10 Things We Learned From Twin Peaks: The Return Part 3
1. The End Credits Pattern Is Forming
Also returning is a different Roadhouse resident band.
Lynch perceives The Return as an epic feature more than a series of episodic television, and is skirting the lack of natural breaks by playing instead of writing us out. The premiere saw Lynch integrate the performance of the Chromatics with a great scene foreshadowing both the redemption of James Hurley - one silent, crestfallen look suggested that he won't be asked to do a poor James Dean impersonation in 2017 - and a relationship between Shelly (no Johnson, or surname at all, in the credits) and Balthazar Getty.
'Shadow', a dreamy throbbing hum, fit beautifully into the world. The Cactus Blossoms' appearance in Part 3 was shoehorned, following a patented Rosenfield cynical barb. It's an enterprising method of capping each Part - contrived, maybe, but less contrived than forcing some conclusive dialogue into a scene that does not merit it.
Their 'Mississippi' is markedly different to the ethereal jazz of Badalamenti's original score, but the languid country romance marries well to the pastoral town.