Returning to Twin Peaks

Love it or hate it, the iconic reboot of the iconic, short-lived '90s series was fascinating, uncompromising TV

Not everything in the season worked, but it's the type of television that sticks with you.
Not everything in the season worked, but it's the type of television that sticks with you.


That single line of dialogue, delivered near the end of Twin Peaks' long-awaited third season, turns out to be perhaps the most cathartic in the entire series. It was uttered when the show's iconic hero, the perpetually chipper FBI agent Dale Cooper, awoke from a stupor that had relegated him to a shuffling, toddler-like mental state, but it also signaled the moment when the show's new characters and plot lines definitively converged with the old ones.

The past and the present had crashed into one another, though it didn't take long for that union to come undone.

David Lynch and Mark Frost's beloved cult property returned to television this spring (you might recall our May cover story about it) in a fog of hype, and it became clear from its deliriously strange and formally audacious two-hour premiere — complete with an intimidating glass box, a face-eating poltergeist and a headless corpse — that its authors had no interest in warm, cozy nostalgia. They had blown up their creation, and they were in no hurry to put the pieces back together.

That's what made this new strain of the show so frustrating in its early stages, and ultimately so exhilarating as it wrapped itself up. This season of Twin Peaks required a considerable amount of patience, but it ultimately paid off in alluring fashion. Because make no mistake: This fresh batch of episodes was even more befuddling and unpredictable, more unapologetically Lynchian, than the original iteration of Twin Peaks ever was. Having shaken the constraints of prime-time network TV, Lynch and Frost here doubled down on surrealism and abstraction, and the result was certainly the most defiantly bizarre season of television ever aired.

We've seen a lot of long-dead shows return to the small screen in recent years, and so many of them have been content to simply trot out the familiar characters and catchphrases we all liked the first time around. It's an easy way to get a knowing laugh from the audience, and while Lynch does this, too, he really makes his callbacks count. None of the explicit nods to the original series, or the myriad allusions to the 1992 prequel film Fire Walk with Me, were there to simply wink at us; they all served emotional purposes, and they mostly felt earned.

While the return of Twin Peaks tied up a few of the loose ends left dangling when the show was yanked off ABC's schedule in 1991, Lynch has never been one for tidy closure. If this season had wrapped up in a totally coherent fashion, it would have been remarkably out of character. The finale, which ran last week, left us with a whole new set of questions that will likely never be answered, and that's probably how it should be.

Not everything about the season worked, and it indulged in some of the Lynchian staples I've never particularly cared for — the vast gulfs of silence between lines of dialogue, the deliberately herky-jerky special effects, the wanton cruelty directed at nubile women and the leering nature with which he photographs it.

It was, however, a stunning success on a purely technical level. Cinematographer Peter Deming, who also photographed Lynch's Lost Highway and Mulholland Dr., worked wonders in a number of visual modes, from the flat haze of the Las Vegas suburbs to the noirish glow of the Bang Bang Bar at night. Composer Angelo Badalamenti's ambient drones nicely complemented Lynch's own strange sound design, all ominous humming, howling wind and crackling electricity. Lynch also assembled a terrific supporting cast, with the likes of Naomi Watts, Robert Forster, Laura Dern, Matthew Lillard, Amanda Seyfried, Tom Sizemore, Jennifer Jason Leigh, Tim Roth and even Jim Belushi fitting seamlessly into the Twin Peaks universe.

And then there's Kyle MacLachlan, doing the best work of his career playing (simultaneously) clear-eyed hero, black-eyed villain and dead-behind-the-eyes comic buffoon. I initially balked at Cooper's absence from the bulk of the show, but the fact that his unflagging optimism was noticeably missing only intensified the suffocating darkness of Lynch and Frost's vision.

I'm still not sure if I understand how (or if) it all fits together, or how exactly all the new characters figure into the overall narrative; another watch through might clear up a few things (though certainly not everything). But like any Lynch work, to watch it is to sink into it, and finishing it all has felt like waking from a particularly vivid dream: Parts of it make sense, parts of it don't, and yet you spend the whole rest of your week thinking about it, wondering what it all means.

It was worth the wait.♦

Alice in Wonderland @ Spokane Children's Theatre

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About The Author

Nathan Weinbender

Nathan Weinbender is the Inlander's Music & Film editor. He is also a film critic for Spokane Public Radio, where he has co-hosted the weekly film review show Movies 101 since 2011.