"My own personal investigation, I suspect, will be ongoing for the rest of my life." - Dr. Lawrence Jacoby, Twin Peaks Season 1, Episode 4.
When David Lynch and Mark Frost first announced Twin Peaks: The Return, in 2014, a sort of tense euphoria engulfed the cult fandom.
We longed for the restoration of our beloved Special Agent Dale Cooper, split into two and inhabited by a demonic entity at the close of the original, landmark series. We also cherished the mysteries spun from the tiniest fibres, poring over the conflicting mythology with the forensic drive of Albert Rosenfield and the astronomical passion of Cooper himself. We wanted both resolution and mystery.
Expectations were vast. The Twin Peaks shorthand description is of a woozy woodland subverted soap opera, a transposition of cinema into a formulaic, static TV landscape. In order to surpass itself, the most histrionic superlatives were not good enough. With The Return, Lynch and Frost had to change the game once again. They did, ultimately. The Return was a work of genius - innovative in format, in the approach to continuation, immersive sound design, outstanding acting performances, unconventional narrative...Lynch and Frost unloaded Chekhov's gun and reloaded the bullet into the temple of the audience in a nihilistic blast of anti-fan service. We will review these events for another quarter century.
In the end - if one can accurately use that word - The Return was an unforgettable meditation on death, the weightier horrors of life, and perhaps meditation itself.