#nadine’s silent drape runners

[welcometoyouredoom]

[thediaryoflaurapalmer]

[owilder]

Nadine’s finally got her silent drape runners. Don’t dream it, be it, loves. 

[screenviolense]

cooper and laura are rightfully the most iconic characters of tw.in pea.ks but also not enough said about the many many side characters, particularly nadine, who is stuck in a marriage with a man clearly hung up on his high school sweetheart and is only staying with her from guilt about accidentally shooting her eye out so she wears an eyepatch everywhere. she cares deeply about making silent drape runners. she gets into a coma and wakes up with superhuman strength and also amnesia, believing she’s in high school again. i do not believe the super strength is ever explained

[buzzbot222]

From the looks of what's on her desk, Nadine is either an interior decorator, or her silent drape runners became very popular.

[mysticalsadgirl]

I'm not the biggest Shakespeare fan but if there's one thing I like about his players it's the way tone is constantly shifted around, the way things are suddenly light hearted and fun and then dip back into tragedy. Like the opening scene of Romeo and Juliet is a comic one.

I also feel like Twin Peaks does a similar thing where there's this dark mystery surrounding the tragic murder of a teenager girl but the you have all this silly lighthearted stuff around that like Lucy and Andy, Nadine's quest for silent drape runners. It's interesting because it feels truer to life, that even when awful things are happening there's still a mundaneity or something that can make you laugh and smile

[for-ghosts-like-me]

I’m rewatching Twin Peaks for the millionth time and this time around I’m heavily relating to Nadine obsessing over her silent drape runners as I invest too much time and enthusiasm into crafting and reorganizing around my apartment to avoid pandemic anxiety

[alexanderwrites]

Thoughts Roundup - Twin Peaks: The Return, Part 10

“Laura Is The One”

After the wild, nuts-to-the-wall freakout that was Part 8, Parts 9 & 10 have returned us to a more conventional mode of storytelling - it should be noted that “conventional” is used here very loosely, and that by episodic TV standards, these episodes are still pretty nuts-to-the-wall. Maybe part 8 pushed its nuts THROUGH the wall whereas 9 & 10 just gently press the nuts up against the wall. Maybe I should drop this analogy altogether and get into what was a slow, ruminative but intensely powerful hour of TV. (Also - I didn’t do a write up last week because i’m stupid and forgot).

. The violence against women in this episode can’t be ignored. It’s right there, front and centre. We start with Horrible, horrible, HORRIBLE Richard Horne being his horrible self and killing (or at least brutally attacking, she seemed to still be breathing) a witness to his earlier hit and run, before we move on to Amanda Seyfried’s Becky, who is viciously attacked by her ALSO HORRIBLE boyfriend. The trifecta is completed when Richard heads to his Grandma’s for a vicious, intrusive robbery. There is commentary on violence towards women here: when Robert Knepper’s Rodney is accidentally swatted in the face by Candie, it leaves a small mark, but no harm is really done. She is beside herself the rest of the scene, wailing and crying and overridden with guilt and fear. She feels genuine sorrow - contrast this with Richard’s nonchalance towards his violence against women and we start to get a look at how disparately different victims of violence are treated. 

The violence on display is as much about our perception of gender roles and their function within narratives as it is about highlighting how HORRIBLE these characters are. Having said that, it would be nice to see more female characters with a little more agency in the foreground. I do wish we had some more diversity when it came to leading women in the show (not to mention the almost non-existence of women of colour in the show) to counter-balance the violence against them. I believe the characters ARE there, but due to the unimaginably huge roster of characters, a lot of them are shuffled to the back. It’s a shame because you know what? I could watch an entire hour of Jane Adams’ Constance. She’s such a charmingly funny and unique character, and every time she turns up I hope she’ll get more than a few lines. Diane is similarly fascinating, but because of the narrative structure (and this and last week’s revelations), she’s being kept at arm’s length. A great character again, but I hope she isn’t absent in future episodes like she was tonight. Luckily we have Janey-E (Naomi Watts is just the greatest of all time and I won’t hear any arguments against it) as a prominent character, and she is a fascinatingly complex one, as she swings from being weirdly performative to achingly sincere. It’s easy to list a whole bunch of other great female characters, but I suppose what I wish is that they were more central to the plot in a positive way. Twin Peaks couldn’t be Twin Peaks without violence. It’s one of the things that the show is fundamentally about, and furthermore, how we react to, or DON’T react to that violence. But I don’t know that we need three scenes of it in one episode to highlight that. Then again, discomfort was probably the intent. We’re meant to feel like something deeply wrong is happening, and if that’s the intention then this episode succeeded. 

. I talked about that more than I expected, so moving on! Nadine got the moment of the night for me when her Silent Drape Runner store was revealed. Get it, girl!! I adore Nadine, the absolute weirdo. I dearly, dearly hope we get more of her over the next 8 episodes. It’s almost impossible to see how she could tie in to the central story which is a shame because she’s one of the most fun people to watch on the show. 

. The scenes with Cooper were a mix of hilarious and tragic, as they tend to be. It is both understandable and unfathomable how Janey-E could find him attractive - on the one hand, the doctor’s scene reveals how scarily in shape he is. No one’s blaming her for checking him out. On the other hand....come on. You’re attracted to the guy who drinks coffee like it’s a sippy cup of ribena? It’s a funny notion, but also a little sad because it makes you realise how starved for warmth and affection she probably is, as anyone would be. Him, too. Their sex scene is initially pretty funny because of Kyle Maclachlan’s fucking expressions (literally). Man, he has proven himself to have adept comic skills this year - as well as pretty much every other acting skill known to the profession. But as they lie together afterwards, it feels poignant again. It’s another reminder of how close yet far away our Coop is, and as much as I want him to find himself, I want Janey-E to be happy and find herself, too. She’s been put through some shit, having unwittingly married a non-human doppelganger manufactured by an evil entity who has escaped from another dimension. That’s a lot for one person. Plus she’s named Janey-E. How unlucky can one person be?

. I sort of liked the stuff with Jim Belushi and Robert Knepper. They give a couple of very intense and solid performances, but the problem for me was that it’s another complex storyline being introduced so deep into the series. If it’s one that lasts a few episodes - fine. But i’d almost like to see their part wrapped up - or advanced dramatically - by next week, mainly because there are more interesting threads the one these two linger on. I want more Doppelcoop. I want the Bookhouse Boys heading to the black lodge. I want more Patrick Fischler rather than the guys he gives orders to. It’s hard to judge from episode to episode which assortment of characters you’ll get, and it’s starting to feel like this series’ logline should’ve adapted an existing catchphrase: “Twin Peaks is like a box of Gormonbozias: You never know what creamed corn nightmare you’re gonna get”. I personally am happy with whatever assortment we get, but getting Belushi and Knepper’s characters is like getting a pretty nice plain milk chocolate when I could be getting a delicious hazelnut deluxe. It’s not bad at all, just...perfectly fine. 

. When it comes to Diane and her relationship with Doppelcoop, i’m utterly intrigued and utterly uninterested in guessing where it’ll go. There will be a million theories floating out there about how and why they’re in contact, but i’d rather just watch the story play out rather than guess ahead. It’s a very cool development though, and Cole’s vision of Laura at the door was completely disarming and haunting. Again, I don’t really want to guess ahead at how Laura will play into the following episodes, but we know she will. That’s enough for me. I’ve been browsing the Twin Peaks reddit lately (I know...I know) and i’ve gotta admit i’m waring very thin from it. Not EVERYTHING is a thing, guys. I’m beginning to think all the fan theories are detracting from the story, when really i’d rather just experience the ride. We can’t outsmart Frost and Lynch and they’ll tell us what they want and in the manner they want to. And anyway, more interesting than a tenuous “it’s all set in another dimension and i have proof!” theory is something that put maybe the biggest smile on my face yet: ALBERT ON A DATE!!! With CONSTANCE!! How utterly delightful. I guess he’s got over his love of Harry Truman, then. 

. I really thought we were going to get Audrey this episode, as we inch closer and closer towards her through her horrible bastard son. Seeing more of Johnny this season has been a surprise, but from what happens to him tonight, not a pleasant one. It is fully heartbreaking watching him try to wriggle out of his restraints to rescue his Mum, and a pretty solid metaphor for so many of the male characters on the show: When a woman is being hurt, the men are impotent to help. For Johnny, it’s understandable that he can’t, the poor guy. But for the other men? It’s not that they can’t, it’s that they won’t. Harry Dean Stanton’s Carl plays a lovely old folk song outside his trailer, looking briefly torn up when he sees a mug go flying through a trailer window, the sound of a furious male voice growling from inside. Does he go and intervene? He doesn’t. And he’s a ‘good guy’, right? I re-watched Blue Velvet again yesterday, and was blown away by how full of shit Jeffery Beaumont’s good-guy image is. Like Carl, when he sees Dorothy’s attack, he doesn’t step in. He just watches. This seems to be a recurring theme with Lynch: those who see violence against women stand by and allow it to happen. And there ARE Carls everywhere, who’d rather say “That’s sad but not my business” than stand up and help. What happens to the Woman who witnesses evil (ie Richard’s hit and run) and tries to report it? She’s destroyed by a Man. God, it’s heartbreaking. The layers of commentary get deeper even as I write this, and I realise things about this episode I hadn’t thought of. I think part 10 is the most troubling and divisive, yet most fiercely critical yet. 

. And then, we get a surprise I truly wasn’t expecting: more of The Log Lady. Maybe the most iconic, important and wise character on the entire show, leading us onwards through the dark night. God bless the log lady, and god bless Catherine Coulson. Every word she speaks is fraught with such pain and feeling, and it’d be a fucking sin for us to not cherish every word of it. I found myself listening to her words just as Hawk does - with eyes almost closed, in utter silence, revering them and their power. At the centre of this Season, underneath it all, the real heroes are Hawk and The Log Lady. It is so nice, so utterly refreshing to have such a pure moment of goodness and beauty, and for it to be between a Woman written with true agency and a Native American Man who has risen to protect his town - two beautiful souls who are stepping in to save the day that the white dudes have repeatedly fucked right up. It’s a gorgeous scene, and it segues into a road house performance that is easily my favourite of the year so far. Rebekah Del Rio’s performance of No Stars (No surprises, it was co-written by David Lynch) is haunting and it feels like a turning point for the series - from here on in, the darkness in the woods around Twin Peaks is out in full force. Perhaps this is why the episode is so aggressive. I left this terrific episode feeling unsettled and troubled - and that’s exactly how we’re supposed to feel. There’s a bad moon rising over Twin Peaks. 

“But in these days the glow is dying. What will be in the darkness that remains?”

[residentcannibal]

If your heart didn't do a little leap of joy at seeing that Nadine got her silent drape runner dreams off the ground, I don't think we'll ever understand each other as Twin Peaks fans

[bestvictima]

the high points of ep. 10 were nadine’s silent drape runner business and the log lady like if you agree.

[empireaust]

The Top 10 Most Batshit Insane Moments In Twin Peaks

David Lynch and Mark Frost’s Twin Peaks is remembered for many things; the eclectic but loveable cast, Angelo Badalamenti’s dreamy score and Audrey Horne being, well... Audrey Horne. But mention the name of the show to most and visions of red curtained rooms, backwards talking dwarves and a killer called Bob will spin around their head. Now, on the eve of the show’s highly anticipated return, exclusively streamed in Australia on Stan, here are the top 10 most off-the-dial moments, the ones that made Twin Peaks the hottest show on television 25 years ago...

Nadine’s Wrestling Career

Nadine Hurley (Wendy Robie) was already teetering on the wrong side of insane, developing a psychotic obsession with inventing the world’s first silent drape runner, when things got complicated. After a failed suicide attempt, she awakens from a coma but regresses back to her teens, developing super human strength. As you do. The the diminutive Nadine auditions for the cheerleading team and joins the school wrestling team, leg-presses 600lbs with ease and grapples her way through the wrestling team.

Josie In The drawer

In a moment that continues to confound Twin Peaks aficionados the world over, Josie Packard (Joan Chen) dies of fright and her spirit leaves her body to be trapped in the bedside cabinet. How do we know? Using dodgy special effects they borrowed from Freddy Krueger, we see Josie’s screaming face in the wooden drawer knob, seemingly trapped for eternity in an Ikea tomb. No, we have no idea either.

Mr. Tojamuro

When Piper Laurie’s Catherine Martin is assumed dead after a conflagration at the sawmill, she goes into hiding, disguising herself as a Japanese businessman called Mr. Tojamuro to trick an incarcerated Benjamin Horne (Richard Beymer), arrested for the murder of Laura Palmer, into signing over land rights in exchange for an alibi. In a brilliantly bonkers move, Lynch asked Laurie to dress as a Japanese actor off set so no one knew her true-identity.

Cooper’s Dream

It’s the moment that Twin Peaks stopped being a regular TV show and became an extraordinary hallucinatory experience, complete with a backwards talking dwarf. Agent Cooper drifts into a deep sleep and dreams of entering The Red Room. He meets The Man From Another Place and a girl who looks remarkably like Laura Palmer. They discuss gum going out of style and arms that bend backwards. Then Laura whispers into Cooper’s ear the name of her killer. It’s a trip.

Cousin Maddie Is Killed

It happens again when Laura Palmer’s cousin Madeline, also played by Sheryl Lee, is brutally slain by Laura’s father Leland Palmer (Ray Wise). It’s even more shocking, when the realisation of what Palmer has already done to his daughter becomes clear. Albeit possessed by the evil spirit of Bob. It’s an excruciating sequence, unflinching in its brutality. Everyone wanted to know who killed Laura Palmer but they didn’t want to hear the answer.

Windom Earle’s Chess Game

When Agent Cooper’s ex-partner arrives in town he has a grudge to settle. Cooper stole Earle’s girlfriend so he killed her and now wants to see Cooper’s blood run red. His elaborate plan involves kidnapping, cross-dressing and a less-than-gentlemanly game of chess that sees a victim killed and their mouth stuffed with a pawn. Checkmate!

Ben Horne Re-Enacts The Civil War

After a string of double-crosses and bad business decisions, Benjamin Horne was already on the brink. Then, when scandalous accusations are aimed his way for the murder of his beloved Laura Palmer, he cracks and decides to dress up as a confederate general and re-enact the American Civil War complete with some supporting cast, models and pyrotechnics.

Leland Palmer’s Dance-off

Benjamin Horne is entertaining the Norwegians, buttering them up for the big deal. When a distraught Leland Palmer arrives at the party he stands in the dance floor weeping, a broken man. Horne pushes Catherine Martin onto the dance floor to accompany Laura’s father so his guests don’t ask any questions. A comic tragedy.

Agent Cooper Enters The Black Lodge

Trying to save his new love Annie (Heather Graham), Coop enters the Black Lodge through The Red Room and meets the evil dopplegangers of the dead including Laura and Leland Palmer. He sells his soul to killer Bob to save his love, ending Twin Peaks on a wickedly downbeat moment.

The Llama

Agent Cooper comes face to face with a Llama. Of course he does.

It Is Happening Again TWIN PEAKS – 22 May   Same Day as U.S. Only on Stan.

David Michael Brown

[welcometotwinpeaks]

Fill in the blank: I love Twin Peaks like _________ loves _________ ! Example: I love #TwinPeaks like Nadine loves silent drape runners. http://ift.tt/2kGZ1UE via http://ift.tt/OF8QRD

[greygamer]

TP Countdown Day 24:  The Last Evening

Do you like cliffhangers? I sure do hope so, because we have cliffhangers a-plenty tonight.

I forget that, even with the murder mystery at its heart, or the general weirdness of the show and it’s character, or the occasional dabble into pitch blackness, that Twin Peaks was also, essentially, a night time soap opera. We’re reminded of it occasionally, like when An Invitation To Love shows up on one of the character’s television sets and we remember that it’s trying to make fun of shows like Peaks. Or when we dabble in some of the cheesier love stories -- Truman and Josie, for example. Or Catherine and Ben -- nothing says soap opera like a couple of married people having an affair and hatching some kind of nefarious plot.

And then of course soap operas are pretty well known for those cliff hangers. Way back in 1980 viewers of Dallas found themselves obsessed with the question of who shot the evil oilman J.R. Ewing.

Well, Twin Peaks doesn’t fall too far from that tree. By the end of this episode, we’re asking, “Who shot Agent Cooper?” And for people watching week by week, they’d have to wait months for the answer to that question. Thankfully I get to start a new season tomorrow. Also, I already know it was.

But that’s only the last of tonight’s cliffhangers. Let’s get to the rest of the madness!

Things get rolling quickly. As Donna and James dig about in Jacoby’s apartment (and eventually find his secret coconut with Laura’s necklace and final tape recording), Jacoby finds Maddie-as-Laura near the gazebo. But before he can confront her and find out the truth, he’s attacked by a masked assailant who beats him about the body with what looks like a rock. Jacoby has a heart attack and the assailant disappears.

Next on the cliffhangers, we have the murder of Jacques Renault. Wait, how did he get murdered!? I thought he was in Canada!

Well, you’re right, he was! But Cooper managed to gain Jacques’ trust by pretending to be friends with Leo. He offered Jacques $10,000 to do a job for him, just meet him back in the U.S. -- oh, surprise, now that you’re back in the U.S., I guess we’ll just arrest you. HAHA.

Oh, and let me just say, that close up on Jacques’ mouth as he tells the story of how the poker chip got busted, is one of the grossest things that’s ever been on television. “Bite de bullet baybee...” -- shudder.

As they arrest Jacques, he gets free, gets his hand on a deputy’s gun, and pulls it on Sheriff Truman. Truman is mere seconds away from death, when suddenly a shot rings out -- BANG -- and Jacques is felled by a bullet. Who’s the hero? DEPUTY ANDY BRENNAN -- FUCK YEAH.

This is not a cliff hanger. I mention it only because it’s awesome, and because Andy had been someone firearms challenged in the past.

BUT, speaking of Andy, who has been on the outs with Lucy lately, this story of his heroics gets him back in her good books just long enough to find out she’s pregnant! Which Andy takes pretty badly, it turns. Uh oh!

Jacques, meanwhile, is taken to the hospital, where he’s smothered by Leland Palmer who heard that they had arrested a suspect in his daughter’s killing.

Thankfully Cooper was able to question him before he was killed. Coop doesn’t think that Jacques killed Laura, so that leaves them looking for Leo. Leo, on the other hand, is looking for Bobby, and after trying to kill his romantic rival with an axe, he gets shot square in the chest (well, maybe not square, it was a bit off to the side, and kind of high, from what I could tell) by Hank Jennings, under order of Ben Horne. Going into business with Mr. Horne seems potentially dangerous.

Before he got shot, Leo was off to torch up the mill, but not before picking up Shelly and bringing her along to die in the blaze. He ties her up before pouring gasoline all over the place and setting up some kind of basic timer bomb thing to set the fuel alight. Just when things looked particularly bleak for Shelly, who should arrive but Catherine! Yay! But then the fire starts! Boo! And Catherine’s all like, “Should I save this poor girl?” and she has to think about it for awhile, but then she finally decides to. She chops through the ropes holding Shelly tight to the wooden beam, and as the flaming building begins to collapse around them, they try to make their escape. Do they make it? We don’t know because this is another cliff hanger!

But the fire cliffhangers don’t end there. Pete Martell comes to the mill, now in flames, but with his wife’s car outside, and Catherine nowhere to be found, he runs bravely into the blazing building with nothing but his hard hat, safety goggles, and a fire extinguisher. Their marriage might not be perfect, but she’s still his wife, goddammit. Good luck in there, Pete. You’re a good man.

And yet in all this madness, I almost forgot about Nadine! Nadine, poor Nadine, who, heartbroken, presumably, at her inability to patent her silent drape runners decides to take her own life. Dressed in an elegant gown, kneeling on a soft picnic blanket, she pours a glass of water, empties two sets of pills in a bowl, and leaves her final note on a silver tray. It’s a surprisingly beautiful staging for a suicide, and all the more emotional for it.

At this point, when it went off the air in 1989, Twin Peaks was still a sensation. People still wondered who had killed Laura Palmer, and now they had all these other questions to worry about as well. What was going to happen to the lives of all these fine folks who they’d spent these hours learning and caring about? Who would live? Who would die? What was up with the owls? Is this really where pies go when they die? And how the hell did that fish get in the percolator?

[spynotebook]

Cult favorite TV series Twin Peaks is mainly about a very intuitive FBI agent chasing down a supernatural serial killer, but it’s best known for being incredibly, bafflingly strange. I mean, of course it is; it was created by David Lynch. To pass the time until show’s return on May 21, we counted our favorite WTF moments from the original series (in chronological order).

19) “Her name is Lil.”

The Fire Walk With Me movie was released after the show ended, but the events in the film take place before the TV show. Like, for instance, this freaky pantomime, which baffles the FBI agent played by Kiefer Sutherland, but which plays out in easy-to-interpret code for the agent played by Chris Isaak. Just don’t ask him about the blue rose.

18) “We’re not gonna talk about Judy at all.” 

Agent Cooper doesn’t get a lot of screen time in the film (reportedly at the behest of Kyle MacLachlan). But this scene—featuring David Lynch himself as Cooper’s FBI boss, Gordon Cole, and David Bowie as a fellow agent whose mysterious behavior foreshadows Cooper’s later experiences in Twin Peaks—is one of Fire Walk With Me’s strangest sequences. And that’s saying a lot.

17) The Breakdancing Student

Blissfully unaware that her best friend has just been found dead and wrapped in plastic, Donna Hayward stops at her locker before the first class of the day in the show’s very first episode. For once, the mood is light at Twin Peaks High—and in that rare moment, a student we never meet (or see again) takes the opportunity to add some funky flair to the background of the scene. Why? Well... why not? (“Northwest Passage”)

16) “There was a fish in the percolator.”

This might be the only scene in all of Twin Peaks to feature bad coffee, a beverage so prized in the town that Showtime recently made a fun video collecting the show’s many caffeinated scenes. It’s a genuinely funny moment, also from the show’s first official episode, featuring one of Twin Peaks’ most quotable lines, and is also a perfect example of the show’s fondness for peppering its more serious moments—say, the early stages of a murder investigation—with non-sequiturs. (“Traces to Nowhere”)

15) “Let’s rock!”

Agent Cooper’s dreams and visions become important tools in cracking the Laura Palmer case, even if the remarkably open-minded Sheriff Truman has a hard time following along at first. Cooper’s first dream features footage that Twin Peaks junkies will recognize from the international version of the pilot, which was released theatrically with a longer ending that made it more of a stand-alone story. But more importantly, it also introduces the Man From Another Place. (“Zen, or the Skill to Catch a Killer”)

14) “This is the best damn sandwich I ever ate.”

His small stature doesn’t diminish his dancing skills, nor his baffling ability to talk in riddles both forward and backwards These “red room” scenes have become an iconic part of Twin Peaks, both visually and thematically, but their off-putting vibes feel just as potent every time you see them.

Pie may be the signature treat of Twin Peaks—followed closely by donuts—but the show has plenty of foodie moments that don’t take place at the Double R Diner. Case in point: the above scene introducing the gourmet-loving Jerry Horne, just back from Paris with a suitcase full of brie-and-butter sandwiches, which his brother Ben samples with near-orgasmic delight. (“Zen, or the Skill to Catch a Killer”)

13) “I’m gonna turn it upside down!”

Dana Ashbrook’s performance as Bobby Briggs is extremely oversized, particularly in the first half of Twin Peaks’ first season, and especially when he’s confronted by authority figures like Sheriff Truman, Agent Cooper, or—as in this scene—his father, the stiffly formal Major Briggs. The funeral in question is, of course, for Laura Palmer—Bobby’s girlfriend, with whom he had a fraught relationship. And he does indeed turn it upside down, berating the assembled mourners (“Everybody knew she was in trouble, but we didn’t do anything!”) and nearly starting a graveside fistfight. Emotions run high in Twin Peaks, but Bobby’s run higher than most. (“Rest in Pain”)

12) Cooper Meets a Llama

While investigating a typically offbeat lead that might hold the key to discovering Laura’s killer, Agent Cooper and Sheriff Truman visit a veterinary clinic that could only have carved from the imagination of David Lynch. To Cooper’s credit, even when he’s confronted by “the beast incarnate,” he doesn’t miss a beat. (“The One-Armed Man”)

11) The Great Northern Dance-Off

Laura Palmer’s father, Leland, deals with his grief in strange ways. He’s very big on singing and wailing, but here we see him crack up on the dance floor at an important investment presentation. As portrayed by Ray Wise, Leland is equal parts campy, pitiful, and creepy—and this scene in particular is very, very unsettling. You want to laugh, but you know that you shouldn’t, especially when you see Audrey Horne sobbing at how goddamn awful everything is. (“Cooper’s Dream”)

10) Audrey’s Job Interview for One Eyed Jacks

Speaking of Audrey, she lands her gig working at a Canadian brothel by showing off a very special and strange talent to its skeptical madam. This became one of Twin Peaks’ signature moments—and the scene was later parodied on Saturday Night Live’s take-off on the show, in which an actress pretends to tongue a piece of ribbon into an elaborate gift-wrapping bow. (“Realization Time”)

9) The Great Northern Dance-Off, Part Two

At the start of season two, Leland’s hair has gone completely white, and his mind has continued to deteriorate. This time, however, the Horne brothers react to his strange behavior with even stranger behavior of their own.

As an aside, later in this episode, we see a tuxedo-clad Leland spontaneously perform “Get Happy” at a dinner party at the Hayward house. But that’s not even the weirdest part of that particular scene—that honor goes to the first and (so far) only appearance of Alicia Witt as the youngest Hayward sister, dressed as a fairy princess and displaying her child-prodigy skills on the piano. As you do. (“May the Giant Be With You”)

8) Creamed Corn

After Donna takes over Laura’s Meals on Wheels route—more for purposes of playing detective rather than any desire to actually help people—she meets a little boy and an old woman. One is a magician-in-training, while the other has very specific feelings about creamed corn. A teeny bit more context for this odd pair would come later in the series, as well as in Fire Walk With Me. (We also eventually learn a bit more about the significance of creamed corn.) But this first introduction is startlingly bizarre. (“Coma”)

7) “Deliver the message.”

No list of Twin Peaks’ weirdest moments can exclude the Log Lady. Really, you can choose any of her scenes. But this one, involving Project Blue Book’s own Major Briggs, is primo Margaret. (“Coma”)

6) “Cooper, you remind me today of a small Mexican chi-wow-wow.”

Cooper’s hard-of-hearing boss, Gordon Cole (again played by Lynch), shows up in Twin Peaks to deliver some important information at top volume. Apropos of nothing, however, he makes this observation. Cooper brings it up later, but we never get an explanation. Of course we don’t. (“Demons”)

5) Nadine Joins the Twin Peaks High Wrestling Team

Nadine Hurley is one of Twin Peaks’ most oddball characters right from the start, displaying super-strength and having a crazed obsession with inventing the world’s first silent drape runners. But after she attempts suicide, she awakens thinking she’s 18 again. Though this delusion negatively affects her marriage—which, to be fair, was already in trouble—her muscle power grows even more baffling, leading to a very odd interlude in which a middle-aged woman joins the local high school wrestling team. Frankly, Mike, a generally unlikable character who was underused after the show’s first few episodes, had it coming. (“The Black Widow”)

4) Ben Horne’s Civil War Re-enactment

The eccentric proprietor of the Great Northern Hotel, one of season one’s keenest schemers, drifts over the edge in season two when he becomes fixated on the Civil War. He’s eventually cured thanks to Dr. Jacoby and the help of his family and friends when they implement “the Appomattox scenario,” which wraps up an awful lot like The Wizard of Oz. (“Slaves and Masters”)

3) Josie and the Drawer

By this point in the show, master of deception Josie Packard has begun to realize she’s doomed to be at the mercy of the men in her life who are desperate to control her. Soon after we learn that Josie is the one who shot Cooper back at the end of season one, more gunplay ensues. But she doesn’t die from a bullet—instead, she has some kind of medical episode and Bob appears, asking, “Coop! What happened to Josie?” Well, Bob, this is what happens:

As best as we can tell, Josie’s punishment was to have her soul banished into a drawer knob at the Great Northern. Her fate is never elaborated upon much more than that. (“The Condemned Woman”)

2) “Grand theft auto!”

By its final episode, Twin Peaks had become extremely wrapped up in its own mythology. But in between all the messages from outer space and secret doorways in the woods and tarantula traps and beauty pageants, there’s still room for a classic Pete Martell interjection—as in this moment, after he mistakes a disguised Windom Earle for the Log Lady. (“Beyond Life and Death”)

1) “How’s Annie?”

“He can’t ask for your soul,” Bob explains to Agent Cooper in the Black Lodge, speaking of Agent Cooper’s evil ex-partner Earle. “I will take his.” Which version of Cooper (the good guy, or his evil twin) emerges from the Black Lodge with Annie? The very last scene of season two makes it pretty clear.

For the record, Annie “is going to be just fine,” according to Sheriff Truman in a conversation that takes place just before this. As for Agent Cooper—well, Twin Peaks returns to the airwaves May 21 for an 18-episode season on Showtime. Let’s hope we have lots of weird new moments to savor. (“Beyond Life and Death”)