But there Gordon Cole is, lecturing an attractive French woman about history before Albert shows up, commencing one of the longest “just one moment” scenes in TV history. I also would have never expected Lynch to address the “creepy grandpa” concerns of his character by turning right headlong into them. With David Lynch, the truth is always insane enough just to be itself. But even when it’s all spelled out, it somehow doesn’t feel any less mystical. And boy do we get some good lore here, whether it’s the explicit agency connection to Project Blue Book and its research into UFOs or the explanation of FBI agent Phillip Jeffries and his team of Chet Desmond, Dale Cooper, and our man Albert Rosenfield or Tammy Preston’s induction into the Blue Rose task force. If you told me “Part 12” would start off with a straightforward explanation of the FBI’s mystical lore, all over a fine bottle of Bordeaux from Gordon’s personal collection, well, I just wouldn’t have expected it in a billion years. But the difference is always in the how, and no episode highlights the variation of this new series quite like this one. And all the while, the details slowly creep into frame, painting a broad portrait of a diasporic world slowly culling back together in the name of decency. We can get anything from an abstract tone poem on the atomic birth of Bob to the latest comic escapes of our man Dougie Jones. Virtually every episode so far has been different.
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An hour of Twin Peaks: The Return is a strange thing to write about, mostly because I have no damn idea how to define it.