Twin Peaks: The 'damn good' revival TV needs

Duarte Garrido, Entertainment Reporter

The cast is older, David Lynch is less edgy and Laura Palmer is still dead, but we need Twin Peaks now more than ever.

On Thursday, Showtime revealed the first images of what is probably the most anticipated and arguably the least called-for TV revival of all time.

The photos don't exactly tell us what to expect from a surreal show which came to a conclusive, if slightly forced, ending.

Instead, they remind us that some characters are missing, others are older and we all know who killed Laura Palmer.

Nostalgia is exciting, we get it. But, 25 years on, do we really need more Twin Peaks?

To understand that, we need to go back in time.

The year was 1991, and creators David Lynch and Mark Frost were being strong-armed into giving the audience a conclusion to a murder which was never supposed to be solved.

When the two men erected the mysterious town of Twin Peaks, the idea was to explore its characters in the light of the untimely death of Laura Palmer.

The show was never about the murder, but about relationships, religion and the simple pleasures of suburban life - in Agent Dale Cooper's own words: "A good slice of pie and a damn fine cup of coffee".

Lynch and Frost wanted to change how audiences perceived television and, instead, they changed it forever.

It was the start of what critics would later call the Golden Era of Television: the birthplace of The Sopranos, the X-Files, The Wire, Buffy the Vampire Slayer and, more recently shows like Breaking Bad, Mad Men and Boardwalk Empire.

We were being told that the hero could be unconventional, odd and complex and that lengthy dream sequences were either the key to solving murders, the first step to understand depression or just really cool to watch.

A simple Google search will tell you the Golden Era started in the late 90s and is still going - but it's not.

While there have never been so many series, big talent and deep pockets, there has never been a duller time on TV since it aired the first episode of the Brady Bunch.

Some would argue that shows like FX's Legion and Netflix's Riverdale would be enough to satisfy our need for weird, auterish TV with a slash of murder.

But Legion is a comic book show for people who never read comic books, and Riverdale owes more to Gossip Girl than will ever do to Lynch.

We need Twin Peaks not because we need more insight into Laura Palmer's death or to know what happened to Agent Cooper after he was possessed by Killer Bob.

We need Twin Peaks to save us from the dull, unoriginal, audience-pleasing rubbish that is serialised drama.

While network bosses worry about the rise of streaming and their fast approaching doom, they forget the reason why Twin Peaks was, against all odds, so successful in the first place.

It wasn't the murder-mystery, it wasn't the special effects or the slick fight scenes.

It was Angelo Badalamenti's haunting score, Lynch's unique vision and that picture of Laura Palmer who, even after dead, still lingers on everyone's mind, like a weird dream trying to tell us something.

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