My Thoughts on Showtime's Twin Peaks Episode 11 - Dread Central
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My Thoughts on Showtime’s Twin Peaks Episode 11



Eleven episodes. Even as I write that, I sit in a state of disbelief. I, along with countless fans, have been given eleven episodes of new “Twin Peaks” material. For as much enjoyment and delight as I’ve felt watching them, I still almost feel like it’s not real. But tonight’s episode sealed it for me in ways that I will do my best to explain. For some reason, this felt like the most “Twin Peaks” episode of the series we’ve been given so far.

To read my thoughts on the previous episodes, click here. And be careful reading ahead as there are TONS of spoilers.

We open in Twin Peaks, where three boys are playing catch. It’s a carefree activity, with two of the boys being older than the third. They make sure to include him by tossing the ball more carefully his way. It’s a charming sight that is broken when the ball is thrown too far and rolls to some nearby woods. As the boy goes to pick it up, a bloodied and bruised women emerges from the tree line. It looks like Miriam, the woman that Richard Horne beat mercilessly and left to die in her trailer.

From there, we cut to Becky’s trailer, where she is screaming at her cellphone in rage. She calls up Shelly and begs her to come with her car. Shelly races out of the Double R Diner to go to her, only for Becky to emerge from her trailer holding a gun. Becky steals the car while Shelly jumps on top of the hood, only to get thrown off violently when she speeds away. Carl comes up and helps take Shelly back to the Double R. In the VW bus, he pulls out a radio unit to call Bobby where it’s revealed that Shelly bears the Briggs last name.

Meanwhile, Becky goes to a local apartment complex where she bangs on Room 208, screaming furiously. The neighbor comes out and explains that whoever was in there just left and that no one is there. In a rage, Becky fires six shots into the door. The camera then pulls an Evil Dead and races through hallways and down a stairwell to reveal Steven, her husband, standing next to another woman.

This storyline continues later in the day at the Double R Diner, where Shelly and Bobby are sitting with Becky in a booth, the ladies on one side, Bobby on the other. They are discussing what has to be done, Bobby saying that she’d be in jail if he wasn’t a deputy as well as stating that she’ll have to pay for the damages. When Becky states that she has no money, Shelly offers to pay but is turned down by Becky, so Bobby says he’ll loan her the money. We learn from this exchange that Becky is the daughter of Shelly and Bobby, although we also learn that they’re no longer together, which is evident when a man comes up to the Double R and Shelly runs outside into his arms and begins passionately kissing him. They make plans for later while Bobby stays inside, looking heartbroken.

When Shelly comes back in to sit down, a few moments of awkward silence pass, when suddenly a bullet pierces through the diner’s window! Everyone screams and ducks down while Bobby pulls out his gun and runs outside to investigate. It turns out that the cause of the gunshot was a gun that was improperly placed in a car that went off accidentally. Bobby is helping investigate when he goes to another car to ask the owner to stop honking her horn incessantly and endlessly. The woman inside screams that she is late for dinner and has to take her sick daughter(?) home because her uncle will be there. What happens next is something straight out of a horror film as the young girl emerges from the shadows of the front passenger seat, green vomit spilling out of her mouth as she moves like a zombie. Bobby and the driver, who can’t stop screaming, can only look on in horror and shock.

In Buckhorn, South Dakota, Gordon, Albert, Diane, and Tammy drive with Detective Mackley and Bill Hastings to the spot where Hastings said he saw Major Briggs. It’s a rundown area with abandoned and broken houses and random large shipping containers strewn about. It’s overgrown with twiggy plants and tumbleweeds and appears to have missed every rainfall for the past 100 years. As Albert and Gordon stand by a fence, they see one of the Woodsmen fade in, stand for a few moments, and then fade away.

Going through the fence, Gordon approaches the decaying house, only to suddenly see a swirling vortex of a portal open in the sky. As he watches, the portal becomes a tunnel, one that reveals to him three Woodsmen standing on a staircase that looks suspiciously like the one in Laura Palmer’s home. Gordon, standing almost like he wants to fly into the tunnel, begins to flicker away, so Albert steps in and pulls him back, causing the portal to disappear.

Meanwhile, Diane, Tammy, Detective Mackley, and Bill Hastings encounter none of these extraordinary events, seeing the world as a normal place. However, Diane sees the same Woodman from earlier approach Mackley’s car, where Hastings is sitting in the back. As this is happening, Albert notices a headless body off to the side, which, after investigating, he surmises is the corpse of Ruth Davenport. He takes pictures of her body, noting that she has coordinates written on her arm. Back inside the car, Hastings’ head suddenly explodes, shocking and horrifying the detective. Everyone comes to investigate and Gordon, in a rather black comedy way, states, “He’s dead.

Inside Mackley’s office, Albert, Gordon, and Diane are sitting waiting for the others to arrive. Albert shows Gordon a picture of the coordinates that were written on Ruth’s arm, noting that Diane seems to be suspiciously memorizing them. Before they can start arguing, Tammy and Mackely come in; and they discuss the area around the body, the lack of finding Major Briggs’ head, and the circumstances surrounding Hastings’ death. Albert, Gordon, and Diane reveal to each other that they all saw the mysterious Woodsman.

Funny thing to note: This is the scene where this teaser comes from.

Back in Twin Peaks, we go to the Sheriff’s station, where Deputy Hawk and Sheriff Truman are in the conference room discussing the coordinates they found in Briggs’ tube. Hawk pulls out a very old map that he explains is “living” and somehow “always current.” On this map, there are many symbols that Truman asks for the explanation of. One of the symbols is of fire, while another is a strange black dot with ant-like antennae coming from the top. Truman asks about the latter, to which Hawk tells him that he will never want to know what it means. It’s a sinister moment with dark music.

A call comes in and it’s Margaret, the log lady. She asks Hawk what he’s found, which he says he can’t reveal. She then states that her log is afraid of fire and that there is fire where he is going. She is terrified and this is clearly a warning, one which Hawk thanks her for, taking her words very seriously.

The rest of the episode is dedicated to continuing Dougie’s story, which bears a strange yet delightful nod to David Fincher’s Seven. Allow me to explain.

We start in the office of Dougie’s boss, where he asks for Dougie to come in. He explains that the investigative work Dougie has done has revealed a ring of crime that includes police corruption. He’ll be figuring out what to do next. That being said, he also found out that the Mitchums’ case that was seen as arson was actually legit, so a $30 million check has been cut and Dougie is to give it to the brothers, who requested his presence.

At the Mitchums’ house, the brothers, Rodney and Bradley, are having breakfast at 2:30 pm and discussing their plans for killing Dougie. However, Bradley reveals that he had a strange dream about how this day will play out, although the details aren’t exactly clear.

As Dougie and his boss are outside waiting for the Mitchums’ limo to arrive, Dougie sees the one-armed man in the Black Lodge beckoning towards him. Dougie walks into the store with his boss trailing after him. We then see Dougie carrying a large cardboard box as his boss walks him to a white limo. It’s being driven by the same man who took care of Dougie after the jackpot winnings. After the boss makes sure that Dougie has the check on him, the limo begins driving deep into the desert outside of Las Vegas.

In the desert, the Mitchums are sitting in a car waiting. Bradley then reveals another piece of information about the dream, which is that Rodney’s cut, the one he got when Candy struck him with the remote control, is now completely healed. Tearing the bandage off, it turns out this is true, to the amazement of both. Still, Rodney is determined to kill Dougie, even though this dream is starting to become reality.

When the white limo pulls up to the Mitchums, Rodney asks the limo driver to leave, only for Bradley to stop him. He sees that Dougie is holding a cardboard box and explains that if the item that he thinks is inside is actually there, they can’t kill him. It has to be one certain item, a very specific object: a cherry pie. That is precisely what it turns out to be. Bradley then frisks Dougie and finds the check, causing the brothers to break out into a joyous celebration. It’s a completely different feel to Fincher’s Seven but the similarities cannot be denied.

To celebrate, the brothers take Dougie to a restaurant for champagne and cherry pie. During their toasting and festivities, an old woman cries out “Mr. Jackpots!” and comes up to Dougie. She is the homeless woman that Dougie helped in the beginning of the series. She explains that his action turned her life around, that she reunited with her son, she bought a house, and even got a dog. She is overcome with gratitude and thanks him profusely, telling the Mitchums that they are dining with a very special man, to which they agree. It’s an emotional moment that is reflective even in the brothers, who seems so fierce and capable of violence.

They toast each other to “…the pie that saved your life, Dougie.” The episode then ends with the pianist at the restaurant playing a beautiful and somewhat melancholy tune as the credits roll.

This was, without a doubt, the most “Twin Peaks” episode of the series. The way that each scene progressed from one to the next felt like the episodes of old, bearing an almost soap opera feel to them, but in that unique way that only Lynch and Frost could make possible. This episode moved fluidly while offering strange and fascinating information that progress several stories along.

The return of cherry pie cannot be overlooked as it was a moment we have been expecting for a while. To see Dale Cooper greedily shove bite after bite of the dessert into his mouth was an absolute delight. It’s amazing how the smallest item, like a slice of pie, can be so important and have such an impact. For nearly three decades, I can’t think of cherry pie or coffee without my mind immediately conjuring forth scenes from “Twin Peaks.”

Special notice has to be given to Dana Ashbrook for his absolutely phenomenal performance as Bobby Briggs in this episode. Without the story making it explicit, we see the full story of Bobby and Shelly’s divorce and its effect on him, as evidenced by the pain and sadness on his face when her lover appears at the diner. And then, in the flash of a bullet, he switches to Deputy Briggs, a lawman who knows how to take control of a situation and delegate responsibility. Ashbrook’s Bobby Briggs has gone from being a drug-dealing bad boy to a real man, one who is unafraid of showing emotion, of knowing that other peoples’ lives need to carry on around him, and of wanting to help the community that he lives in. He’s a character that we should all admire, and Ashbrook has given him depth and growth the likes of which I never could’ve imagined.

I can’t tell you the number of times I found myself smiling with tears in my eyes during this episode. Up until tonight, I knew that Showtime’s “Twin Peaks” was a continuation of the original series. But, with this episode, it was like wrapping myself in a blanket of nostalgic warmth as I felt like it suddenly and truly clicked together. For me, this has been the most important episode of the revival.

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Alien: Covenant’s Carmen Ejogo Joins True Detective Season 3



“From the dusty mesa her looming shadow grows…”

The first season of HBO’s “True Detective” was one of the best seasons ever put on a TV screen. Hands down. The second season was another story altogether. While not a complete waste of time (Colin Farrell owed) the season was basically merely ‘meh’.

But what about “True Detective” season 3?

Well, a few months back it was announced that the third season had been greenlit by HBO, with creator Nic Pizzolatto returning to pen the series and director Jeremy Saulnier (Green Room) taking the helm of the episodes.

Today we have news that Carmen Ejogo – who you may recognize Ejogo from such recent fright flicks as It Comes at Night, Alien: Covenant, and The Purge: Anarchy – will be joining the previously announced Mahershala Ali (Moonlight) for Season 3.

Ejogo will play the female lead, Amelia Reardon, who THR describes as “an Arkansas schoolteacher with a connection to two missing children in 1980.”

Nice Pizzolatto will serve as showrunner and direct alongside Jeremy Saulnier. Executive producers include Pizzolatto, Saulnier, Scott Stephens and season one stars Woody Harrelson and Matthew McConaughey as well as original director Cary Joji Fukunaga. Steve Golin, Bard Dorros and Richard Brown are also credited as exec producers.


A macabre crime in the heart of the Ozarks and a mystery that deepens over decades and plays out in three separate time periods.

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Danielle Harris Tried to Get Jamie Lloyd into New Halloween Movie



One of the top films all of us are looking forward to the most here at Dread Central is Blumhouse’s upcoming sequel/reboot thing to John Carpenter’s Halloween.

The new Halloween (2018) film is written by Danny McBride and David Gordon Green and is all set to be directed by Green this year. Recently we learned that original Halloween star Jamie Lee Curtis was going to be returning to the new film.

Not only that, but Curtis’ classic character Laurie Strode would have a daughter… played by Judy Greer. But what about Danielle Harris?

After all, Harris was the star of Halloween 4: The Return of Michael Myers and Halloween 5: The Curse of Michael Myers. Let alone, she had a starring role in both Rob Zombie’s remake and it’s sequel. So how about the new film?

Turns out Harris tried to get her character Jamie Llyod (aka the daughter of Jamie Lee Curtis’ Laurie Strode) from Halloween 4 and 5 into the new film… but she was turned down by Blumhouse and the new creative team. That sucks.

Harris was pretty bummed about the whole deal and took to Facebook recently to clear the air. You can check out quotes from her video, along with the video itself, below.

After that make sure to hit us up and let us know how much you would have liked to see Harris return to Halloween in the comments below or on social media!

“What I am bummed about is… [Laurie] has a daughter,” Harris says. “I was okay with it when she had a son… but they’re saying it’s the last one and… she has a daughter. And it’s not Jamie. It’s just kind of a bummer, I guess. I think somebody had said, it wouldn’t have hurt the movie to have Jamie reunited with [Laurie]. But that didn’t happen.”

“We did put in a call, thought it’d be kinda cool even just to have a little flashback…” She continues. “They were not interested. So. I tried.”

Blumhouse’s Halloween hits theaters October 19, 2018.

halloween and germany

Posted by Danielle Harris on Monday, November 6, 2017

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Jordan Peele Is Open to the Idea of Get Out Sequel



Recently we shared the baffling news that this year, the Golden Globes were considering writer-director Jordan Peele’s psychological horror-thriller Get Out a comedy.

Hurm. While that bit of news still doesn’t make a bit of sense to me, today we have an update on Jordan Peele’s possible sequel Get Out 2. Which is always welcome.

Deadline was recently speaking with the filmmaker and Peele told them that although he still hasn’t cracked the sequel, if he comes up with a fresh spin he would have no problem revisiting the first film.

“I haven’t decided anything yet,” Peele told the site. “I am allowing the creative part to bubble up, and not force it. I know if a follow-up is meant to happen, it will. I’m open to figuring out what it is. But I also don’t want to let down the original and its fans. I simply would not do something like that for the cash.”

Good to hear!

I don’t know about you, but if Jordan Peele does decide to revisit the world of Get Out again in the future, I will be there. After reading these comments, I have faith the man will not return unless the story deserves it. Money be damned!

Unless… the sequel is called Sell Out… Ooohh. Snap. All jokes aside, in this world of sequels and remakes, it feels pretty damn good to hear a filmmaker talk this way.

What do you think of a Get Out sequel? Do you think the first film needs a continuation? Make sure to hit us up and let us know in the comments below or on social media!

You can buy Get Out on Blu-ray HERE.


Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy and Dean. At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.

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