Re-watch Review: The Genius That Is Part 11.

Because it was All Hallows’ Eve, I decided since most of us will be celebrating, why not start recapping my favorite parts of the Return.  So here is my first re-watch recap.

For as long as I can remember I’ve felt most comfortable on stage. Dancing, singing, acting, I’ve done it all. I tried to pursue acting further as what you would call a “child actor” but to be going in and out of the city for my single working mother was not the most convenient, so I put my dreams on hold. I guess you can say permanent hold and pursued other goals. There are moments that bring me back. Bring me back to a place where I wished I went that extra mile, wishing to be a part of an ensemble. Part 11 of Twin Peaks was one of those moments. Say what you want about Twin Peaks, but it is a true ensemble and it is marvelous.

From the first frame to the piano playing us out and Kyle MacLachlan’s starring credit, I felt fully committed and a true part of Twin Peaks fandom during this part. This was so much more than just moving forward in our journey to an end. It was a study in how subtle nuances and actions can make for absolutely beautiful performances. It was a master class in character development. It was creepy and mysterious. It was brilliant.

Right from the beginning of watching the three boys playing catch and seeing Miriam, I was on the edge of my seat (well sitting straight up in bed…never mind). Then onto the conversation, Becky, Bobby, and Shelley have at Double R diner. We see so much growth from Bobby (the wonderful Dana Ashbrook). He’s now, for the time being, trying to be Twin Peaks savior, when before he was just part of its unraveling. Shelley is once again making poor decisions and going for the bad boy. Her daughter following down a path to her own destruction, and naïve as Shelley once was. It brought back so many of the “old” feel of Twin Peaks.

bobby shelly

The scene consisting of Gordon/Albert/Tammy/Diane visiting the “Zone” with Bill Hastings and Detective Mackly, what a Twin Peaks moment! It made you question many things. Can the woodsmen kill like the Mother? Did the cyclonic black hole exist only to Gordon and Albert because it seemed like Tammy and Diane were not fazed at all by its existence? To Matthew Lillard, who brought so much to Bill, your performance was wonderful. I’m sorry you had to die by mutilation to your beautiful face. I hope we will see it again. You’re now part of the gifted and the damned (and it’s a great group to be a part of). Those Woodsmen, always sneaking up on you when you least expect it.


The Hawk and Sheriff Truman scene, hauntingly radiant! Oh, Catherine Coulson. How I loved you throughout. Seeing you on screen in these scenes you had filmed before your unfortunate passing, such love for our Log Lady. The map, the fire, the owl, this scene foreshadowed so much and I was terrified and thrilled all at once.

Hands down (or should I say doubling down), the Las Vegas scenes were some of my favorites of the whole run. They really felt like I was watching an old Hollywood film. Not only because Don Murray was a part of them and Kyle’s handsome Cary Grant like presence, but Jim Belushi and Robert Knepper’s buddy timing. Like Abbott and Costello. Both of them shined and completely won me over. The scenes were a nice contrast to the hellishness going on in Twin Peaks.


Can we just take a moment for Candie? Amy Shiels, I played a character by the name of Bonnie from Cole Porter’s Anything Goes and every time I see you on screen I get nostalgic. She is the ultimate dumb but smart as a fox blonde. Bravo, girlfriend for stealing a little piece of everyone’s hearts along the way.


Part 11 brought me back to twenty-seven years ago, watching again on Sunday nights and not being able to wait for next week’s episode so we could continue the story, continue the journey. I don’t know if I can truly put into words how watching made me feel. I will just leave you with this photo.

cooper & casino lady

This photo shows a journey coming full circle. We first see “Casino Lady” when she’s skeptical of “Mr. Jackpots” luck at the slots. She then asks him for guidance, learning to trust him and his tips. She’s now cleaned up, reconnected with her family and full of joy. In the same scene, we see Dougie/Cooper enjoying one of his favorite things, cherry pie. The way in which Kyle approaches this scene is so full of hope and emotion. It was a beautiful framing to the chaos that went on during Part 11. The scene had more emotion thanks to Angelo Badalamenti’s beautiful piece entitled, “Heartbreaking”. My heart was breaking. I know I had never lost trust in David Lynch or Mark Frost’s vision, throughout the Return. They have been trying to show us Twin Peaks as a whole, maybe a whole that we do not remember as clearly as we would like to think we do. Though I feel we do view it as an unbelievable ensemble.  Everyone playing a very important part, in this whole beautiful and brilliant story and its accompanying parts.  Part 11 though for me was the ultimate Twin Peaks, uncovering mysteries, a touch of nostalgia, but not so much that we choked on it, and a foreshadowing of the Parts that we came to afterwards.  Twin Peaks is a beautiful piece of art, with all the parts fitting perfectly together and I am so happy to be a part of it in my own little way, which makes all of us part of its ensemble.

Written by J.C. Hotchkiss

J.C. Hotchkiss is a Office Manager by day and Managing Twin Peaks Editor for 25YL Site the other 16 hours of the day. When she isn’t writing of her love of FBI Agents with a penchant for doughnuts, coffee and pie, she enjoys getting lost in a good book, sipping a damn fine glass of wine among friends, chatting with her "TB's" about Cevans and Fleabag's Hot Priest, and trying to keep up with the latest cartoon craze via her 6 year old. She lives smack in the middle of the Big Apple and Beantown, so for a girl with many different interests and tastes it's the perfect place to be.

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