Twin Peaks isn’t merely cherry pie and ‘damn fine’ coffee – it can be profoundly disturbing, with its dark secrets, prophecy, vice and a town under the influence of supernatural entities, intent on murder and mayhem.
To the uninitiated, Twin Peaks is maddeningly non-linear, narratively backwards (literally) and frustratingly metaphorical. Lynch’s own vocalisation is amusingly declarative, and at complete odds with his unique style of filmmaking, in a way that has made something of a cottage industry of Lynch explanation and explication alike.
Twin Peaks’ cultural impact cannot be underestimated; the red curtains and chevron floor have become part of our televisual heritage - without Twin Peaks there’s no X Files, no True Detective and definitely no Lost.
A mixture of the macabre and the everyday, Lynch’s work is not for those of transient attention. All the clues are painfully obvious if you understand Lynch’s presentation of dramatic events; “I mean it like it is… like it sounds,” explains the spirit of Mike, speaking for Lynch himself.
Lynch is as comfortable with horror as he is with surrealist cinema – here are the definitive, most disturbing moments featuring Special Agent Cooper, killer BOB and Laura Palmer’s heart stopping scream, in a town where nothing is what it seems…