Lynchian Surrealism and The Birth of a Genre: The Legacy of “Twin Peaks”

“Twin Peaks” is not just a series; it is a concept, an experience, and a dream.

[David Lynch’s] willingness to enter the humble world of TV after several big screen successes conveyed that television could be just as prestigious and artistic as cinema.

Art: http://www.jeremyriad.com/wp-content/uploads/2013/08/tim-peaks-david-lynch.jpeg (the mug says “Tim Peaks” for some reason, which should be corrected to “Twin Peaks”)

At a time when television was considered a lesser form of cinematic expression, David Lynch’s murder mystery, “Twin Peaks,” completely revolutionized the concept of a daytime American TV show. Lynch established that the small screen was an equivalent art medium to the big screen, an absurd notion at the time due to the perception of television shows as senseless distractions for bored housewives.

Though the series only aired for two seasons after its debut in 1990, it quickly gained a massive cult following, partially because it left so many questions unanswered that viewers began theorizing about hidden messages and motives. However, as any Lynch fan knows, trying to explain the workings of his unique imagination is futile. It is better to simply enjoy its eccentricity and become immersed in Lynch’s surreal, phantasmagoric style.

The show returned for a long-overdue final season 25 years later this May and was just as impactful the second time around. Despite the changes made from the old “Twin Peaks” to the recent installment, the show has remained true to its origins in terms of its legacy and what it represents.

Inspired by the film noir of the mid-20th century, Lynch established himself as a pioneer in the world of filmmaking with cult-classic movies such as “Eraserhead” (1977), “The Elephant Man” (1980), and “Blue Velvet” (1986). He gained a reputation for directing chilling, unconventional, and offbeat movies characterized by dreamlike visuals and sporadic use of eerie sound effects. In “Eraserhead,” Lynch depicts a deformed, alien-like infant who makes a distorted mewling noise that sounds terribly similar to a crying baby, yet contains a level of artificiality. There is never a silent moment in his films; a humming or buzzing background noise produces the perpetual feeling of discomfort that is vital to the Lynchian ambience.

Lynch’s decision to turn to television and create “Twin Peaks” with Mark Frost set a precedent for other legendary filmmakers, like Martin Scorsese, to do the same. His willingness to enter the humble world of TV after several big screen successes conveyed that television could be just as prestigious and artistic as cinema.

At first glance, “Twin Peaks” is a typical small-town murder mystery in which a beautiful teenage girl dies, and the police begin an investigation to discover the identity of her killer. However, Twin Peaks is no ordinary town. A dark shadow looms over it, and it’s not just from the prostitution rings and drug cartels.

An evil entity known as Bob has escaped from a part of the spirit world called the Black Lodge to wreak havoc on its residents, who are no strangers to supernatural forces themselves: one character’s soul becomes trapped in a doorknob, and another’s wooden log gives her accurate premonitions of the future. Bob is a physical manifestation of humanity’s darkest dreams and desires, a theme that is prevalent throughout Lynch’s work.

The characters in the show act in chilling mannerisms that imply a sense of otherworldliness. Even Agent Dale Cooper, protagonist and fan-favorite FBI agent, is a robotic and emotionally void character who is so socially inept that he talks to an invisible “Diane” through a recording device.

Once, when Cooper is shot and wounded in his hotel room, room service comes in with a glass of milk and oddly neglects the obvious fact that he is bleeding out and dying. This classic Lynchian scene is drawn out in virtual silence between the two characters as the bellhop proceeds to give him his bill and a thumbs-up. Cooper doesn’t seem bothered by his peculiar behavior, nor is he particularly concerned for his own safety.

From its freakish characters to Cooper’s iconic line “Damn good coffee,” the series has attained a classic status in the entertainment industry, which has made its 2017 return all the more anticipated.

During the show’s 25-year hiatus, the world changed in a myriad of ways, with the most profound change being technology. Lynch’s style also evolved with time, slowly incorporating the theme of the digital age into his work. There are moments in each episode of the return in which the camera whirs and shakes for a split second. The special effects and CGI in the show are substandard as well. This is a deliberate effort by Lynch to amplify the artificiality and otherworldliness of the world of “Twin Peaks.”

We are used to seeing science fiction and fantasy TV shows with realistic CGI, and by rejecting this norm, Lynch draws attention to the surrealism of his creation. He was able to keep the original ideas behind “Twin Peaks” intact, but he also accounted for the modernization that occurred in television technology. Lynch’s ability to capture both sides of the spectrum is a testament to his directorial expertise.

The essence of “Twin Peaks” is not in the individual characters and plot of the show, as is the case for most shows, but in its abstract peculiarity and uniqueness that have been preserved for a quarter-century. Without David Lynch’s masterpiece, shows like “American Horror Story” (2011-present), “Bates Motel” (2013-2017), and “The X-Files” (1993-present) would never have been created.

His creative genius was ahead of its time and paved the way for the onset of the golden age of American television. “Twin Peaks” is not just a series; it is a concept, an experience, and a dream. Though the show itself seems to be at a definitive end, its legacy will live on for a very long time.