Twin Peaks: The Return’ Season Finale: There’s No Place Like Home. SPOILER ALERT: This story contains details of tonight’s Twin Peaks finale on Showtime. All season long it was as though Showtime’s Twin Peaks: The Return was something other than the Twin Peaks we knew in the 1. Yes, it starred some of the same old faces, but it felt like David Lynch could call the show something else, like Las Vegas or Looking for Dougie Jones. In any given specific episode, the majority of the drama didn’t actually take place in Twin Peaks, rather in Nevada and South Dakota. Many of the zany townspeople we loved from the original series seemed lucky to make cameos in each episode, and were dwarfed by brand new characters. Showtime. Until tonight at least in the penultimate episode Chapter 1. Dale Cooper back as his old self, finally returning to Twin Peaks just as his evil doppelganger is shot by Lucy Brennan in the office of Sheriff Frank Truman (In episode 1. Watch Aliens Of The Deep Online Hoyts. Cooper finally rising out of the body of the aloof body of Dougie Jones).

A floating bubble of the evil Bob comes out of Cooper and engages in a fight with young prisoner Freddie (Jake Wardle), who punches Bob to smithereens as pieces of the spirit float to the sky. But then in the final episode, chapter 1. We’re pulled back into the purgatory we’ve been living with all summer long (this phantasm reality where spirits abound and doppelgangers exist), but now it’s the good version of Cooper in the middle world and he’s looking to bring Laura Palmer back to life.

Can’t she just die? Soon after his evil spirit disappears, he bids adieu to the police department and his FBI associates and enters his old mystical hotel room, the Great Northern #3. Palmer back to life. For a minute, it appeared Cooper’s hard work paid off. Showtime. We’re flashbacked to a forest where Laura is having a fling with James Hurley. Cooper watches and soon enough connects with her, informing her that he’s taking her home to Twin Peaks.

Back on TV after over 2 decades, Showtime's Twin Peaks shows David Lynch has lost none of his skill to shock, surprise & stick to his skills.

Suddenly, her death is erased, and we know this because in another flashback from the original 1. Suddenly, during her walk with Cooper, Laura screams and then we’ve lost her all over again. This puts Cooper on a journey to Odessa, Texas to find Palmer. Prior to tracking her down, he makes a pit stop at a motel with his former assistant Diane (Laura Dern). She too had an evil twin just like Cooper’s, and she disappeared in Episode 1. Gordon (Lynch) and his FBI agents. Diane and Cooper make love, but he awakes and she’s gone the next morning.

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Cooper tracks down what looks like Palmer, but she says she’s Carrie Page and she can’t remember a thing about having any life in Twin Peaks. Cooper believes she’s Palmer and talks her into returning to Twin Peaks. Good timing, since Carrie just shot a guy in the head. Cooper drives Palmer/Carrie straight up to her old house in Twin Peaks, but her mother isn’t living there. It’s a blonde woman by the name of Alison Tremont. Neither Laura or Carrie recognize each other; hence you can never go home again.

Laura then lets out a scream much like the one that made her disappear in the forest. The scene then cuts to the classic image of Cooper sitting in the Red Room with Palmer whispering in his ear. Fade to Black. So ends our 1. Twin Peaks: The Return‘s lost highway. We’re as confused as when we started the journey, hence the gift of Lynch. As Deadline’s Senior Editor Dominic Patten said in his review at the start of the season, “WTF”.

Showtime. Oh, and by the way, seems like Audrey Horne is still missing in the netherworld, a white room. That’s another cliffhanger. If you remember at the end of Episode 1. Bang Bang Bar after doing her dance, just as a brawl ensued. Showtime. Twin Peaks: The Return was a wild ride, especially if you’re a Lynch fan.

There are few crimes that Lynch, the modern day Eugene Ionesco can do, and it was great to see him back to his old hat, confusing us every week. Similar to any play by Ionesco, Lynch’s Twin Peaks: The Return was laugh out loud funny with its abrupt non- sequiturs; there’s just too many moments to count.

After Dern’s Diane attempts to shoot Gordon’s FBI posse in a hotel, and then disappears, we open up in episode 1. Here’s to the Bureau,” beams Gordon).

In a previous episode, there’s a moment where Lynch’s Gordon is entertaining what seems to be a French call girl in his hotel room. Albert enters and informs Gordon, she needs to leave, and she hysterically takes forever to do so. It’s moments like that when Twin Peaks: The Return was ripe. As Damon Lindelof said during the Twin Peaks panel at San Diego Comic- Con, “Without Twin Peaks, there would be no Sopranos, no X- Files, no True Detective, no Fargo, no Lost…”. Lynch truly laid the groundwork for great episodic ensemble drama as we know it. But to say that Lynch has done it again, and taken on peak TV and won is ridiculous. Twin Peaks season 3 didn’t break any rules or create any new standards.

It just showed that episodic TV can be even more confusing than HBO’s Westworld. Furthermore, Lynch has practiced this absurdist schtick for his entire career, and if anything he’s overstayed his welcome in this Peyton Place- meets- noir sphere. We’ve driven down that long dark road several times this past season, and we’ve been there before in Lost Highway and Wild at Heart. What was going on with Lynch here on Showtime was that he was working without a net.

He had a broad canvas in which to paint sans network censors, sans commercial breaks. There was no network executive who was going to unplug his vision due to waning ratings. Lynch was finally allowed to be unhinged as he wanted in this streaming, binge watching, pay cable creative license era.

However, the Twin Peaks we initially fell in love with 2. TV model, one which demanded a structure so that audiences didn’t lose interest. In addition, Lynch’s characters on the original show were much more fleshed out; in The Return they were cutouts.

ABCDespite the grand dramatis personae that Twin Peaks boasts, there was a lot of truth and sincerity to all the crazy town people in the ABC series. Small town kids do get bored, do illicit things, girls cheat on their boyfriends, and before you graduate high school, adolescence can unfortunately yield a casualty or two. Next to Heathers, Twin Peaks was a great mirror of the excess of spoiled 1. Rich lumber barons do rule the towns in which their mills reside.

Coffee and pie were innocent comforts amidst the chaos. Watch Justice Online Flashx on this page. And that’s what was so wonderful and grounded about the original show: Twin Peaks was everyone’s hometown.

That’s why the show was so popular initially before it went off the road in season 2. Showtime. However, with over 2. Twin Peaks: The Return was more akin to The Matrix: Revolutions meets It’s a Mad Mad Mad Mad World. Next to the original series, the characters felt thin. Why employ the brilliant Jennifer Jason Leigh and Ashley Judd if you’re just going to use them as featured extras, respectively a bad girl assassin and Benjamin Horne’s secretary? Moments where Lynch tries to stoke fans by revisiting the original Twin Peaks’ crazy characters largely goes hollow: They’re all living mediocre, complicated lives, weighed down by whatever bad decisions they made decades ago. When we first see Audrey, she’s in a looped, nonsensical argument with her husband Charlie (it’s as though the two actors were improvising). There’s a scene toward the middle of the series where Bobby Briggs (Dana Ashbrook) and Shelly (Madchen Amick) are calming their reckless daughter Rebecca (Amanda Seyfried) down after her boyfriend goes awry.

It’s clear Bobby is still in love with Shelly, but she’s grown far apart from him and her heart is with another man. Such is life, but it’s a storyline that goes nowhere and in the course of the action is sacrificed for the overplayed, zany Dougie/evil Dale Cooper hijinks.