Deep into the second season of “Twin Peaks”, has the groundbreaking TV series created by David Lynch and Mark Frost, the twisted Windom Earle (Kenneth Welsh) Major Garland Briggs (Don Davis) hostages and tortures him for more information about the mysterious and mysterious Black Lodge. When Earle asks a drugged Briggs about what he fears the most in the world, the warm -hearted soldier replies, “the opportunity that love is not enough.” It is a statement that, as so much in Lynch’s work and in the show itselfHas huge resonance and weight. In particular, the feeling refers not only to one of the most important themes in the series but also to the destiny of the show.
When the episode contained the scene that was broadcast in early 1991, the reception of “Twin Peaks” as one of the most popular and exciting new programs on network TV had changed, with not only pop culture in general but its own door-hard fans who felt something had disappeared. In fact, some important things had disappeared – Lynch, for one, who had taken a break from the series after the sixth episode of the second season and did not return until the season finale, and Frost, who similarly took a hiatus between sections 8 and 18. Yet an even greater loss than the show’s two key figures was its most important element: the mystery in the Laura Palmer (Shery Palmer (Shery. When that revelation occurred, it left that series and its creators felt full, and although many new characters and plotlines were thrown at the proverbial wall, nothing has stuck, at least not on time.
To be justice, the causes of the cancellation of “Twin Peaks” were countless and they worked in collaboration with each other. In other words, there was no single, overall reason why the show dropped his foot and couldn’t find it again before the ax came down. Still, if you had to choose a single battle that got the show’s entire building to overturn, it was the end of the series’ core mystery about who killed Laura, and this damage is said to come by the then president of ABC Entertainment: Bob Iger, who is now CEO of Disney.
The revelation of Laura’s murderer was the greatest weakness in Lynch and Frost’s cooperation
As the story goesIger and the other managers responsible for ABC, who originally broadcast “Twin Peaks” until its cancellation, put pressure on Lynch and Frost to reveal Laura’s murderer as soon as possible in the hope that it would allow them to continue to use the first season of the first season Ballyhoo-like pop culture. Iger has denied that he directly disturbed the show and claimed that the disclosure was part of a natural artistic process, which may or is not true.
In the end, it doesn’t matter. The first plan to keep the basic mystery of the show a mystery forever had begun to crack almost as soon as the series started. When the long pilot episode was produced in 1989, the series had not yet been officially picked up to air; This was a typical practice for new programs until the streaming time began. As such, the distributor made a deal that demanded that the pilot have an end in writing and shot for possible theatrical distribution if it would not go to series. Thus, Lynch and Frost had to come up with some kind of ending to the story. Fortunately, Lynch was able to do some of their biggest work when they received limitations like these: Not only did this result in the creation of the series’ infamous “Red Room” scene, but similar circumstances also resulted in him turning “Mulholland Drive” pilot to a brilliant, eternally enigmatic film about a decade later.
With a response to Laura’s murder, which was mainly part of the show just when it got started, Lynch and Frost tried to find their way back to the core concept that made Lynch excited to make a serialized TV show in the first place. As the filmmaker told Entertainment Weekly 2000“A continued story is a beautiful thing for me, and mystery is a beautiful thing for me, so if you have a continued mystery it is so beautiful. And you can go deeper and deeper into a story and discover so many things.” He and Frost incorporated the Red Room scene as a Dream Dale Cooper (Kyle Maclachlan) has in the show’s third episode, they made the killer Bob (Frank Silva) a demonanda that could have an unknown attacker, and so on. In the end, while Lynch was adamant that “we never thought that the murder of Laura Palmer would be solved,” was frost more pragmatic. In his own words:
“I know David was always fond of that view, but I felt we had an obligation to the audience to give them some resolution. There was a little excitement between him and me (…) It took us about 17 episodes to finally reveal it, and then people became a little antsy.”
Twin Peaks and its inheritance proves that it was the most important not ready for Prime Time series
Whether there was pressure from Iger and ABC, Press from Rabiat Fans (Lynch would tell a story about hearing a viewer complaining about being “tired of waiting” on answers), or some combination of the two, lynch and frost in the end chose to reveal Laura’s murderer when they did, and in my opinion they made so brilliant. Unfortunately, “Twin Peaks” had not been built to hold beyond that revelation, and the show fell apart. Given how much emotionally and intellectually stimulating materials were raised when Lynch returned to direct the season finale (as a time finale) it was possible that if the show had been granted a third season, it could have found its foot again. Unfortunately, however, ABC cannot afford that chance.
In the end, despite lynch and frost’s hope, it seems afterwards “Twin Peaks” was simply a TV show long before his time. If it could have produced only six episodes per season (as with its first season) instead of the then standard 22 (as in its second season), it would have helped, just as it would have benefited from being broadcast on a premium cable channel instead of a national network. There were other factors that contributed to the cancellation that were not discussed far here, of course: the show’s cost, dissatisfaction from the fans and temporary viewers about certain stories and behind the scenes drama in the middle of the main crew. Whether the cancellation caused it or contributed to it, the end of “Twin Peaks” ended with a bizarre backlash against Lynch’s work. The film where he tried to both continue and summarize “Twin Peaks,” 1992’s “Fire Walk With Me”, was so opened at the release that even As Quentin Tarantino mocked itAnd it wasn’t until “Mulholland Drive” that Lynch became a loved, “hip” filmmaker again by the public.
Despite the joy and innovation that was born from the first series that must find its path through the strange world of Prime -time broadcast TV, it seems afterwards that “Twin Peaks” could best flourish in an atmosphere of total creative control. That’s what “Fire Walk With Me” and 2017 Showtime Revival series “Twin Peaks: The Return” Demonstrate, as they are now rightly two of Lynch’s most famous works. And while a six (or more) seasonal run of “Twin Peaks” may or has not been good, the series’ truncated lives have only done what is so much more influential and appreciated. As Cooper once promised, the trip really led us to a place both wonderful and strange.
