#Twin peaks season 4 news series#

Davis, Jack Nance, Frank Silva and, of course, David Bowie. Coulson, Warren Frost, Michael Parks, Frances Bay, Don S. And the litany of cast members who died between then and now is long and heartbreaking: Miguel Ferrer, Catherine E. Both in the story and behind the scenes, the people of Twin Peaks have grown old the men in particular, from Bobby Briggs to Deputy Hawk to Big Ed Hurley, have grayed and weathered like stone. That description fits The Return like a magic ring. Most importantly, the film is about aging, and the vast gulfs of space and time we don’t realize we’ve traveled until circumstances force us to confront them.

Its story of an elderly farmer who travels by tractor on a multi-state odyssey to reconnect with his dying brother shares with several Lynch-pins with the series, namely a love of the road, western America’s scenic beauty and Harry Dean Stanton. Yet in a roundabout way it too provides a key to understanding what made Twin Peaks Season Three so strong. To backtrack a bit (“What year is it?”), The Straight Story may be the anomaly in Lynch’s past quarter-century of work, in terms of narrative flow, tone and his usual interest in horror and sex. Jacoby’s Spray-Painted Shit Shovels Would Work Much Better Using the Netflix Release Model” feel … a little small? Like, even smaller than usual? After “This is the water and this is the well,” didn’t every article you came across with a title like “Lucy Brennan Proves David Lynch Has a Receptionist Problem” or “Dr.

#Twin peaks season 4 news series#

And how cool to see a series so gloriously unsuited to the era TV takes, too. How refreshing to watch a show wholly alien to the debates that consumed the final seasons of even the most truly wonderful dramas, from Mad Men to The Leftovers. (It’s like giving Stanley Kubrick a shoutout for resisting the temptation to create the Kubrick Cinematic Universe.) Still, even if this wasn’t on the filmmaker’s mind, as seems likely, it certainly was on ours. He and Frost (and, to their eternal credit, Showtime) either trusted that their television audience would be as willing and able to keep up as the arthouse crowd, or simply did not care.Ī side note here: It feels goofy to praise David Lynch for not participating in the usual back-and-forth between showrunner and viewer about the need for answers, closure and a finale that “sticks the landing,” which the conclusions of The Sopranos and Lost have rendered a seemingly permanent part of the TV discourse. Not counting the aptly titled The Straight Story (a rare case in which Lynch worked from a screenplay he himself had no hand in writing), all of the director’s post- Peaks prequel films – Lost Highway, Mulholland Drive, Inland Empire – are constructed in this funhouse fashion. Particularly in its final episodes, The Return relies on a recursive, Möbius-strip structure, in which events echo and loop rather than proceed in straightforward fashion these repetitions and reflections are distorted and gap-ridden enough, however, to keep the pattern intoxicatingly opaque. Indeed, the more of his work you’ve seen, the better equipped you’ll be to handle what he’s throwing at you here. David Lynch has been in France pretty much since the premiere event that we had.But just as importantly, this 18-part movie/series/whatsit fits beautifully in Lynch’s overall filmography.

“I promise, we’re not even going to have those conversations until the thing airs.

He’s just not ready to talk to Lynch about it just yet. With that in mind, it’s no surprise at all to hear Showtime president David Nevins tell Slashfilm and other outlets at the recent TCA press tour that he would definitely consider a Twin Peaks season 4 or Twin Peaks: The Return season 2, if you prefer. But more people have subscribed to Showtime because the show airs there, which is really all that matters in the end. What it hasn’t been is a ratings smash, which is where Twin Peaks season 3 is a drastic departure from the original - though that was in a much different TV landscape and on network TV instead of subscription-based premium cable, so it’s not an apples to apples comparison. As with the best of David Lynch’s previous work, it could be both at the same time. Depending on who you ask, it’s either the most ingenious, bold thing on TV or mind-numbingly indecipherable. Twin Peaks: The Return has been as maddening and unpredictable as the first season was back in the day. It seems like it took forever for Twin Peaks: The Return to come together, but Showtime knows a good thing when it sees one.