10 Things We Learned From Twin Peaks: The Return Part 11

10. Miriam Lives!

We open Part 11 with three young brothers playing catch (terribly) near the woodland. As the ball goes astray, again, one of the boys notices a "someone" emerging from the weeds - Miriam, who has seemingly (damn the incessant need for the qualifier) survived the attempt on her life by Richard Horne.

It is a scene reminiscent, almost, of Blue Velvet - a reminder that the stain of modern humanity is always there, lurking beneath the surface of innocent Americana. As mentioned, much of Part 11 is akin to a thriller - but the genre conventions are transcended by the use of such poetic imagery, employed to disturbing effect here and elsewhere.

Richard Horne is many things for a supposedly one-note character. He is unspeakably and unmistakably horrifying. And yet, underneath the surface, like Miriam in the grass, there is an element - a particle - of pathos. His DNA left him with no chance - so much so that you can almost, almost sympathise with him. He is also fairly inept, having only inherited the worst of Mr. C's traits. Mr. C in the premiere poured scorn on the idea of humanity - "you follow it perfectly," he told Phyllis, for predictably succumbing to her sexual impulses. His supernatural terror was spawned with irreconcilable human weakness. Horne is a monstrosity, in the strictest sense of the word. Isn't that pitiable?

Part 10 was nihilistic. The image of Miriam crawling away from the woods, instils a fleeting sense of hope.