Lynch's paintings are beautiful yet macabre, mysterious and rich in the tactility of the methods of their creation.
The thorniest nostalgia trip in the history of television has been outfitted with a gorgeous and painstaking transfer.
The finale invites us to inquire into our own motives for wanting to revisit the series.
The latest episode of Twin Peaks is most remarkable for its numerous arrivals and departures.
In the latest episode, David Lynch implicates his audience in Twin Peaks’s unfolding dream.
Lynch has always conjured up his disorienting and disturbing narratives according to an intuitive dream logic.
A damn good slice of cherry pie plays a pivotal role in several storylines from the latest episode.
Even apologists for deep-seated perversity will have a tough time justifying long stretches of the latest episode.
The episode divides its time between domestic drama, overarching mythology, and seriocomic pop surrealism.
As of the latest episode of Twin Peaks: The Return suggests, the darkness seems to be winning.
The episode’s frequent matched pairs and expository repetitions seem to draw attention to themselves.
The latest episode of Twin Peaks is a delirious descent into the murky matrix of material existence.
The episode uses David Lynch’s abiding preoccupation with mirror imagery as an often subtle structural device.
Many of the events in the latest episode of Twin Peaks seem to depend on the toss of a coin.
We might expect it to end on the performance, as each episode has until now, but Lynch throws us a curveball.
The episode’s emotional epicenter is Bobby Briggs, now white-haired and working as a deputy for the department.
Parts of the episode play like one of David Lynch’s hermetically sealed surrealist short films.
The first two episodes of the new season are largely preoccupied with sowing the seeds for later developments.
