Gawky, goofy Harry Goaz mostly exists as Twin Peaks’ comic relief. His clumsy, affably vacant character, Deputy Andy Brennan, fumbles his own gun, finds tape too complicated to handle, and repeatedly gets hit on the head, which just makes him mildly dopier. (“Not a mark on it! Only blood squirted out!” he enthuses after stepping on a loose board, which smashes him in the nose.) But he isn’t just dim; he’s actively useless at crime scenes, where he breaks down into helpless tears because murder is so durn sad. So it’s a shock when, in the first season’s closing episode, “The Last Evening,” he saves the life of his much more competent boss, Michael Ontkean. In the middle of an arrest, the perp elbows aside the deputy cuffing him, steals his gun, and aims it at Ontkean’s back at point-blank range. Goaz takes the perp down with one calm, unblinking shot, then promptly returns to his bashful mooning over the stationhouse’s equally vapid receptionist. He isn’t this effective or cool under fire at any other point in the series; he occasionally makes a surprise logical leap or reveals a useful talent, but he spends most of his screen time on a silly questionable-paternity storyline, or expressing wide-eyed wonder in comic ways, as he does when he learns his sperm count is up: “I’m a whole damn town!”