Twin Peaks You Cant Go Home Again
Review
Diving Into The Unknown, 'Twin Peaks' Proves Y'all Can't Go Domicile Again
Editor's Note: Watch out for spoilers!
Every bit 16 episodes' worth of oddball characters and seemingly disparate plotlines finally converged upon our favorite sleepy little Northwestern logging town, Dominicus night's 2-60 minutes finale of "Twin Peaks: The Return" started out feeling like creators David Lynch and Mark Frost were tying all their loose story threads together into the kind of crowd-pleasing, definitive conclusion fans were so cruelly denied when the original series abruptly ended with a vicious cliffhanger dorsum in June of 1991.
But Lynch has made it abundantly clear throughout his career that viewers looking for explanations and resolutions are probably ameliorate off watching something else, then it didn't take long for him and Frost to start tugging on that tidy picayune narrative bow, which quickly unraveled into strands of seasick uncertainty and soul-crushing terror. "Twin Peaks: The Return" ended with the virtually maddening, brain-meltingly brilliant terminal scene of whatever television program since "The Sopranos." 10 years later people are still arguing loudly about the latter, which I would bet on being the case here as well.
What a miracle this show has been! Every Lord's day dark another bullheaded dive into the unknown, cheerfully disregarding the "rules" of serialized goggle box and veering off into formal brazenness and surreal asides. (It'south impossible to replace David Bowie, and then why not have his function played by a giant talking tea kettle instead?) At its halfway indicate in July, I wrote about the odd time signatures and ways Lynch lulls us into his dream world of doubles and doppelgängers, where cornball comedy and nightmare-fueled visuals comfortably coincide.
The moment nearly viewers had been waiting for finally arrived in the penultimate installment, when Kyle MacLachlan's Special Agent Dale Cooper at long terminal shocked himself out of the monosyllabic, slapstick stupor in which he'd spent 14 episodes being mistaken for Las Vegas insurance salesman Dougie Jones. This blithesome resurrection of the tin can-exercise, fast-talking Coop was accompanied by Angelo Badalamenti'south soaring theme music, played under a scene for the commencement and pointedly only fourth dimension during the series.
This euphoria proved extremely short-lived, as Sunday night our gang'due south weirdly rushed, plucky triumph over Coop'south evil doppelgänger and the now-spherical demon BOB was undercut past a concerned freeze-frame on MacLachlan's face that lingered on elevation of the rest of the sequence as an eerie superimposition. (A lot of the special effects on this testify make you recollect something'due south wrong with your television receiver.) The overlay of his haunted eyes imbued the character's long-awaited homecoming with an awful feet.
Which makes sense, as "Twin Peaks: The Return" was ultimately an anti-nostalgic nostalgia revival about how you can't go dwelling house once more. Refusing to ape the original'south spoofy soap opera structure, it didn't even look annihilation like the old series, with a well-baked video palate in contrast to the first show's soft, golden hues. Lynch and Frost repeatedly, doggedly denied the comforts of the familiar, sidelined old regulars in favor of new creations and kept their most honey character comatose for the outset 16 hours. That's nerve.
Sometimes it fifty-fifty felt like trolling, as in the case of fan-favorite Audrey Horne, unceremoniously dropped into the end of the 12th episode having a droning, 11-infinitesimal statement with her homunculuar husband in which they exhaustively talked most people we'd never met. Sherilyn Fenn'due south kinky-innocent pinup girl allure was such a huge function of the original "Twin Peaks" mystique her that banishment to a comically tedious art-punk sidebar this time around had a whiff of the punitive, particularly when Audrey reprised her former dance movies for a harrowing reveal.
The past is gone, the evidence kept reminding u.s.. It's a lesson headstrong Agent Cooper should have heeded but in the first one-half of Sun night'southward finale (with some help from that sassy tea kettle) he heedlessly flung himself dorsum to 1989, thinking he could save Laura Palmer and thus circumvent this whole wheel of supernatural suffering. Instead, Coop lost Laura in the woods and shattered the timeline, effectively re-writing the original series and everything nosotros've been watching since clear out of existence.
(The modernistic-day MacLachlan was cleverly edited into footage from the 1992 film "Fire Walk With Me," and we got to see an alternate edit of the original "Twin Peaks" pilot's opening scene in which nobody was wrapped in plastic and Jack Nance actually got to go angling.)
The last hour of "Twin Peaks: The Return" was a chilling Möbius strip of trademark Lynchian doom — all empty highways, despairing sex scenes, shifting identities and familiar faces fabricated strange. If you thought Cooper getting trapped in the Blackness Gild at the stop of the second season was a pessimistic catastrophe, now our errant knight has come unstuck in fourth dimension, perpetually reprising a quest in which he'south trying to repair a past that may never have existed.
Earlier in the episode Miguel Ferrer's sublimely sarcastic FBI agent was giving a difficult time to his lecherous dominate, beautifully played by Lynch himself. "Yous're getting soft in your old age," Ferrer quipped.
Lynch replied, "Not where it counts, buddy."
Damn straight.
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Source: https://www.wbur.org/news/2017/09/04/twin-peaks-finale-review
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