Here Are The 70th Annual Emmy Winners!


To be honest, I didn’t actually watch the Emmys this year.  For one thing, I was upset that Twin Peaks was not nominated for Best Limited Series and I was even more upset that Kyle MacLachlan was totally overlooked.  It’s hard for me to take seriously an awards show that snubs Twin Peaks but honors Alec Baldwin’s uninspired Donald Trump impersonation.

However, I did kind of follow the ceremony on twitter.  I was happy, for instance, to learn that Bill Hader and Henry Winkler won for Barry and that Thandie Newton won for Westworld.  The Emmy that should have gone to Twin Peaks went to The Assassination of Gianni Verscace, which was good but uneven.  (The first five episodes were brilliant.  The final three felt somewhat superfluous.)  Ryan Murphy beat David Lynch for Best Director.  I mean, what the Hell?

Anyway, here’s the winners!

Best Comedy: “The Marvelous Mrs. Maisel” (Amazon)

Best Drama:“Game of Thrones” (HBO)

Best Limited Series: “The Assassination of Gianni Versace: American Crime Story” (FX)

Best Actress, Comedy: Rachel Brosnahan, “The Marvelous Mrs. Maisel”

Best Actor, Comedy: Bill Hader, “Barry”

Best Actress, Drama: Claire Foy, “The Crown”

Best Actor, Drama: Matthew Rhys, “The Americans”

Supporting Actress, Drama: Thandie Newton, “Westworld”

Supporting Actor, Drama: Peter Dinklage, “Game of Thrones”

Supporting Actress, Comedy: Alex Borstein, “The Marvelous Mrs. Maisel”

Supporting Actor, Comedy: Henry Winkler, “Barry”

Best Actress, Limited Series or TV Movie: Regina King, “Seven Seconds”

Best Actor, Limited Series or TV Movie: Darren Criss, “The Assassination of Gianni Versace: American Crime Story”

Supporting Actress, Limited Series or a Movie: Merritt Wever, “Godless”

Supporting Actor, Limited Series or Movie: Jeff Daniels, “Godless”

*Television Movie: “Black Mirror: USS Callister” (Netflix)

Variety Sketch Series: “Saturday Night Live” (NBC)

Variety Talk Series: “Last Week Tonight With John Oliver”(HBO)

Reality Competition Program: “RuPaul’s Drag Race” (VH1)

*Reality Host: RuPaul, “RuPaul’s Drag Race”

*Structured Reality Program: “Queer Eye” (Netflix)

*Unstructured Reality Program: “United Shades Of America With W. Kamau Bell” (CNN)

*Guest Actress, Drama: Samira Wiley, “The Handmaid’s Tale”

*Guest Actor, Drama: Ron Cephas Jones, “This Is Us”

*Guest Actress, Comedy: Tiffany Haddish, “Saturday Night Live”

*Guest Actor, Comedy: Katt Williams, “Atlanta”

*Documentary or Nonfiction Series: “Wild Wild Country” (Netflix)

*Animated Program: “Rick And Morty” (Adult Swim)

Writing for a Comedy Series: Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (Pilot)

Writing for a Drama Series: Joel Fields & Joe Weisberg, “The Americans” (“Start”)

Writing for a Limited Series, Movie or Drama: William Bridges & Charlie Brooker, “Black Mirror: USS Callister”

Directing for a Comedy Series: Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (Pilot)

Directing for a Drama Series: Stephen Daldry, “The Crown” (“Paterfamilias”)

Directing for a Limited Series: Ryan Murphy, “The Assassination Of Gianni Versace: American Crime Story” (“The Man Who Would Be Vogue”)

*Directing for a Variety Series: Don Roy King, “Saturday Night Live” (Host: Donald Glover)

Writing for a Variety Special: John Mulaney, “John Mulaney: Kid Gorgeous At Radio City”

Directing for a Variety Special: Glenn Weiss, “The Oscars”

*Awards presented during the Creative Arts Emmy ceremony on Sept. 8-9.

4 Shots From 4 Films That Won The Palme d’Or: Wild At Heart, Barton Fink, The Piano, Pulp Fiction


4 Shots from 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots from 4 Films lets the visuals do the talking!

All four of these films have one thing in common: they all won the Palme d’Or at Cannes!

4 Shots From 4 Films

Wild At Heart (1990, dir by David Lynch)

Barton Fink (1991, dir by the Coen Brothers)

The Piano (1993, dir by Jane Campion)

Pulp Fiction (1994, dir by Quentin Tarantino)

2017 In Review: Lisa Marie’s Final Post About Twin Peaks: The Return (for now)


“Nothing will die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die.” — John Merrick’s Mother, quoting Tennyson, at the end of The Elephant Man (1980)

Was Twin Peaks: The Return a movie or a TV show?

As I sit here on January 9th, 2018, that’s a question that’s still on my mind.  There are many critics who insist that Twin Peaks: The Return should be viewed as being a 16-hour movie.  It’s a claim that I, myself, have made several times.  In order to support this argument, we point out that David Lynch and Mark Frost didn’t sit down and write 16 different scripts.  Instead, they wrote one 900-page script which they then filmed and subsequently divided into 16 different “chapters.”  It’s really not that much different from what Quentin Tarantino did with Kill Bill or what Peter Jackson did with both The Lord of the Rings and The Hobbit.  As well, Twin Peaks: The Return was such a monumental artistic achievement that calling it a TV show just seems somehow diminishing.

And yet, the fact of the matter is that Twin Peaks: The Return did air on television.  It aired in 16 different episodes, which were aired on a weekly basis.  To many, that fact alone makes Twin Peaks: The Return a television show.

It may all seem like a silly question to some readers.  However, for those of us who like to make best-of lists at the start of the new year, it is a legitimate issue.  Should I include Twin Peaks: The Return at the top of my list of the best 26 films of 2017 or should I rave about it in my list of good things I saw on television in 2017?

My solution is to do neither.  Twin Peaks: The Return was such a monumental achievement that it deserves a best-of entry of its very own.

(Of course, not everyone is going to agree.  For everyone who loved Twin Peaks: The Return, there was someone else who hated it with just as much of a passion.)

Months after the show ended, Twin Peaks: The Return continues to haunt many viewers.  As the Man From Another Place once told Agent Cooper, “She is full of secrets.”  When the show ended, many of the show’s mysteries were left unsolved.  Really, we shouldn’t have been surprised.  As a filmmaker, David Lynch has always been most interested in mysteries than solutions.  What happened to Audrey?  Why did Laura/Carrie scream?  At the end of the show, was Dale trapped in another world or another time?  Was BOB really destroyed?

Interestingly, David Lynch actually provided viewers with two endings.  The first ending, which occurred halfway through Part 17, was an ending that would have been perfect for a television show.  Dale Cooper, back to normal, defeated the bad guys and was reunited with all of his friends.  The second ending — also known as Part 18— was a much more Lynchian ending as two strangers took a road trip to nowhere.  Part 17 gave us hope for the future.  Part 18 ended with a dark reminder that the past cannot be changed, no matter how much we obsess over it.  For me, Part 18 was the most important chapter of Twin Peaks: The Return.  Part 8, of course, is the chapter that got and continues to get all the attention.  And Part 8 was probably one of the greatest stand-alone episodes in television history.  But, when considering the reoccurring themes of Twin Peaks: The Return and all of Lynch’s work, Part 18 was far more important.

What’s interesting is that, while the show ended on a dark note, Twin Peaks: The Return was often Lynch at his most optimistic.  For all the terrible things that happened, the show also featured a reoccurring theme of redemption.  Two of the original show’s most villainous characters — Dana Ashbrook’s Bobby Briggs and Richard Beymer’s Ben Horne — were reintroduced as two of the most sympathetic characters to be found in The Return.  Agent Cooper finally escaped from the Black Lodge and not only got a chance to redeem himself by destroying Bob but he also destroyed his evil Double.  He even got a chance to turn Dougie Jones into a good husband, father, and employee.

In the end, it would appear that Cooper’s only mistake was thinking that he could change the past.  He may have saved Laura but, in doing so, he just transformed her into Carrie, an unbalanced woman living in a house with a dead body on the couch.  As her final scream confirmed, he could save her life but he couldn’t erase her pain.  The past is the past but the future can always be better.

Of course, it wasn’t just the characters on the show who won redemption.  The cast of Twin Peaks: The Return was truly amazing and, by the time the show ended, my opinion of several performers had changed forever.  Who would ever have guessed that Jim Belushi would end up being one of my favorite characters?  Or that Michael Cera would turn Wally Brando into a minor cult hero?   Or that David Lynch would prove to be as good an actor as he is a director?  Or that Balthazar Getty would get a chane to redeem his less than impressive work in Lost Highway with a chilling performance as the newest face of Twin Peaks corruption?  Even the returnees from the original show — Dana Ashbrook, Wendy Robie, Sheryl Lee, Harry Goaz, Kimmy Robertson, Russ Tamblyn, Everett McGill, Peggy Lipton, Grace Zabriskie, James Marshall, Madchen Amick, and others — were given a chance to reveal new depths of character.  Veterans like Robert Forster, Ashley Judd, Laura Dern, Don Murray, Jennifer Jason Leigh, Naomi Watts and Tim Roth shared the stage with newcomers like Chrysta Bell and Eamon Farren and they all came together to create an unforgettable world.

You could even argue that Twin Peaks: The Return was a comeback of sorts for Kyle MacLachlan.  Hollywood has never seemed to really understand how to best use this appealing but quirky actor.  Twin Peaks: The Return provided him with a chance to show what he can do, giving him not just one but three characters to play.

 

Twin Peaks: The Return gave us one final chance to appreciate some talented people who are no longer with us.  Harry Dean Stanton was the face of old-fashioned decency.  Miguel Ferrer provided snarky commentary, letting the audience know that the show understood how strange it was.  Warren Frost returned briefly, still as reliable as ever as Doc Hayward.  And Catherine E. Coulson, who was so often Lynch’s muse, got to play the role one more time.

(Jack Nance, Don S. Davis, Frank Silva, and David Bowie all made appearances as well, a reminder that they may no longer be with us but they will never be gone.)

In the end, it seems appropriate to end this post with a picture of Ed and Norma, finally together.  The world of Twin Peaks: The Return was frequently a dark one but sometimes, love won.

Tomorrow, my look back at 2017 continues with my picks for my favorite songs of 2017.

Previous entries in the TSL’s Look Back at 2017:

  1. 2017 in Review: Top Ten Single Issues by Ryan C
  2. 2017 in Review: Top Ten Series by Ryan C
  3. 2017 In Review: Top Ten Collected Edition (Contemporary) by Ryan C
  4. 2017 In Review: Top Ten Collected Editions (Vintage) by Ryan C
  5. 2017 in Review: Top Ten Graphic Novels By Ryan C
  6. 25 Best, Worst, and Gems I saw in 2017 by Valerie Troutman
  7. My Top 15 Albums of 2017 by Necromoonyeti
  8. 2017 In Review: Lisa Marie’s Picks For the 16 Worst Films of 2017

 

4 Shots From 4 Films: Special Jack Nance Edition (Eraserhead, Twin Peaks — The Pilot, Whore, Meatballs 4)


In honor of the late, great Jack Nance’s birthday, here are…

4 Shots From 4 Films

Eraserhead (1977, directed by David Lynch)

Twin Peaks 1.1 “The Pilot” (1990, directed by David Lynch)

Whore (1991, directed by Ken Russell)

Meatballs 4 (1992, directed by Bob Logan)

Blade Runner 2049 wins in New Mexico!


Yesterday, the New Mexico Film Critics Association named their picks for the best of 2017!  They also became the first group to pick Blade Runner 2049 as the best film of 2017.

Here are their winners:

Best Picture
Winner: “Blade Runner 2049”
Runner Up: “Lady Bird:

Best Director
Winner: Greta Gerwig, “Lady Bird”
Runner Up: Denis Villeneuve, “Blade Runner 2049”

Glenn Strange Honorary Awards

  • Glenn Close
  • Olivia De Haviland
  • John Carpenter
  • David Lynch

Best Actor
Winner: Sam Elliot, “The Hero”
Runner Up: James Franco, “The Disaster Artist”

Best Actress
Winner: Jennifer Lawrence, “mother!”
Runner Up: Jessica Rothe, “Happy Death Day”

Best Supporting Actress
Winner: Catherine Kenner, “Get Out”
Runner Up: Maryana Spivak, “Loveless”

Best Supporting Actor
Winner: Harrison Ford, “Blade Runner 2049”
Runner Up: Ewen Bremner, “Trainspotting II”

Best Ensemble
Winner: “Raw”
Runner Up: “The Killing of a Sacred Deer”

Best Original Screenplay
Winner: “November”
Runner Up: “Lady Bird”

Best Adapted Screenplay
Winner: “The Disaster Artist”
Runner Up: “Call Me By Your Name”

Best Animated Film
Winner: “Loving Vincent”
Runner Up: “The Breadwinner”

Best Foreign Language Film
Winner: “November” (Estonia)
Runner Up: “BPM” (France)

Best Editing
Winner: “November”
Runner Up: “Blade Runner 2049”

Best Cinematography
Winner: “Blade Runner 2049”
Runner Up: “Song of Granite”

Best Music/Score
Winner: “The Shape of Water”
Runner Up: “mother!”

Best Production Design
Winner: “Blade Runner 2049”
Runner Up: “The Shape of Water”

Best Documentary
Winner: “City of Ghosts”
Runner Up: “Faces Places”

Best Young Actor/Actress
Winner: Garance Mirillier, “Raw”
Runner Up: Sophia Lillis, “It”

Best Original Song
Winner: “The Misery of Love” from “Call Me By Your Name”
Runner Up: “Prayers for this World” from “Cries from Syria”

4 Shots From 4 Films: Special David Lynch Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order!  That’s right, we’re going from Argento to Zombie in one month!

Today’s director: the one, the only David Lynch!

4 Shots From 4 Films

Eraserhead (1977, dir by David Lynch)

Twin Peaks: Fire Walk With Me (dir by David Lynch)

Lost Highway (1997, directed by David Lynch)

Twin Peaks: The Return (2017, dir by David Lynch)

 

TV Review: Twin Peaks: The Return Part 18 (dir by David Lynch)


The Twin Peaks finale, which began with Part 17, concludes with an episode that we’ll probably still be debating 25 years from now.

The Doppelganger sits in the waiting room of the Black Lodge and bursts into flame.  MIKE (Al Strobel) uses the Doppelganger’s soul to create another Cooper (Kyle MacLachlan).  One scene later, that Cooper is arriving at his home in Las Vegas, where he is embraced by Janey-E (Naomi Watts) and Sonny Jim (Pierce Gagnon).

In the woods outside Twin Peaks, the real Cooper leads Laura (Sheryl Lee) by the hand.  Again, Laura vanishes and we hear the sound of her screaming.

Suddenly, we are again in the waiting room of the Black Lodge.  Cooper sits in his chair.  MIKE asks him, “Is it the future or the past?”  Events from Parts One and Two repeat.  Cooper again meets the Arm but this time the Arm asks him not if he remembers the Doppelganger but if he knows the story of the little girl who lived down the street.  Again, Laura whispers in Cooper’s ear before being pulled away by an unseen force.  Again, Leland (Ray Wise) tells Cooper to find Laura.

And, once again, Cooper starts to walk through the Black Lodge but this time, he finds a room that is full of dead trees.  And in that room, Diane (Laura Dern) is waiting for him.  “Is it you?” she asks him, “is it really you?”  Cooper is shocked but happy to see Diane.

(Is it possible that, even after saving Laura Palmer and therefore eliminating the event that led to him going to Twin Peaks in the first place, Cooper still found himself trapped in the Black Lodge for 25 years?  But now, instead of being sent to destroy his Doppelganger, could it be that Cooper has been allowed to leave specifically to track down Laura?)

In the next scene, Cooper and Diane are driving down a desert road.  It looks like the same road in South Dakota where the Doppelganger crashed his car when Cooper previously escaped from the Black Lodge.  It does not look like it’s anywhere near Odessa, Texas, which will become important shortly.

They pull over to the side of the road.  “Exactly 430 miles,” Cooper says.  Cooper gets out of the car.  He looks at the power lines above.  Remember — in the world of Twin Peaks, electricity is magic.  Cooper gets back in the car and asks Diane to kiss him.  “Once we cross,” he says, “it could all be different.”

They drive forward.  Electricity crackles.  Suddenly, they’re driving down a highway in the middle of the night.  They pull into a motel and get a room.  They make love, with Cooper telling Diane to keep the lights turned out and Diane placing her hands over Cooper’s face.

(It was around this time that I started to realize that a lot of unanswered questions — like what’s going on with Audrey and why Sarah Palmer can remove her face — were probably destined to remain unanswered.)

The next morning, Cooper wakes up in a room that appears to be different from the one that he fell asleep in.  Diane is gone but there’s a letter on the nightstand.  It is addressed to Richard and it is from Linda.  Linda’s letter says that she’s leaving because, “I don’t recognize you anymore.”

(Remember during Part One, when the Giant told Cooper to remember Richard and Linda?  I’m going to assume that, just as how Cooper was previously Dougie Jones, the “crossing over” that he and Diane did transformed them into Richard and Linda.)

Cooper leaves his motel and it’s a totally different motel from the one that we previously saw him checking into.

A city limits sign indicates that Cooper is in Odessa, Texas.  (Lynch does not make my home state look very good in this episode but I’ll forgive him because he’s otherwise awesome.)  As Cooper drives down the street, he sees a sign for Judy’s coffee shop–

JUDY!

Cooper pulls into the parking lot and enters Judy’s.  He asks the waitress (Francesa Eastwood) if there’s another waitress who works there.  She tells him that there is but it’s her day off.  When a few rednecks in cowboy hats (really, David?) start to harass the waitress, Cooper beats them up and drops their guns in the deep fryer.  Explaining that he’s with the FBI, Cooper asks for the other waitress’s address.

Cooper’s drives up to the waitress’s house.  He sees that she has an electric poll (marked No. 6) outside of her house.  When Cooper knocks on the door, it’s answered by Laura Palmer (Sheryl Lee)!

Except that she says that her name isn’t Laura Palmer.  She insists that her name is Carrie Page and, when she hears that Cooper is FBI, she immediately asks, “Did you find him!?”  Cooper tells her, “Your father’s name is Leland.  Your mother’s name is Sarah.”  When Carrie hears Sarah’s name, she appears to be momentarily shaken and asks.  “What’s going on?”  Cooper tells her that she is Laura Palmer and that she needs to come with him to Twin Peaks, Washington.

“D.C?” Carrie asks.

“State,” Cooper replies.

Carrie agrees to go up to Twin Peaks with him.  Her willingness may have something to do with the dead man who is propped up on her couch.

Cooper and Carrie drive all the way from Texas to Washington State.  That’s quite a long journey and, as I watched them slightly driving down yet another dark highway, I again resigned myself to the knowledge that the show would never reveal just why exactly Audrey was screaming in that white room.

Hey, Coop, I know you’re busy but remember Audrey?

(My theory is that, after raping her, the Doppelganger sent Audrey to the Black Lodge, and, just as he did to Diane, manufactured a replacement.  But if Cooper saved Laura and the Doppelganger never entered our world, is Audrey in the Black Lodge?  In fact, if Laura never died then Ben never had to sale the Ghostwood Estates to get an alibi, which means that he never pushed Audrey to become an environmental crusader and, hence, Audrey was probably not at the bank when the bomb went off.)

Finally, Cooper and Carrie reach Twin Peaks.  They drive past the Double R.  Carrie says she doesn’t recognize anything, not even the Palmer House.

Cooper and Carrie walk up to the house.  (Rather sweetly, Cooper and Carrie hold hands as they approach.)  What follows is Lynch at his creepiest, his best, and his most frustrating.

Alice Tremond was played the actual owner of the house that’s used for the exterior shots of the Palmer House.

When Cooper knocks on the door, it’s answered by the house’s owner, Alice Tremond.  (Longtime fans of the show will recognize the Alice Tremond name as belonging to one of the inhabitants of the Black Lodge.  However, Cooper never met Mrs. Tremond.  Only Donna met her and her odd grandson.)  Mrs. Tremond says that, as far as she knows, no one named Palmer has ever lived un the house.  When asked, she says that she bought the house from Mrs. Chalfont, another Black Lodge inhabitant that Cooper never met.

Stunned, Cooper and Carrie walk away from the house.

“What year is this?” Cooper asks.

Carrie shrugs.

Suddenly, from inside the house, we hear Sarah Palmer’s voice.  “Laura!”

Carrie screams.  We hear a burst of static electricity and it appears that lights in the house go off.  The screen fades to black.

The screaming fades.  Again, we see Cooper’s passive face as Laura whispers in his ear.

End credits.  Sheryl Lee is credited twice.  Once for playing Laura Palmer.  Once for playing Carrie Page.

And so it ends.

We’re going to spend years debating what all this means and I don’t want to say too much until I get chance to watch the entire series a second time.  (I plan on watching all 18 hours next weekend.)  It does appear that, no matter how much Cooper and Laura try to avoid it, all paths lead back to not only Twin Peaks but also to the unspeakable horror that occurred in the Palmer House.  Much like Dana Andrews’s obsessive P.I. in the classic film noir, Laura, Cooper is obsessed with saving a dead woman.

I’ll write more on this later, after I’ve had time to rest.  For now, I just want to thank everyone who has followed our Twin Peaks coverage here on the Shattered Lens.  And thank you to Jeff, Leonard, and Ryan for contributing!

It’s a strange world, isn’t it?

Twin Peaks on TSL:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman
  27. TV Review: Twin Peaks 2.18 “On The Wings of Love” (directed by Duwayne Dunham) by Jedadiah Leland
  28. TV Review: Twin Peaks 2.19 “Variations on Relations” (directed by Jonathan Sanger) by Lisa Marie Bowman
  29. TV Review: Twin Peaks 2.20 “The Path to the Black Lodge” (directed by Stephen Gyllenhaal) by Lisa Marie Bowman
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson
  31. TV Review: Twin Peaks 22.2 “Beyond Life and Death” (directed by David Lynch) by Lisa Marie Bowman
  32. Film Review: Twin Peaks: Fire Walk With Me (dir by David Lynch) by Lisa Marie Bowman
  33. Here’s The Latest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  34. Here’s The Newest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  35. 12 Initial Thoughts About Twin Peaks: The Return Parts One and Two by Lisa Marie Bowman
  36. This Week’s Peaks: Parts One and Two by Ryan C. (trashfilm guru)
  37. TV Review: Twin Peaks: The Return Parts One and Two (dir by David Lynch) by Lisa Marie Bowman
  38. 4 Shots From 4 Films: Special Twin Peaks Edition by Lisa Marie Bowman
  39. This Week’s Peaks: Parts Three and Four by Ryan C. (trashfilm guru)
  40. 14 Initial Thoughts About Twin Peaks: The Return Part Three by Lisa Marie Bowman (dir by David Lynch)
  41. 10 Initial Thoughts About Twin Peaks: The Return Part Four by Lisa Marie Bowman (dir by David Lynch)
  42. TV Review: Twin Peaks: The Return Parts Three and Four (dir by David Lynch) by Lisa Marie Bowman 
  43. 18 Initial Thoughts About Twin Peaks: The Return Part 5 (dir by David Lynch) by Lisa Marie Bowman
  44. This Week’s Peaks: Part Five by Ryan C. (trashfilm guru)
  45. TV Review: Twin Peaks: The Return: Part 5 (dir by David Lynch) by Lisa Marie Bowman
  46. 14 Initial Thoughts On Twin Peaks Part 6 (dir by David Lynch) by Lisa Marie Bowman
  47. This Week’s Peaks: Part Six by Ryan C. (trashfilm guru)
  48. TV Review: Twin Peaks: The Return Part 6 (dir by David Lynch) by Lisa Marie Bowman
  49. 12 Initial Thoughts on Twin Peaks: The Return Part 7 (dir by David Lynch) by Lisa Marie Bowman
  50. This Week’s Peaks: Part Seven by Ryan C. (trashfilm guru)
  51. TV Review: Twin Peaks: The Return Part 7 (dir by David Lynch) by Lisa Marie Bowman
  52. Ten Initial Thoughts on Twin Peaks: The Return Part 8 (dir by David Lynch) by Lisa Marie Bowman
  53. This Week’s Peaks: Part Eight by Ryan C (trashfilm guru)
  54. TV Review: Twin Peaks: The Return Part 8 (dir by David Lynch) by Lisa Marie Bowman
  55. 16 Initial Thoughts on Twin Peaks: The Return Part 9 (dir by David Lynch) by Lisa Marie Bowman
  56. This Week’s Peaks: Part Nine by Ryan C (trashfilm guru)
  57. TV Review: Twin Peaks: The Return Part 9 (dir by David Lynch) by Lisa Marie Bowman
  58. 20 Initial Thoughts On Twin Peaks: The Return Part 10 (dir by David Lynch) by Lisa Marie Bowman
  59. This Week’s Peaks: Part 10 by Ryan C (trashfilm guru)
  60. TV Review: Twin Peaks: The Return Part 10 (dir by David Lynch) by Lisa Marie Bowman
  61. 16 Initial Thoughts About Twin Peaks: The Return Part 11 (dir by David Lynch) by Lisa Marie Bowman
  62. This Week’s Peaks: Part 11 by Ryan C (trashfilm guru)
  63. TV Review: Twin Peaks: The Return Part 11 (dir by David Lynch) by Lisa Marie Bowman
  64. 20 Initial Thoughts on Twin Peaks: The Return Part 12 (dir by David Lynch) by Lisa Marie Bowman
  65. This Weeks Peaks: Part 12 by Ryan C (trashfilm guru)
  66. TV Review: Twin Peaks: The Return Part 12 (dir by David Lynch) by Lisa Marie Bowman
  67. 22 Initial Thoughts on Twin Peaks: The Return Part 13 (dir by David Lynch) by Lisa Marie Bowman
  68. This Week’s Peaks: Part 13 by Ryan C (trashfilm guru)
  69. TV Review: Twin Peaks: The Return Part 13 (dir by David Lynch) by Lisa Marie Bowman
  70. 22 Initial Thoughts on Twin Peaks: The Return Part 14 (dir by David Lynch) by Lisa Marie Bowman
  71. This Week’s Peaks: Part 14 by Ryan C (trashfilm guru)
  72. TV Review: Twin Peaks: The Return Part 14 (dir by David Lynch) by Lisa Marie Bowman
  73. This Week’s Peaks: Part 15 by Ryan C (trashfilm guru)
  74. 24 Initial Thoughts About Twin Peaks; The Return Part 15 (dir by David Lynch) by Lisa Marie Bowman
  75. TV Review: Twin Peaks: The Return Part 15 (dir by David Lynch) by Lisa Marie Bowman
  76. 32 Initial Thoughts about Twin Peaks; The Return Part 16 (dir by David Lynch) by Lisa Marie Bowman
  77. This Week’s Peaks: Part 16 by Ryan C (trashfilm guru)
  78. TV Review: Twin Peaks: The Return Part 16 (dir by David Lynch) by Lisa Marie Bowman
  79. 18 Initial Thoughts on Twin Peaks: The Return Part 17 (dir by David Lynch) by Lisa Marie Bowman
  80. 16 Initial Thoughts on Twin Peaks: The Return part 18 (dir by David Lynch) by Lisa Marie Bowman
  81. This Week’s Peaks: Parts 17 and 18 by Ryan C (trashfilm guru)
  82. TV Review: Twin Peaks: The Return Part 17 (dir by David Lynch) by Lisa Marie Bowman