Twin Peaks S02E20 'The Path to the Black Lodge'

James and his thrilling escapades with Femme Fatale were a delightful surprise! This scene harkens back to classic noir films and adds a touch of nostalgic glamour to the show. The moment James pops the champagne and locks lips with Femme Fatale, the atmosphere becomes electric. It’s like stepping into a vintage detective story, complete with the allure and mystique of the genre.

The subtle sound of a saxophone that you can almost hear in the background feels like a tribute to the beloved noir period and adds a layer of sensuality and suspense. This interlude makes for a delicious detour that reinvigorates the series and serves as a reminder of its ability to venture into different styles effortlessly.

As for Agent Dale Cooper - wow, what a twist. Our ever-so composed and quirky detective goes through a remarkable transformation. This episode challenges the dimensions of Cooper’s character and allows him to explore a more audacious and daring side. While we're used to seeing him as the methodical detective, akin to Sherlock Holmes, his actions in this episode demonstrate the complexity and multifaceted nature of his character.

The intensity peaks during the sting operation, where Cooper’s unpredictable behavior leaves us on the edge of our seats. The way he takes down Jean Renault is reminiscent of classic action heroes, and this deviation from his usual persona keeps the audience guessing.

It's an exciting testament to the show's capability to evolve and keep the characters fresh. This twist reveals that there’s more to Cooper than meets the eye, and the depth of his character is still unraveling. The direction in this episode can be seen as bold, as it takes risks that pay off by enriching Cooper’s character and enhancing the show’s dynamism.

Now, let's talk about the good stuff because this episode does have its redeeming qualities. The opening dream sequence with Major Briggs is downright captivating. It’s what Twin Peaks does best: creepy, weird, and totally engrossing. Also, the episode’s closing scenes are like a punch to the gut. Leo’s revival and Windom Earle's sinister moves? Chills, my friends. Unseen Earle is the stuff of nightmares, though I can’t help but feel like that's about to change.

I’ve got to give a shoutout to Norma and Ed’s romance - it’s about time! It’s the heart amidst the chaos, even if it means more screen time for Super Nadine.

Also, Donna gets some much-needed attention. This season has had a tendency to shove characters in the background like unwanted furniture. Donna might not be the most electrifying, but honestly, give me Donna over the tangled web of guest stars any day.

Speaking of the parade of characters, the show feels like it's drifting. Remember the charm of the early episodes? It’s like when you start cleaning your house, and suddenly you’re going through old photos and forgotten memorabilia instead of cleaning. Focus, Twin Peaks! We've got the brief snippet of an unseen Invitation To Love episode, which just made me yearn for the original essence of the show.

And then there’s Benjamin Horne, playing with toy soldiers. The man’s lost it. The show isn’t subtle about this, but hey, subtlety isn’t Twin Peaks’ strong suit. The cuckoo has left the clock, and Horne’s unraveling. A little cuckoo soundtrack might have been on-the-nose, but I wouldn’t have put it past Twin Peaks.

In conclusion, this episode is like that jigsaw puzzle you’ve been trying to solve but some of the pieces are from another box. There's brilliance, there's heart, and then there's the part where you go, “What in the actual fuck is happening?”. Onward we go, let’s see where this crazy train takes us next.

Obligatory Log Lady Quote: "The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy."