I’ve come to this cold. No re-watching of the original two series, of Fire Walk With Me, I’m going in trusting only in my memories. Because these are vivid memories, because Twin Peaks was vivid, and lurid, and that ending was one of, if not the most horrifying experiences I have ever had with any kind of creative form, because it was the end but it wasn’t the end, it was a cliffhanger of Himalayan proportions and I sat there stunned. Special Agent Dale Cooper had gone into the Black Lodge to rescue Annie, and he had got her out, only he wasn’t he, he was Bob, Killer Bob, and the real Cooper was imprisoned behind.
No series has ever ended so awfully as that, so unbearably incomplete. Even though season 2 had dipped so badly throughout its middle episodes, it had come back with a vengeance with the introduction of Windom Earle, a truly terrifying performance by Kenneth Welsh. And that final episode had been one of the most intense television episodes I have ever seen, rivaling the last episode of The Prisoner.
Unbelievably, it’s back. And this is the first episode, consisting of parts 1 and 2 of an eighteen part series that has been described as an eighteen hour film. Well, bring it on! I am as insulated against trailers and spoilers and even promo photos as it is possible to be in this age and I am coming to this with clean hands and composure (as the writer Harlan Ellison is wont to say) and…
I’ve already read one review that suggests season 3 will piss off cult fans and newbies alike, with which I profoundly disagree. This is an eighteen hour film and I am getting pissed off at reviewers who expect to have the complete structure and purpose laid out for them in episode 1. This is supposed to be the age of the long-term project, the viewer willing and eager to commit to long series in which secrets and objectives and purposes are only revealed slowly, and in the meantime commit to working out the puzzle in their own heads, as they go along. It was the same for American Gods only three weeks ago, and it was stupid then.
But David Lynch and Mark Frost have gone far out on a limb with this opening episode (as indeed they should: Twin Peaks wasn’t just ahead of the curve in 1990-91, it was the curve and for it to come back exactly the same as before would be to gut it and remove any point to the return). For one thing, at a rough guess, less than twenty percent of the episode takes place in Twin Peaks, or even Washington State, and only a handful of our old friends have put in an appearance, and even then as cameos.
Strange things are happening, but mostly they’re happening elsewhere. In New York City a young man watches an empty glass case, under constant filming from three angles, during which time nothing happens, until he makes out with his girl, at which point something… something… emerges and seems to beat them to a pulp. Later, we see something significant happen when they were both out of the room.
In South Dakota, a murder is investigated, a woman’s mutilated head and a man’s mutilated body in the same bed. The murderer is a School Principal, but there’s a tangle of adulteries behind this. It’s very low-key, slow, undemonstrative, exceedingly normal and except for the brutality of the murder(s). But it’s been ‘organised’ by a shadowy background figure.
Who also pops up in Las Vegas, seeking information of an undisclosed kind, and dealing unmercifully with betrayal by the white trash he has assisting him. He’s due to keep an appointment tomorrow, except he’s no intention of meeting it. It’s been twenty-five years and now he’s supposed to go back, only he has no intention of returning to the Black Lodge.
Because the constant figure is Special Agent Dale Cooper, whether he is the real one, still trapped in the Black Lodge (from where he is to finally be released, once his doppelganger comes back) or he is the doppelganger, following some twisted course in the real world.
Something is being set up, and the whole fucking point of Twin Peaks in the first place is that you don’t go expecting the answers to be dropped in your lap, tied up with pretty pink ribbon. Lynch and Frost take things slowly – just as they always did – but there’s obviously a thread linking things together. Cooper’s coming back. The Log Lady, or at least her log (a fine, vulnerable, final performance by a clearly weak Catherine Coulson, sadly gone before this appears) knows it. Deputy Hawk understands some of it: he has come to Glastonbury Grove in the night and even though the real Cooper can’t leave before his doppelganger returns, the Black Lodge is losing its power.
And we see little vignettes with old faces, ending in the bar, as a band I’d never heard of called Chromatics replace Julee Cruise with a fine song I promptly downloaded, and people talk and drink and dance, and a near shaven-headed James looks across at a gaggle of women, one of whom is Shelley…
It’s back. Whether it can provide the resolutions we want after twenty-six years, we will have to wait until the end. I’m here for the duration, good, bad or indifferent. It’s like Alan Garner’s Boneland, the unexpected, much-delayed, radically different end of the trilogy. If Twin Peaks does as much to disturb the previous two parts as Garner did then, it will be a triumph.