BEST — 2. Twin Peaks
The world spins, the stars turn, the young grow old, the logs turn gold. Co-creators David Lynch and Mark Frost didn’t recreate Twin Peaks. They sent their ‘90s cult phenomenon global — like a pandemic, or a religion. Kyle MacLachlan played three or four versions of the same man, a hard bad man on a mission, a good sad man lost in space, a cheerfully absorbent lobotomized little fellow named Dougie, sundry strange variations therein.
He drifted through dimensions, across state lines, and we tagged along all summer on his trippy road trip. It wasn’t just his story. We saw murderers and insurance agents, true men and tough dames, coots, and psychopaths, a cast of hundreds, someone defeated eternal evil with a green garden glove, someone else ordered a red chair, true love was declared, a floor was swept.
Nothing seemed important but everything felt important. Audrey Horne (Sherilyn Fenn) and James Hurley (James Marshall) danced and sang, as they did long ago. A new generation rose, talking strangely as young people always do, speaking of penguins and house arrest. There were sequences unlike anything television has ever seen, mysteries to ponder for a lifetime. The dead spoke to us from beyond, Catherine E. Coulson and Miguel Ferrer, Warren Frost and now Harry Dean Stanton. Even David Bowie was alive again – but as the Log Lady told us, death is just change, not an end.
Twin Peaks changed, never quite ended. Everything came together in Vegas, in the mushroom cloud, in a small town in the Pacific Northwest, at a house as haunted as any world ever has been, see the face of Sheryl Lee, hear a final scream of remembrance. It defied logic and made perfect sense. The best dreams always do.