TV Club: As Dale Cooper wakes up, Twin Peaks dares us to make sense of it—or not

At times, it can feel like the Twin Peaks revival is daring viewers to make sense of its intricate obscurities and its patient, meandering pace. Like the numbed, muted version of Dale Cooper presenting his work to Dougie’s boss, the show is presenting not a tidy catalogue of evidence, but an impressionistic array of telltale signs. “What the hell are all these childish scribbles?” asks Bushnell “Battling Bud” Mullins (Don Murray, who played Bo in Bus Stop opposite Marilyn Monroe), flipping through his pencilled-over case files. “How am I going to make any sense of this?”

“Make sense of it.” (Kyle MacLachlan) (Screenshot: Twin Peaks)

In his now-familiar choked stammer, Cooper echoes back the last few words. “Make sense of it.”

Because David Lynch’s work, and especially Twin Peaks, employs the cues of noir—the square-jawed detective with a darker side, the femme fatale, the heavily shaded scenes …

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