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iN LOS ANGELES REVIEW OF BOOKS CBA RS kee taa7 ts coos gogo BEFORE THE MIND-HENDING abstractions and derelict poetry of its fabled cighth episede, before the long- anticipated awakening of Agent Cooper, and long before the horrific, shattering final scream that plunged us into new dimensions of uncertainty, Twin Pets: The Rewm introduced us to an unassuming mechanic named Jack Like many of the minor characters this season, you might not remember his name. His face is a different story, We first meet him in the quiet commer of a diner booth, mindlessly tucking in to an abject plate of spaghett, his third, “Jack, you barely touched your three inners,” jokes Ray at his most insufferable. There isa great deal of important foreshadow fon in this scene, hints about Ray and and exposition goin Dara’s betrayal, Mr. CS hunt for coordinates, is impending re-entey into the black Lodge, even his metaphysieal sarus as a creature of pure drive and malevolent desire. ("If there's one thing you should know about me, Ray” Miz © tones with hypnoti foree “i's that I don’ ned anything. 1 wan.") During this moody dramatic standoff, Jack never so much as Jooks up from his pasta. He never speaks. He's a decorative piece of the scene's symbolic furniture, a depressed image of a mechanic with a mechanical appetite, his stacked plates of demonie spaghetti forming a miserable counterpoint to. Me ‘guy posturing abour need versus want. Why do we take more than we need? 1 is the sort of question that feels central to Twn eas and its glutcon’s world of donuts and pie and metaphysical ereamed comm: what happens fo us, and to our souls, when we consume too much? RELATED Return of the Naive Genius: “David Lynch: The Art Life” and “Twin Peaks: The Return” Sensibility: Au Interview with Dennis Lim The Oldest Story: Toward a ‘Theory of a Dead Girl Show ‘What Dreams Are Made On: Adam Fitzgerald, David Lynch, S An David Lynch on His Favorite hotographs: MOST READ ARTICLES The next time we see Jack, he is standing outside a garage, locking up the Mensedes in which Mz C made his haunting entrance into the series, and handing over the Keys to a 2008 Lineoln Town Car ithe same eat, by the way, thatthe real Cooper if it isthe peal Cooper, drives from Odessa to Twin Peaks in the last episode). On first viewing, itis unclear why Me C needs to change out his sleek Mercedes for the next segment of his evil deeds, just as itis uncleae Why Lynch even bothers co create @ character whose sole narrative purpose seems to be to facilitate this one exchange, But before we have time to fully formulate these questions, Mr: € summons Jock to his side. Wordlessly, with an expression at onee sinister and pitying, Me C reaches out with his hand to cup and hold Jack's fice, slowly manipulating the folds of his submissive skin as though he were a puppet forming a set of imaginary words: lynch holds on this scene for an uncomfortable amount of time, lavishing seven cots an nearly @ minute of footage on Me C tactile shows af dominance the effect of his gesture passing from intimidation to a strange kind of tenderness, registering the tr 3 the weak they feeling of the stro nonetheless mean to exploit. We later find out that Jack gets murdered in this scene, bur we never see the aet take place. His death, we fet, i already written in the lines of this gruff but malleable face, the skin gone slick, vulnerable, ow just an uncesising selptnal mat shape it In thie what ean this goony; docile face be made to sing? foe the are forces that menaoe and loriovsly inexpeessive pause, Me C seems tobe asking himself In mony ways, this long squcere is perfectly representative of the obliqus beguiling aestherie of the new Twin Pas, Ie Is not only that the pace Is so exquisitely slow of that the scene's narrative purpose is uncleat, We are also left to wonder about the spotlight of lyrical dread lavished upon a charseter so soon, to disappear from the story, just as we may be dissemed by the prolifestion of arresting minor characters stray images; and tangential aetion throughout the Wait for It: On Michael Robbins and Refrains Flames and Famine: On Laura Engelstein and Anne Applebaum Recovering from an Addicted Life: A Conversation with Russell Brand Postcards from the Edge: The Voices of Hard Times in Today's United States neh has always had a way of elevating peripheral performances to derail out sense of narrative logic (think of the man in Wild at Heart who quacks like a duck, or the inexplicable presence of anthropomorphic rabbits in Inland Epi) [But no work of Lynch's has been so gloriously digressive as Tun Peats: The Rowin, nor has any work of his been so elliptical or s9 unfoegivingly distracted by the characters, images, and scenes that seem to exist tothe side of line, tn this, the seties embraces a narrative sie that is arguably ever more inventive and jarring than the normative itself, with its baroque mythology of Todges, personified evil, and interdimensional rabbit holes. ‘The new season challenges us most in the way it seems t0 undo the story It is telling, moving out of sequence and perversely out of shythm, indicating a wealth of paths it har no interest in going down, spending long stretches of time in scenes that do not immediately further the plot, end jumping without warning from characters and locales we know to those we donY and never come to know). The result is a feling of ert

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