Episode 7 of the Twin Peaks revival stirred up buried emotions about a mysterious night between Diane and Cooper, gave us hints at answers to some of our burning questions, and posed plenty of new ones in their stead. We found out that the pages we were wondering about last week were in fact those missing from Laura Palmer's secret diary, and that somewhere inside Cooper there still lies a secret agent of the Federal Bureau of Investigation (don't you just love sometimes saying "Federal Bureau of Investigation" like that all at once, unabbreviated?).
But within this seething mass of garmonbozia and mystery lie some Easter Eggs that could be as simple as a nod to another great director or as telling as can be of what's to come in Twin Peaks: The Return. So, without further ado, let's dive into the five things you might have missed in #TwinPeaks Season 3, Episode 7.
1. Gordon Cole Whistles Fellini's Amarcord Theme
Near the beginning of the episode, we find ourselves in Gordon Cole's (#DavidLynch) office at FBI headquarters. As the shot pans away from a painting of an ear of corn and onto Cole, he whistles a little tune. When I first heard it, my mind immediately jumped to the theme of Federico Fellini's Amarcord by Nino Rota (see above). However, many insist that it is the same as the whistling bit from the beginning of Rammstein's "Engel." It seems a little too close to call (and perhaps even Rammstein took inspiration from "Amarcord"), but we do know that Lynch is both a fan of Rammstein — having used their songs in Lost Highway — and Federico Fellini, which you can see in this extract from his book, where he cites Fellini as one of his favorite surrealist directors. We all know how much Lynch loves the surreal life, and Gordon seems to have this in common with his real-life counterpart, as we saw by his gigantic Kafka portrait on his office wall, and his acceptance of all things Blue Rose. Also, as a fun side note, amarcord in the Italian dialect around Rimini (where Fellini grew up and the film takes place) means "I remember," which coincides well with Gordon's contemplative pose.
Let me know which song you think it is in the comments.
2. 'At Your House'
One of the most chilling parts of the episode came when Diane (played by a fantastic Laura Dern) visits Cooper's doppelgänger in jail to assess whether or not he is the real Cooper.
During their exchange, she insists that he answer the question of where they last saw each other. Finally, he says, "at your house." Perhaps it was the intonation, or perhaps it was the black eyes boring into my soul, but the phrase immediately brought me back to the scene in Lynch's Lost Highway in which the Mystery Man (Robert Blake) comes up to Fred Madison (Bill Pullman), telling him, "I'm at your house" in the same psychotic, stiff manner. Check out the scene above and tell me you didn't get the same hair-raising sensation in that South Dakota jail.
3. 'He Smelled Funny'
We were first introduced to Ike "The Spike" Stadtler in Episode 6, when he gored poor Lorraine (Tammie Baird) to death. However, we know he also got instructions to kill Dale Cooper too, so it was no surprise to see him lunge out of the crowd at him in Episode 7. Luckily, Cooper snapped out of his daze for a few moments to defend Janey-E and himself, before slipping back into his reverie.
After the incident, witnesses were questioned by reporters at the scene, including a little girl who said that Ike had "smelled funny." Smelled funny, eh? How much do you want to bet that he smelled like scorched engine oil? If this is the case, it's likely he's a Black Lodge entity, as we know this is the characteristic smell that follows them in their bloody wake.
4. A Subtle Change At The Double R Diner
Ready for the most mind-boggling thing you might have missed? At the very end of the episode we find ourselves in the Double R Diner instead of at our usual gig at the Roadhouse. It seems like a pretty average scene: People are sitting around enjoying their coffee and cherry pie, Norma's at a booth crunching numbers, Shelly's pouring refills, and Heidi is giggling. Then a man runs into the diner and frantically yells, "Anybody seen Billy?" (btw, the man is credited as Bing and is played by Lynch's son Riley, who was also in the band Trouble in Episode 5).
But this is where it gets really weird. Eagle-eyed Redditor EricMee13 pointed out that after Bing's exchange, the scene completely changes. Just look at the before and after photos above. After Bing leaves, Shelly turns around at looks a bit confused, before shaking it off and going back to work. But was she confused because of Bing's question, or was she noticing the changed clientele? This is certainly no editing fluke, but whether or not Lynch is trying to convey just a general sense of unease or something more sinister remains to be seen.
Side note: For those who were confused by the close captions that read Bing as saying, "Anybody seen Bing?" it seems Showtime made an error:
5. The End-Credits' Song Is Not What It Seems
Sharp-eared Redditor The_Metanoia noticed that there's more to the end credits song than Santo & Johnny's "Sleep Walk." In fact, you can hear something not quite right, something a bit ominous sounding, that's just barely perceivable over the happy tune: Windom Earle's Motif by Angelo Badalamenti (see above). In the post, The_Metanoia says, "I don't think it has anything to do with Windom Earle, just used to induce a sense of foreboding that something horrible is about to happen in Twin Peaks," and I completely agree. Windom Earle is an entity of the past who likely won't be resurfacing, but there's no questioning that the theme is eerie and it's reused with purpose. Perhaps this foreboding atmosphere created by the musical undertone is connected to the shift in scene mentioned in point four.
Did you notice anything else in Episode 7 of Twin Peaks: The Return?