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SEPTEMBER 03, 2017

7:04pm PT by Josh Wigler

'Twin Peaks' Finale: How

David Lynch's Showtime
Revival Ended

Suzanne Tenner/SHOWTIME

! " #

The surreal thriller unveiled its

final two hours, closing the book on
the saga of Agent Cooper (Kyle
MacLachlan) seemingly for good.

[Warning: This story contains spoilers through the finale of

Twin Peaks: The Return.]

Remember when "How's Annie?" were the two most frustrating

words in the Twin Peaks catalogue? Four new agonizing words
have officially taken their place: "What year is this?"

Entering the final two hours of Showtime's Twin Peaks: The

Return, David Lynch and Mark Frost's ambitious revival of their
cult classic series airing more than 25 years after its original

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cancellation, two quotes were top of mind — one from an

interview with leading man Kyle MacLachlan, one from the
actual show and the lips of Lynch himself.

First, there's what MacLachlan (who spent his time on the new
Twin Peaks playing at least two roles: a chaotic agent of
darkness and destruction known alternately as the
Doppelgänger and Mr.C, and federal agent Dale Cooper, who
was unwittingly cast as the dim-witted insurance salesman
Dougie Jones for most of the season) told The Hollywood
Reporter during an interview in early July: "David's storytelling is
filled with imagery and different perspectives and characters
and things that may initially be confusing to people, but
ultimately everything will come back together and make sense.
It will be clear." With so many stories in the air and only two
hours with which to resolve them all, the Twin Peaks finale was
facing an uphill battle in terms of MacLachlan's promise of
clarity.

READ MORE
Has 'Twin Peaks' Been a Hit for Showtime?

Second, there's an early scene in the revival involving Gordon

Cole, the hard-of-hearing FBI agent played by Lynch, and David
Duchovny as Denise Bryson, a federal agent who is
transgender. When Denise thanks Gordon for his role in
helping her land her high-ranking position, Gordon replies that
anyone who had any issues with Denise's transition should "fix
their hearts or die." Those words, often with "your" replacing
"their," have become something of a war cry ever since, both
outside the series and also within the context of the themes
and feelings at play in Twin Peaks. Despite depictions of harsh
violence, men abusing physical and systemic power against
women, instances of inhumanity washing over the forested
hills of Washington as both a literal and figurative fog, Lynch
was positioning Twin Peaks as a world where, yes, evil very
much exists — but with vigilance against the darkness, with
actively mended hearts, hope remains for light to beat back the
night.

Now, the final two hours have officially come and gone. With all
paths leading directly back to the town of Twin Peaks proper,
Lynch and Frost were in a position to prove those two points:
that this was a series about the endurance of hope and the
human spirit in the war between good and evil, and that this
was a series that could resolve with some level of coherency.

On the note of coherency, at least? Maybe not so much.

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After a penultimate hour that included some extremely

satisfying moments with Cooper and the others reuniting at
the Twin Peaks Sheriff's Station, defeating both the
Doppelgänger and the disembodied spirit of Killer BOB (the
late Frank Silva), and potentially even walking back the series-
opening death of Laura Palmer (Sheryl Lee), the final episode
of the series ended on an even more stunningly frustrating
note than the original series: Cooper and a woman named
Carrie Page who looks exactly like Laura Palmer standing
outside of the Palmer residence in the middle of the darkened
streets of Twin Peaks, with the current inhabitants of the house
apparently having no idea who or what a Laura Palmer even is.

"What year is this?" Cooper asks when he and "Carrie" return

to their car, still parked outside the Palmer residence. In
response, "Carrie" screams, the same shriek that Laura emitted
long ago once upon a time in the Black Lodge — and then, we
cut to black, hanging for a beat before the credits start rolling
over an image of Laura whispering into Cooper's ear in the
middle of the Red Room, an image from earlier in the season.

In other words, The Sopranos, eat your heart out. David Chase's
controversial finale has officially been Lynched.

READ MORE
'Twin Peaks': A Hero's Return Sets Stage for Series Finale

Anyone hoping for closure on Sarah Palmer (Grace Zabriskie)

exhibiting the ability to eat a man's throat with an empty void
of a face were left without it. Anyone hoping to understand the
mystifying Audrey Horne (Sherilyn Fenn) storyline, and whether
or not she was trapped in a mental institution or some other
form of supernatural prison, were left without an answer.
Anyone who wanted to know what was up with the enigmatic
New York City box walked away from the finale without any
indication, at least not an obvious one. (So much for that
bonsai tree theory!) Anyone who wondered what the world of
Twin Peaks would look like now that Dale Cooper seemingly
fire-walked back the death of Laura Palmer (a feat he
seemingly accomplished based on scenes from the original run
of Twin Peaks and the subsequent film, Fire Walk With Me, re-
airing, with Laura's wrapped-in-plastic corpse vanishing from
sight before our very eyes) did get some form of an answer... it
just so happened to be an answer that led to even more
questions.

Over the course of its run, Twin Peaks was rarely accused of
spelling out its intentions for fans, but even by Lynchian

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standards, The Return ends on a stunningly confusing note. Are

Cooper and this new form of Laura trapped inside some
parallel universe? For a series (and creator) so focused on the
idea of doubles, it makes some sense that there would be a
doppelgänger universe of sorts — some sense. Really, the final
episode and final scenes especially feel like they are built to set
up a new set of mysteries and storylines to follow in the future
— a curious prospect, considering most signs point toward this
being the end of the line for Twin Peaks.

READ MORE
'Twin Peaks' Likely Won't Be Revived Again at Showtime

Lynch and Frost had eighteen hours at their disposal to tie up

loose ends from the original run of Twin Peaks, and instead,
they chose to end The Return with brand new questions that
nobody would have even thought to ask heading into the final
two hours. For some, it's exactly what was expected. With their
first opportunity to return to the world of Twin Peaks following
the show's initial cancellation, Lynch and Frost delivered a
prequel film that lobbed up more questions than it answered.
The final two episodes of The Return leaned on that same sense
of unsettling confusion, and magnified it. 

Which isn't to say there weren't answerable theories along the

way. The penultimate week of the series confirmed a long-held
suspicion that the Evil Cooper was indeed Richard Horne's
(Eamon Farren) father. The first hour of the two-part finale
confirmed another theory: the no-eyed Naido (Nae Yuuki) was
actually the real version of Diane (Laura Dern), a development
some viewers were expecting based on reversing Naido's
name. ("Naido" backwards gives you "O-Dian," which gives you
"original Diane," which apparently does indeed give you the
original Diane! How about that!) Freddie Sykes (Jake Wardle)
and his green-hued rubber glove of justice delivered the
necessary punch to defeat Killer BOB, as so many fans hoped.
The hair that Cooper plucked from his own head in "Part 16,"
which he gave to the Lodge-dwelling Gerard (Al Strobel), was
seemingly used to create a new Dougie Jones as hoped, which
went on to return to Janey-E (Naomi Watts) and Sonny Jim
(Pierce Gagnon), so at least there's one happy ending.

But the brief return of Dougie Jones is about as happy an

ending as it gets. Rather than closing out on a note that
championed the notion of "fix [your] heart and die," the
version of Cooper we're left with is someone who feels like a
merged version of the two different Coopers we came to know
over the course of this series. He embodies the good Dale's

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drive and dutiful nature, deeply committed to returning the

woman he believes to be Laura to the place that was once her
home. He embodies the chilling tactics of the evil Cooper, too,
shooting a man in the foot when he absolutely does not have
to, dumping a set of handguns in a vat of hot oil and thereby
putting a seemingly innocent restaurant at risk without much
concern for the patrons' safety, and otherwise operating in the
stone-cold manner more commonly associated with Mr. C.

In the end, then, this wasn't a case of good conquering evil, nor
does it seem like a case of evil winning out against good. The
Cooper we end up with seems to exist at the center of the
Venn diagram, a far cry from the enthusiastic optimism of the
federal agent we first fell in love with, if not quite the monster
who ravaged everyone in his path for the majority of The
Return. It's a man who lives in a gray area — not unlike the first
image we see of Cooper after the opening credits in the very
first episode.

Courtesy of Showtime

"You've gone soft in your old age," federal agent Albert

Rosenfield (the late Miguel Ferrera) tells Gordon Cole in the
first scene of the penultimate episode of Twin Peaks: The Return.
In response, Lynch's alter ego replies: "Not where it counts,
buddy." At least Lynch was kind enough to warn fans about
what they were getting into at the very top of the two-part
finale — sadly, that's where the kindness ends, the return of
Dougie notwithstanding.

READ MORE
'Twin Peaks': Meet the Man Behind David Lynch's New
Nightmare

Keep checking THR.com/TwinPeaks for interviews, news, deep

dives and more fallout from the finale.

TWIN PEAKS

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