Kilmoore wrote:I just feel like advertising under the name Twin Peaks, claiming it's Cooper's journey back into Twin Peaks and then delivering Dougie Show with a dozen pointless side characters is false advertising.
But what was Twin Peaks?
At the time, similar things were levied against it; during season 1, come the night of the finale, it was popularly hated as a show that billed itself as a procedural that had the audacity to not wrap up its case. People acted like they were robbed of a solution when instead Cooper was shot in a cliffhanger, having built up expectation a solution would come, mostly because the media had themselves built up that expectation, from thin air. Then we all know what happened--it was forced to appeal to the desires of the consensus, then abandoned by those who cared only about the idea of resolution, eternally unsatisfied. The original show was full of 'pointless side characters' like Cappy, the bank teller who takes 10 minutes to step three feet, Toad, and the Pilot especially is a litany of side characters who never return again. Watching the S2 opener with friends, there was intense bewilderment that it wasn't how they expected. Many dropped out at the first hint of supernatural goings-ons that seemed irreconcilable with just being a dream. Senior Droolcup made people ANGRY because of how slow he moved. Why did Donna suddenly have a redheaded sister?
TP was a show with character, certain genre trappings, and conventionally enjoyable elements. But above all it was the unique manner it was written with, that Frost and Lynch shared, that seemed to me the sole reason for them to care about creating it, and that gave it any lasting quality. It was subversive in its core.
S3 is much like FWWM. Loathed and loved in equal measure, and really stubborn. If FWWM was written by consensus, nobody would have made it a brutal experience where you almost feel you share in Laura's victomhood. But I can't imagine it any way other than totally dedicated to being honest about her, and immortalizing what happened to her that all along, in the lived reality, wasn't just a plot device for a sprawling writing style. S3 does follow Cooper, and is his journey back, taking for consideration and sticking with it the idea that leaving the Lodge is not so easy and not so comforting that it can be easily undone in an immediate deus ex machina. And just like Laura's experience being hellish and confusing, it feels more honest and makes more sense (to me at least) that Cooper is scarred, and the show, in a way, is also scarred. It never could be anything but, given the murder the original series had to endure, and given the metatextual approach that seemed an important and consistent part of the franchise. I find it pessimistic to treat such creative liberties as tedious when it really feels to me an exultant act, and always has. Even the revelation of Leland was treated in this way, though it was a decision from above; I always found it to be so horrifying that it was like I was seeing something I should have never wanted to see.