There's a lot of reviews here, so I'll just add a targeted one.
I like to use the full title, Twin Peaks The Return for this season as there is hardly a 1, 2, 3 seamless flow between seasons 1 and 2 and this one. This version of Twin Peak is a great study in the merits of artistic limitations and form/format as concept for putting your ideas into something with discipline and structure.
David Lynch is cool because he's a true artist who sees visions in his head, they can be simply visual to start with, and he wants to indulge himself by putting them on screen. From there he begins to develop a narrative out of things he wants to see on screen. Some of these are a simple as a visual--red curtains. Others are complex and bizarre, such as the many odd characters or unsettling situations he throws into the mix. His willingness to indulge in formats usually exempt from that, such as a prime time, network mystery show (or in commercial films with major theatrical release) made him stand out. But the formats he worked in, and their conventions of story, pacing, censorship, popularity/profitability kept him on the rails and gave his vision shape.
Twin Peaks The Return is an example of what happens with this approach when almost all of those are removed. Lynch was given massive leeway and power in this and the results are all flaunting convention (extreme slow pacing, denying or delaying what the audience wants, such as not showing normal, older Cooper doing his thing after waiting how many years) and a structure that is so off beat, it really doesn't come together.
Certainly, the continuity between seasons is an issue, even if the indulgent, evasive style of 3 is up your alley. The first two seasons were approached like a 'surrealist soap opera.' There was a reason that Lynch included a fake soap that the characters watched in the original. This was homage to the use of the soap opera format and influence of it's conventions. Certainly, there is a parallel between Lynch's style of bizarre, abrupt oddities and the strange plot twists that occur in soaps. As much as the 'artsy' followers of Lynch may not want to admit it, a big part of the appeal and addictive quality of the original series was the social intrigue that was at times outrageous and over-dramatic, lifted from soap tradition. The Return is completely devoid of this approach and seems like it takes place in a totally different universe. It's like being asked to accept Blue Velvet and Wild at Heart as the same universe. Yes, they are both very Lynch, but they aren't continuations of the same story or approach.
Some might view this as 'Lynch is challenging his viewers'. I view it as 'Lynch didn't challenge himself enough by working within more limitations and discipline.' So many episodes (and even the concept of the whole season) feel like they are self consciously pushing the viewer, rather than simply presenting something compelling. Many episodes and moments also ring with a desperate need to stuff in this character, or that actor he wanted to use, throw in one more bizarre moment and this adds to the aimlessness already established with the shapeless format and slow pacing.
Context is everything. Without relatable atmosphere, the strange moments or even the subtly unsettling atmosphere doesn't jump. It begins to feel farcical at times. Without a sense of convention and structure to jump out of for the surprises or odd moments, the strangeness and wonderful Lynchian feel become rather lifeless. If anyone is in question about the concept that Lynch has gotten a bit too self indulgent, look no further than the concert ending of episodes in which Lynch shows off a new molasses hipster group he admires and plugs them in his filmscape shamelessly (rather than working them in more subtly or simply leaving those interests to his private life).
Some artists learn the value of conventions, structure, format and audience as they grow old, and some become drunk with power and reject them like a brash film student. As Lynch has managed a career with a lot of latitude as far as bringing surreal artistry into popular forms, I hoped he would be more satiated and realize the wonders of limitations. Instead, as though to begrudge those at the network who he had to collaborate with on the original, he's thrown all the boundaries and parameters off as revenge. But the victim is quality, and I don't think The Return will be remembered and loved 30 years from now like the original series was.
I like to use the full title, Twin Peaks The Return for this season as there is hardly a 1, 2, 3 seamless flow between seasons 1 and 2 and this one. This version of Twin Peak is a great study in the merits of artistic limitations and form/format as concept for putting your ideas into something with discipline and structure.
David Lynch is cool because he's a true artist who sees visions in his head, they can be simply visual to start with, and he wants to indulge himself by putting them on screen. From there he begins to develop a narrative out of things he wants to see on screen. Some of these are a simple as a visual--red curtains. Others are complex and bizarre, such as the many odd characters or unsettling situations he throws into the mix. His willingness to indulge in formats usually exempt from that, such as a prime time, network mystery show (or in commercial films with major theatrical release) made him stand out. But the formats he worked in, and their conventions of story, pacing, censorship, popularity/profitability kept him on the rails and gave his vision shape.
Twin Peaks The Return is an example of what happens with this approach when almost all of those are removed. Lynch was given massive leeway and power in this and the results are all flaunting convention (extreme slow pacing, denying or delaying what the audience wants, such as not showing normal, older Cooper doing his thing after waiting how many years) and a structure that is so off beat, it really doesn't come together.
Certainly, the continuity between seasons is an issue, even if the indulgent, evasive style of 3 is up your alley. The first two seasons were approached like a 'surrealist soap opera.' There was a reason that Lynch included a fake soap that the characters watched in the original. This was homage to the use of the soap opera format and influence of it's conventions. Certainly, there is a parallel between Lynch's style of bizarre, abrupt oddities and the strange plot twists that occur in soaps. As much as the 'artsy' followers of Lynch may not want to admit it, a big part of the appeal and addictive quality of the original series was the social intrigue that was at times outrageous and over-dramatic, lifted from soap tradition. The Return is completely devoid of this approach and seems like it takes place in a totally different universe. It's like being asked to accept Blue Velvet and Wild at Heart as the same universe. Yes, they are both very Lynch, but they aren't continuations of the same story or approach.
Some might view this as 'Lynch is challenging his viewers'. I view it as 'Lynch didn't challenge himself enough by working within more limitations and discipline.' So many episodes (and even the concept of the whole season) feel like they are self consciously pushing the viewer, rather than simply presenting something compelling. Many episodes and moments also ring with a desperate need to stuff in this character, or that actor he wanted to use, throw in one more bizarre moment and this adds to the aimlessness already established with the shapeless format and slow pacing.
Context is everything. Without relatable atmosphere, the strange moments or even the subtly unsettling atmosphere doesn't jump. It begins to feel farcical at times. Without a sense of convention and structure to jump out of for the surprises or odd moments, the strangeness and wonderful Lynchian feel become rather lifeless. If anyone is in question about the concept that Lynch has gotten a bit too self indulgent, look no further than the concert ending of episodes in which Lynch shows off a new molasses hipster group he admires and plugs them in his filmscape shamelessly (rather than working them in more subtly or simply leaving those interests to his private life).
Some artists learn the value of conventions, structure, format and audience as they grow old, and some become drunk with power and reject them like a brash film student. As Lynch has managed a career with a lot of latitude as far as bringing surreal artistry into popular forms, I hoped he would be more satiated and realize the wonders of limitations. Instead, as though to begrudge those at the network who he had to collaborate with on the original, he's thrown all the boundaries and parameters off as revenge. But the victim is quality, and I don't think The Return will be remembered and loved 30 years from now like the original series was.
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