David Lynch’s patient, inquisitive camerawork bestows everyday images with an almost mystical air
of quarantine even the most unremarkable household fixtures may acquire numinous qualities—the ominous front door, say, or the beckoning fridge. That the mundane can be pregnant with mystery is an item of faith for David Lynch, co-creator of “Twin Peaks”, a television drama first broadcast 30 years ago. No wonder that, according to American viewing figures, a fresh generation is discovering its delights.
“Twin Peaks” is set in a small town in Washington state, full of timber-bearing trucks, big skies, shimmering waterfalls and obscure secrets. A quest to find the killer of Laura Palmer, a high-school homecoming queen with a dark side, propels the narrative. But it is the extraordinary array of characters, scenes and motifs that capture the imagination.agent charged with solving the murder, blends lovable earnestness with a deep sense of moral purpose.
The defining feature of “Twin Peaks” is its seamless switching of registers, from melodrama to horror to police procedural, sometimes within a single scene. Angelo Badalamenti’s masterful soundtrack, slipping joyously from ominous synth patterns to groovy bebop, pulls off the same feat. Almost everything is suffused with what David Foster Wallace, an author and fan, called “ambient spiritual antimatter”.
Few shows have been more influential. The lesson of “Twin Peaks”—that respecting the audience’s intelligence can reap rewards—inspired “The Wire” and “The Sopranos”. Its fusion of the quotidian and supernatural recurs in “The X-Files” and “Stranger Things”. Its stature has only grown over the years, spawning all the paraphernalia of the cult classic, from fan conventions to all-night watch parties .
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