Ginnis (in a low whisper) I have a weird attraction to Harold. OMG, I can’t believe I admitted that. I’m like one of those women who write serial killers in prison! (runs away and hides in shame) Kayleigh That’s amazing, Ginnis, since my biggest thought after watching this episode was, “Man, Harold is CREEPY.” I
(in a low whisper) I have a weird attraction to Harold. OMG, I can’t believe I admitted that. I’m like one of those women who write serial killers in prison! (runs away and hides in shame)
That’s amazing, Ginnis, since my biggest thought after watching this episode was, “Man, Harold is CREEPY.” I can understand why Donna would be attracted to him–he’s a seemingly sensitive, sophisticated older man who’s a far cry from the boy who’s breaking her heart. But Harold is also the kind of guy who gives wine to high school girls and reads their sexual fantasies out loud at dinner. At least when Audrey fell for Cooper, she was lucky that he’s a supremely good guy. Donna’s involvement with Harold cannot go anywhere good.
Leland is arrested for murdering Jacques, and his short monologue about his sense of loss after Laura’s death is brilliantly performed by Ray Wise. Damn, that line about how “every cell screams” cuts hard and deep.
There are a lot of subplots in this episode I just don’t care about. There’s the standard sitcom “a super important restaurant critic is coming to town, but no one knows what he looks like!” plotline at the Double R Diner. Hank’s enthusiasm is almost cute until you remember that–oh yeah–he shot a guy. The Andy/Lucy/Dick love triangle turns Twin Peaks into Invitation to Love, and it’s generic soap opera claptrap without any satire or wit. Though we do get this unbelievable line reading from Agent Cooper:
You’ve really hit it on the head, Kayleigh, because my inner high school girl is totally into him, and I get Donna’s attraction and rationalization of warning signs. I think as an adult it’s more about identification–I get the desire to just feel so fearful and disgusted with the world that you just wind up never leaving your house.
Ray Wise is just phenomenal. That scene and especially considering what is to come, wow. And I’m in the same boat with you about the subplots. I mean I love Lucy with her orange lipstick and squeaky, nasally voice, but yeah, it feels more like soap opera slapstick, and I want a little more bite there.
I don’t want to get into spoilers, but if you’re not feeling the slapsticky love triangle and the restaurant critic subplot, HOLD ONTO YOUR HATS because there’s a reason we’re not actually seeing Invitation to Love anymore, and it’s because the show’s reality is going to contain all the gooftastic soap opera stuff you can handle. Possibly more.
But we still have plenty of legit mysteries happening, including the question of who shot Cooper? That was only three days earlier in show-time, but he already seems not to be that curious about who did it or whether they might come back to finish the job. There’s a man who truly lives in the moment.
Meanwhile, Audrey is still being held prisoner at One-Eyed Jack’s, Emory Battis got himself murdered by Jean Renault, Josie is back from “Seattle” where she was away on “business,” and the mysterious Mr. Tojamura has arrived.
Harold Smith does seem like the sort of guy who might appeal to certain high school girls, and it’s Reason #137 why he’s so creepy.