David Lynch’s last masterpiece, Twin Peaks: The Return, is a television masterpiece

Supervisor by David Lynch Last week’s death immediately caused a wave of condolences and commemoration of his best works on social media. It has been moving to watch.

Lynch’s special visions in films, television, visual arts and music have made an indelible impression on millions of people.

Lynch, who died at the age of 78, remained the last long directorial work Twin Peaks: The Return (2017), an 18-episode sequel to the original to Twin Peaks (1990–1991) and Come walk with me (1992) movie.

Fans had been waiting for a return to the coffee-scented town of Twin Peaks for 25 years. The second creator of the series Mark Frost and Lynch could have collected easy points by skating home with nostalgia.

It’s the style of the time.

When The Returnin the first two episodes were shown at the Cannes Film Festival, it became clear that the new Twin Peaks is something completely different, strange and unpredictable, and there was no going back to the warmth of memories.

For some fans of the original series, the change was too much. Me Twin Peaks: The Return however, is not only the culmination of David Lynch’s career, but also one of the most important art experiences of my life.

For twentysomethings leffahullulle The Return was like a weekly film school. I admired its peculiar digital aesthetics and analyzed the use of pictorial space in the scenes.

At the same time, of course, I voraciously followed online discussions related to the series.

Every The Returnin the almost perversely slow-moving episode offered surreal horror and completely inexplicable emotional reactions, appeals to nostalgia and turning expectations upside down, small insights and ever-deepening confusion – and ingredients for countless different interpretations.

New Twin Peaks the more experimental form didn’t come as a complete shock to me, as I had already scratched my head on Lynch’s more difficult works, such as Inland Empires (2006) and Lost Highwayn (1997), on the verge.

Lynch started with painting and experimental film, so at times very abstract Twin Peaks: The Return is at the same time a return to the roots and a natural continuation in the artistic development of Lynch, who cared less and less about traditional narration as he got older.

It’s hard to believe that anything like it is seen on TV anymore. Or that it exists at all, in its 18-hour pure Lynchian form.

I moved to study literature in Tampere in the same summer as The Return played on TV. The information about the study place came a moment after I had watched the famous eighth episode with the core exams.

At the freshmen’s first meeting, I overheard something new being talked about From Twin Peaks and I jumped in. The Returnista by foaming at the mouth (or in spite of it) I was able to form friendships that still exist today. I am grateful to David Lynch for that alone.

For the last episode, I bought a box of donuts and coffee – damn good! – to enjoy with. I clearly hadn’t learned anything from the previous 17th episode: the crushing, cosmically dark ending managed to pull the rug out from under me one last time and left a lump in my throat.

“You’ve gotten soft with age,” says FBI agent Albert (Miguel Ferrer) to his boss Gordon Cole (David Lynch) in one The Returnin in the episode.

”Not where it counts, buddy”, Gordon replies.

That’s what David Lynch really showed with his last masterpiece.