable trilogy of stories (note: not a three-parter — this pedantic old-school Who fan insists we observe the difference). It all began with Extremis, which starts strong with a decent mystery (there’s a book in the Vatican library that causes anyone who reads it to commit suicide) and some good humour (Bill’s interrupted date), but increasingly becomes a lot of running around to delay the reveal. It’s a non-story pretending to be a story, basically. I don’t even care that it basically has an “and it was all a dream” ending. In fact, writer Steven Moffat found a way to make “and it was all a dream” work, which is a rare and miraculous thing. But the episode that leads to that ending doesn’t do enough heavy lifting to support it. A waste.
That leads, sort of, into The Pyramid at the End of the World, where the Monks — who were technically the villains in Extremis — actually commence their invasion of Earth. This is where the trilogy is most clearly a trilogy rather than a three-parter: Extremis is a prologue to Pyramid, not a vital component of it. Again, it’s a frustratingly imperfect episode, with some ideas landing very well and others feeling hurried or ill thought through. Like, it’s neat that the Doctor’s hubris in hiding his blindness ultimately becomes his (and everyone else’s) downfall, but the hoops the show has to jump through to make this work get in the way.
That leads to The Lie of the Land, which could justifiably be classed as part two of a two-parter — Pyramid ends with a direct cliffhanger, Lie deals with it, albeit in an atypical way because it’s now months later and there’s a new set of problems. It suffers from the same problems as the first two instalments, however, in that it’s regularly disingenuous. The opening act, with Bill and Nardole attempting to rescue the Doctor, who’s working with the Monks, feels like a massive sequence designed to provide some shocking moments for the trailer — again, the internal logic is not completely wrong, but is slightly off. Same with the “love conquers all” ending. It’s a potentially powerful message, but the episode doesn’t invest enough in making it work. It also squanders the successful invasion / 1984-esque dystopian world it sets up, which is a pity because I don’t imagine Who will re-attempt the same milieu anytime soon.
So, it’s a run of three almost-there episodes, which sadly undercuts the quality displayed in the first five episodes. They’re not bad per se, but they’re wasteful. Though, that said, I’ve developed a strong dislike for Extremis after some people went head-over-heels for it. No. It’s not good.
Finally this month, Mark Gatiss writes for the series for the ninth (and possibly final — we’ll see) time in Empress of Mars. I like the Ice Warriors; I don’t dislike Gatiss’ episodes in the way some people seem to — I’d say he’s more-or-less 50/50 on really good ones / not very good ones. Empress basically straddles that divide. There’s strong imagery with the Victorian soldiers on Mars, and the seeds of some nice thematic material in issues of honour and cowardice, and what actually characterises either. Unfortunately they’re not allowed to grow properly, the episode wasting time on silly business like the TARDIS flying off for no reason when it should be developing the Victorian soldiers beyond shallow archetypes. Like the three episodes before it, it feels like the necessary time wasn’t devoted to polishing these episodes; to making all the decent ideas they exhibit coalesce in the most effective way possible. It’s a shame.
Still, the season isn’t a write-off yet. These four episodes may have underwhelmed, but there are promising ideas to come in the remaining three instalments.
The Kettering Incident (Season 1)
In a remote small logging town where everybody knows everybody else, a teenage girl, who’s secretly into drugs and partying and is the daughter of a prominent local man, goes missing under mysterious circumstances in the creepy woods, which have a history of possibly-supernatural strangeness… Yes, this is the Australian answer to Twin Peaks — a comparison I have perhaps unfairly amped up with that description. It’s more about Anna Macy (The Night Manager’s Elizabeth Debicki), a London doctor who has been getting strange black outs since she was a child, when she lived in Kettering and her best friend disappeared after they saw mysterious lights in the woods — the “incident” of the title, in which some believe the other girl was abducted by aliens. Now she’s returned home and, as one character literally says (as a deliberate or accidental homage to Peaks, I’m not sure), “it’s happening again.”
Sadly, The Kettering Incident lacks the quirky charm of classic Twin Peaks, but neither does it have the balls to be as bold as the new one. (I’m not sure anyone bar David Lynch has those balls, so perhaps that’s an unfair comparison too.) It’s more like The X Files crossed with Top of the Lake — both series I enjoyed, but not on the same level as Peaks. (Well, maybe X Files was in its prime. I need to watch it more thoroughly, to be honest.) Where Peaks started out looking like a small-town murder mystery and gradually mixed in undeniably fantastical elements, Kettering has them in from the start, with the UFO stuff. Will that be explained away by something normal and earthly? Well… that’d spoil it. Though it’s worth noting that, despite looking like a miniseries, Kettering is nothing of the sort: it ends with some answers, but even more questions, and it’s clear a further season (or, according to some sources, two) is needed to actually explain everything.
Personally, I want to know what the hell is meant to be going on, but the finale felt a lot like weak sci-fi to me and I’m not sure the answers will be worth it. I have that same hot/cold feel about the series as a whole: whenever it’s actually in front of my eyes I become engrossed, invested, and enamoured; but within hours of it finishing I feel a kind of indifference creep in. I can’t really explain why. It’s probably not a fair reaction.
Not a glowing recommendation, then. However, if you’re looking for something else that plays in Twin Peaks’ tonal ballpark, although it’s surely just a pretender to the throne, there are certainly worse.
(As a side note, it’s brought to my attention that Tasmanian Gothic is a thing. Colour me intrigued.)
Things to Catch Up On
This month, I have mostly been missing the start of the third series of Poldark. Well, I’ve not even watched series two yet. I also still haven’t started American Gods, the finale of which is here on Monday. I guess that can go on the finished-and-ready-to-binge pile beside Westworld and Legion (and goodness knows what else), then.
Next month… as if TV wasn’t crazy enough right now, Preacher’s back. Plus: The Americans season five.