Maybe I’ve been too immersed in all things Lynch over the past several months, but I didn’t think that any of the above was as opaque as it seemed. If I had to interpret what it means, I’d say that we just witnessed something like the origin story for the modern saga of good versus evil that “Twin Peaks” has been telling since 1990.

I think we saw mankind setting loose forces beyond its control with the introduction of potentially civilization-destroying weapons in 1945. That test blast may have been what brought Bob into the world, and thus re-engaged our celestial overseers. But as is often the case with the way the universe works in “Twin Peaks,” nothing happened instantaneously. The darker elements took root gradually, while the warriors meant to combat them — like the spirit of Laura Palmer, or the various non-malevolent forms of Agent Dale Cooper — slipped into the world in ways both clumsy and imprecise.

This is one of the most provocative ideas from the original series that these new episodes have been carrying forward: this sense that even the most well-intentioned humans are incapable of interpreting and acting on the messages coming from the gods, who neither think nor communicate as we do. That’s why the dark side keeps winning out — except on rare occasions when someone as completely unselfconscious as “Dougie Jones” just blindly follows the directions from above, winning slot-machine jackpots and brilliantly analyzing insurance documents along the way.

It’s because of this disconnect between what the immortals are saying and how the humans are responding that it seems inadequate to reduce this hour to a simple explanation. Some things may make more literal sense before the series is over. (For example: Was the bug that crawled into the teenage girl’s mouth the Bob egg, or the Laura egg?) But for the most part, Lynch would probably rather we not engage with this episode with our conscious, puzzle-solving mind. It’s better to take it in as an experience: to be awed by the beauty of the pictures and stunned by the inventiveness and passion with which Lynch distorts and destroys them.

Considered that way — as something to see and hear, and to react to on a primal level — this hour was phenomenal. “Twin Peaks” is off next Sunday, which is a shame in a way, because this episode probably didn’t do a lot to keep people invested in the show’s various mystery plots for the next two weeks. But for those who are enjoying being fully immersed in Lynch’s head space, this week was a wonder. Just think: At any given time in the days ahead, we could flip past Showtime and this episode could be airing. That’s like a miracle.

Extra Doughnuts:

• Beyond Nine Inch Nails (who performed easily the most violent song yet among this season’s typically more dreamy roadhouse numbers), this episode features two key pieces of music: Krzysztof Penderecki’s elegiac “Threnody for the Victims of Hiroshima,” and the Platters’ “My Prayer.” The latter is, in its own way, a solemn remembrance of human loss. (And here’s an odd coincidence: One of the original and longest-running vocalists in the Platters is named ... David Lynch.)