Твин Пикс Episode #2.7 (1990–1991) watch online HD

Surely one of the best episodes of the entire series- and with one of the most terrifying scenes ever shown on television- episode 7 of season 2 is one that really packs its astounding punch in the last part of the show, as we see what becomes of Laura's cousin, Madeline, as she is about ready to leave Twin Peaks after spending perhaps too much time in the town. The revelation that finally comes, who Laura Palmer's killer is (and, in effect, Madeline's killer), is displayed in a scene of pure white-knuckled tension and suspension of disbelief (however, total belief in what the scene entails psychologically). What makes it such a triumph for Lynch as a director is how he maneuvers the mood. Before we see this grisly murder take place, we're taken to the Roadhouse to see a girl- who, by the way, sang the same song in Industrial Symphony, Lynch's little seen concert film- singing a song that is meant to be serene, about love, and wanting someone close to care about the other, hence the bit with Donna miming the words to the song being sung to James.

...But then comes that zinger, and Lynch lays on his skills like it's nobody's business. We see slow-motion, extremely bright light, then the shock goes into a perverse detail of how "Bob" operates in his most violent mode. It ends up being extra shocking, too, because it's not entirely expected like this, not so much as to who the killer is, but in the progression of the episode. For TP fans, this definitely holds a big place of merit (one friend of mine said that it gave him nightmares- this is a guy in his 20s mind you), and even just for Lynch fans it should have a special mention as one of his best directed efforts, albeit 45 minutes.

The conclusion and solution of one of the greatest and best known fictional mysteries in history deserved a great episode to surround it, and it didn't just get that, it got what was possibly the greatest television episode of all time. Mark Frost's perfect script, David Lynch's truly extraordinary abilities as a director, and Angelo Badalamenti's greatest musical score make this possibly the greatest forty five minutes ever made for television. I have rarely seen such capable use of color, imagery, or music on television or in movies, even by David Lynch. As for the conclusion itself, I won't reveal it for anyone on earth fortunate enough to watch this series without knowing the identity of the killer, it is more than satisfying, it is shocking, dramatic, and brilliantly executed.

No television episode is quite like this. I applaud David Lynch and Mark Frost not just for this sublime episode, but also for the creation of a story and characters who deserved something like this to finish off the show's earliest main storyline. Truly one of the greatest things ever committed to celluloid, although there was one more episode of this show to follow which could be considered as good or better than this.

Letter Grade: A++

So Far, Twin Peaks has been a show of mystery and suspense, and this episode, Lonely Souls, is so far one of the best. We finally realize who the killer is, and trust me, I was completely shocked. Not only upon learning who it was, but upon the way Lynch wrote and directed it. It has psychological terror all over, and the final 5 minutes are perhaps the best 5 minutes I have ever seen on Television. David Lynch is a true director who has put his mark upon TV and films. As well as finding out who the killer is, we say goodbye to a character that was perhaps the sweetest and most gentle in the series. That character will be missed greatly. I cannot wait to find out how the rest of Twin Peaks will deal with another murder.

Shortly after the episode opens Agent Cooper and most of the police head to the Great Northern Hotel, along with Mike who has a seizure the moment Ben Horne enters the room, meanwhile Hawk goes to Harold Smith's house to recover Laura's dairy but finds Harold hanged and the dairy torn apart. After confronting her father about what she learnt at One Eyed Jacks Audrey tells Agent Smith what she know; this information, along with what he learnt from the damaged diary leads to Benjamin Horne being arrested in front of the mysterious Mr Tojomura. With Ben in custody for the murder Agent Cooper, Sheriff Truman and 'The Log Lady' go for a drink; while watching the singer something strange happens; she fades from Cooper's view and a vision of The Giant appears and intones the words 'It is happening again... it is happening again'. The action then cuts to the Palmer house and we see a familiar character looking in the mirror to see Bob looking back at him! Maddy then comes downstairs and is attacked and killed... thus solving one of televisions greatest mysteries... 'Who killed Laura Palma?'

This was a top notch episode; the most important scenes is obviously Maddy's murder where we finally learnt who the killer is; this scene is shocking and almost painful to watch due to the brilliant way it is filmed. Sheryl Lee did a fine job as Maddy, it will be a sad not seeing her gentle character again. The way the scene was 'announced' was brilliant too; the appearance of the Giant was spine-tingling and way the old waiter goes over to Cooper after the killing to offer his condolences was both poignant and surreal. While this was obviously the most important part of the episode there was a lot more to be enjoyed to... when we learn Mr Tojomura's secret it is almost as shocking as learning who the killer was and the scene with amnesiac Nadine thinking she is still school age when she visits the Double R diners was strangely amusing. My only concern now is how on Earth will they top this episode? There are other mysteries remaining though so I'm sure things will remain interesting... for a start we may know who the killer is but the police don't!

I watched the Twin Peaks series in its entirety for the first time a couple of years ago, and was in a very lucky position as I didn't know who the killer was! It's rare not to get something spoiled for an old film or TV series when you're looking around on the interweb, especially if it's for such a popular show like Twin Peaks. People think, 'oh well it came out 50 years ago, everyone knows the twist!' when actually, there are still young people (ala me) interested in older pop culture and don't want things spoiled!

Obviously being such a massive David Lynch fan, I was loving the series. I was especially loving the episodes which David himself directed because they were full of such classic Lynchian moments. The dancing dwarf, the red curtains, the strange music, the giant, the log lady etc. I also genuinely had no idea who the killer would be. No one in Twin Peaks seem to fit the bill of a serial-killing rapist. The reveal itself, however has to be the most shocking moment in television history. Not just because who it is, but how it's revealed with such a horrifying and bemusing way.

I'm currently re-watching the whole series again in the wake of a third series being commissioned (although that looks dead in the water now that David has said he won't be directing anymore) and last night saw the episode where the killer is revealed again. It lost none of its shocking ferocity as when I saw it for the first time. I'd very much like to delve into the episode so please be aware that there will be heavy spoilers from here in.

From the moment the episode starts you can tell that David's behind the camera, just by the odd choices of camera angles and movements. In fact, the episode opens with Gordon Cole leaving Dale and the gang. I'm wondering if this is a postmodern element, as David Lynch himself pretty much abandoned the show after this episode. It reminds me of the opening of Fire Walk With Me where David Lynch basically opens the film shouting 'ACTION!' as a director.

Things get Lynchy pretty much from the start with a load of people bouncing balls in the Great Northern for no apparent reason, and then the one armed man having a fit as Ben Horne walks in. Pretty much everything in this episode is more bizarre than usual! I love the scene where Maddie announces to uncle Leland and aunt Sarah that she's leaving, along with a strange version of 'What a Wonderful World' playing in the background. Things seem quite optimistic here on the surface, but you just know that underneath it all there's something sinister lurking.

Much of the episode concerns all the other Peak crew doing weirder things. A vegetable-like Leo randomly calls out for new shoes, Audrey rats out her Dad after he oddly confesses to having loved Laura and Nadine demonstrates more of her superhuman strength and hilarious delusions. I must also mention the other shocking revelation in this episode that the peculiar Mr. Tojamura is in fact Piper Laurie!

Things turn really sinister when we see Sarah Palmer crawling down the stairs. The music turns dark and ominous, whilst the log lady beckons Dale over to The Roadhouse. Lo and behold, Julee Cruise is performing again with her fantastically haunting voice! David Lynch even penned the lyrics to the two songs she sings and Angelo Badalamenti composed them beautifully. It's the classic David Lynch motif of a woman singing on stage in front of a red curtain. It symbolises that something will be revealed. There's also the lingering image of a white horse standing in the Palmer's sitting room. This symbolises death.

The horror really begins when a bright spotlight shines on Dale's bemused face as he sees the giant appear on stage repeating the eerie words, "It is happening again." We then see exactly what is happening, as it cuts to Leland grinning in the mirror and the horrifying BOB grinning back at him. The first time I saw this, I gasped. Leland killed Laura? But he was so hysterical throughout the whole two seasons! He was always dancing, singing and crying feverishly in every scene (often all at the same time) it just can't be him. The fact that he killed and raped his own daughter is all the more disturbing.

The scariest moment in this episode though (and arguably the entire series) is when Maddy enters and screams as Leland runs towards her. He grabs her and swings her around the living room like some sort of animal playing with its prey. It's all done in a weird slow motion though and changes between BOB in the spotlight, screaming like a beast and Leland. As with most projects by David Lynch, it's very difficult to put into words and something you need to really experience for yourself.

The murder itself is pretty violent as Maddy smashes her head on a picture frame after Leland beats her to death in a similar way to Frank Booth four years earlier in Blue Velvet. He then grotesquely shoves a letter up her fingernail as previously found in Laura, Ronnette and Teresa. It then cuts back to The Roadhouse with Julee now singing a much slower and sadder song as Dale looks on in melancholy. Everyone in The Roadhouse seems to recognise that a tragedy has occurred and it feels just like a dream.

It's pure Lynch magic. What's remarkable is that this isn't even the best episode in the series. That accolade would go the nightmarish madness of the very final episode, which would easily be the very best television episode in the universe. I don't normally rate TV episodes, but if I did then this would certainly be a: 10/10

David Lynch shows his genius once more. I have fallen off of my chair whilst watching a TV show, overwhelmed with emotion just once. That was Breaking Bad Ozymandias. I am truly in awe at this masterpiece of an episode. I strongly believe that this might be the best episode of TV ever. I did not want this review to be full of plot analysis, spoilers or any direct relation to the idea of 'review'. I am sorry if this is not entirely a 'review' but if I could convey to just one person how sublime this episode was to me, then maybe others may share in the awe that I have just. I urge you to watch the art that I have witnessed. Utterly unbelievable I am staggered beyond recognition.

Initially, the murderer of Laura Palmer was never meant to be revealed, and perhaps it would have been best for the series if things went this way. However, it is extremely fortunate that this reveal was executed with such perfection and blood curdling horror, making it hard for me to really complain about Lynch and Frost's reluctant decision to close this mystery. Luckily, in true Lynchian fashion, this mystery's solution only opened the door for more mysteries and added much more to Twin Peaks' overall world and mythology.

This entire episode is filled to the brim with fun, fascinating, and freaky moments fueled by Lynch's visually unique vision. Lynch's passion for filmmaking helps improve upon Mark Frost's already exuberant script as he punctuates the episode with memorably surreal imagery and an overall stylistic makeover that delves into darkness both humorous and horrific. The final moments contain not only what may be the most brutal sequence in television history, but also a somber sequence at the roadhouse, a landscape now plagued by some unknown tragedy, where everyone's laid back attitudes have withered away into a disturbed state of some inexplicable sadness. Those shots of Bobby looking around, wearing an expression of hopeless weariness move me to tears almost every time I see them, and the odd elderly waiter, previously a purely comic character on the show, approaches a shocked and saddened Dale Cooper with some of the show's most strangely cryptic and memorable words:

"I'm so sorry."

This is absolute genius. Stack this up against the greatest of films strapped with the limitations of nineties television and you have the masterpiece. In this episode we finally get to the murderer of Laura Palmer, put together in a scene where nothing is wasted. Every little bit is painstakingly put together with cinematography that is to die for. Of course, we have the many characters doing their respective things. Audrey asks her father for honesty, and he pretty much lays it out there. She wants him arrested, but Cooper isn't totally sure. The scene in the lounge with the blonde singer is so compelling as we are allowed to put our own personal two and twos together. Listen to the lyrics. And then one of the greatest surreal treatments of a violent crime I've every seen.