Simran Hans at The New Statesman:
Twin Peaks first aired in 1991. A tragic and often frightening mystery, it centred on the violent murder of a beautiful teenage girl in a strange, small town nestled in the mountains of the Pacific Northwest. The protagonist was a handsome FBI agent who drank black coffee and spoke in riddles. There was a lot of spontaneous dancing fuelled by a bizarre, forbidding undercurrent of danger. I didn’t understand it at all. I was gripped. I became obsessed with its images of Americana: desolate diners and roadside dive bars, clanking industrial machinery (the fictional town of Twin Peaks has a sawmill), flanked by jaw-dropping natural beauty.
It was a great introduction to many of the director’s long-standing preoccupations: the rot of evil, the mysteries of desire, parallel worlds and the portals to them. The show featured a curdled nostalgia for the 1950s, the music of Julee Cruise, and contained much discussion of the weather (in 2020, Lynch started publishing charming daily weather reports on YouTube), and music from the 1950s. Like his most beloved and best-known film, the Blue Velvet (1986), it deals with the utter devastation of losing one’s innocence.
more here.
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