It’s Twin Peaks: The Return Finale Week over at 3 A.M. Magazine. They’re running a series of essays about the new season for the rest of the week. Yesterday, we got to read Jeff Woods’s “Hurricane Bob: Part 1,” which deftly connects the many frequencies of current energy flows in politics, culture, and visual art in a discussion about The Return. Today, they posted my essay on mediacy & electricity (“Algorithmic Weather: Mediacy in Twin Peaks: The Return“) something that’s fascinated me this new season, and a long-term preoccupation of Lynch’s that perhaps reaches its zenith in The Return. Below is an excerpt:
Drone cameras hover over darkened Douglas (Dougie) firs, panoramic views of Las Vegas and Manhattan. The same point-of-view takes in the apocalyptic mushroom cloud. We are to believe that modern electricity, introduced to our world through innovations in military technology, expressed through wall sockets, telephone lines, Skype calls, and cellular data, has its roots in the creation of both the evil and good forces in the universe of Twin Peaks. The Mother, as she is known, spews out the evil force of BOB; the Fireman counters with the innocence known as “Laura”. A frog-like insect crawls into the mouth of a girl hypnotized into sleep by a Woodsman reciting a poem over compromised radio waves. Media determine the situation.
Bodies are made metaphors for data. In Episode 2, Sam explains to Tracy that all he has to do watch what happens in the glass box. Here, the show winks at us—the glass box of television, but also a metaphor for technologies that mediate and express electricity. Recall that they miss Cooper’s appearance, but are privy to what opens up between worlds: the Mother enters through the glass box and eviscerates them. Additionally, new faces are introduced in almost every episode, many of which rarely return. They are given names and ample screen time. They are there solely to deliver information, they are mere voice recorders.