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Lynch would further nurture this as a cinematic device in his later Lost Highway and Mulholland Drive, where the primary driver isn’t that you simply don’t understand what’s going on until you think about long after the movie has ended, but all you know with certainty is that something is very, very wrong. For as much information as we think we are gaining, the underlying interpretation remains opaque. We understand the reference in ways we didn’t before, but are ultimately none the wiser.

But the effect is only one of referential recognition. In particular, 2014’s The Missing Pieces helps us connect some of the decontextualized elements and dialogue of Fire Walk With Me with conscious references the characters make in later episodes. And while the impact of the criticism is rarely the intention of the critic, Lynch himself, especially in 1992’s prequel Fire Walk With Me and 2017’s Twin Peaks: The Return seems to effortlessly, but industriously, float above it all. The attempts to connect the numerous disparate threads of story and character with broader themes of anything from societal collapse, the interpretation of dreams, alternate realities and autobiography itself have far eclipsed the original two seasons. Attempting to adequately interpret David Lynch’s Twin Peaks is a fool’s errand, but since its release in 1990 it hasn’t stopped thousands of well-intentioned sleuths from trying.
