One of many refreshing left turns in the Twin Peaks revival is its disinterest in traditional television cliffhangers. Episodes end with dangling questions galore and turning points left up in the air, but David Lynch never gives us a hard cut to credits after a gunshot in the night. Instead he often goes out on a song, a “live” performance on stage in the long-standing Roadhouse. Like Mr. Rogers changing his shoes and jacket, the moment the neon bar sign hits the screen, you know the show is almost over. What young band in Lynch’s iTunes is playing this week?
Far from superfluous though, these scenes have two powerful effects on the series:
Continue reading “Twin Peaks Season 3 Soundtrack Albums Part II: Screaming on Your Knees at the Roadhouse”
Composer Angelo Badalamenti was the Great Missing Man For the first few hours of Twin Peaks season 3.
It began almost eerily quiet. There was the typically meticulous David Lynch sound design, but there was nothing like the nearly wall-to-wall jazzy snap and shuffle of the old series. Still, it made sense. This was a world slipping back into its skin and feeling its way through the dark. Characters we hadn’t seen in twenty-six years were in no rush to open up to us about where they’d been all this time (except for Lucy and Andy). It was mystery on top of mystery on top of mystery, right from the first scene.
Continue reading “Twin Peaks Season 3 Soundtrack Albums Part I: Angelo & Friends”
SPOILER CITY AHEAD
I mean it in the nicest way possible when I say that I LOVE the stories that I’ve read about people who threw retro parties for the May 21, 2017 premiere of Twin Peaks: The Return with cherry pie and coffee and cosplay—and then their soiree went sour when the show started and they got walloped with David Lynch’s art.
Continue reading “It Feels Good to Be Obsessed Again”