The Cult Series "Twin Peaks" Signs It's Big Return On The Small Screen

She gave the television series their accolades and opened the way to a new golden age of the screen: twenty-seven years after its debut, Twin Peaks returns Sunday for a third highly anticipated season. Nothing has filtered from these eighteen new episodes, the first of which will air on Sunday night on the cable channel Showtime, which took over from ABC, home of the first two seasons.
Even the actors are not aware of everything and among them, only Kyle MacLachlan, who returns in the costume of the FBI special agent Dale Cooper, had the right to read, once, the whole scenario. Since the beginning of the second season, we know who killed Laura Palmer, a high school student whose murder was the launch of the plot, but the taste for mystery remains.
Most of the emblematic characters of Twin Peaks are back, embodied by the same actors, in this story twenty-five years after the end of the second season. At the maneuver, director David Lynch, co-creator of the series, who has not presented a project of magnitude for eleven years and his feature film Inland Empire. But whatever the content of this new season, Twin Peaks has long had its place in the pantheon of television. "David Lynch showed that there was not a single way to do television," says Damon Lindelof, co-creator of the Lost series, in a topic broadcast by Showtime.
Faced with the Cosby Show, Arabesque or Roseanne, the great successes of the time, Twin Peaks was an unclassifiable object whose narrative style, rhythm, image, and music were resolutely in the world of cinema rather than in That of television. Neither soap opera nor police series, but a bit of both at the same time, with a good pinch of supernatural, this series refused any etiquette. For Mädchen Amick, who plays the waitress Shelly Johnson, "it gave people what they lacked, that is, intelligence, mystery and something different," she explained Magazine Entertainment Weekly.
Inspiration pours Lost, The Sopranos...

The series voluntarily left shadows, when traditional television avoided them at all costs. Each episode lasted an hour (actually 46 or 47 minutes), but it required discussion afterward, "recalls Damon Lindelof. A very active core of fans quickly formed around the series, fueled later by a new generation of digitally-fed amateurs and compulsive viewing of several episodes as a result. For Kyle MacLachlan, these fans are "largely responsible for the return [of Twin Peaks ] and I hope they will be happy with what we have done." Fans are not the only ones to have been marked by the passage of this UFO.
When he later worked on other series, Kyle MacLachlan remembers that the authors came to say, "I did not think we could do that. But thanks to Twin Peaks, all of a sudden, I felt carried, prompted to follow my vision. "When JJ [Abrams, director of the latest Star Wars, Ed] and I created Lost, he told me: our inspiration is Twin Peaks. We would really be lucky if we could have the artistic and cultural impact "of the David Lynch series, Damon Lindelof recalls. Gary Edgerton, a television specialist at Butler University, however, relativizes the impact of Twin Peaks: Year zero of the quality narrative fiction is more 1999 than 1990, with the arrival of The Sopranos on HBO. "The idea of cinematographic television was really only realized with the shift of the major national chains to the cable," he said, with "more modest but significant" audiences and more ambitious projects. "But," he said, "the question is: would we have had The Sopranos if we had not had Twin Peaks? " With the shift of major national chains to cable, "he said, with" more modest but significant "audiences and more ambitious projects. "But," he said, "the question is: would we have had The Sopranos if we had not had Twin Peaks? " With the shift of major national chains to cable, "he said, with" more modest but significant "audiences and more ambitious projects. "But," he said, "the question is: would we have had The Sopranos if we had not had Twin Peaks? "