Twin Peaks

Twin Peaks is an American television series that first aired on the ABC network in the United States on 8 April 1990. Despite its critical acclaim the show was cancelled at the end of its second season in 1991 and remained off-air until its third series, titled Twin Peaks: The Return, was aired on the premium television network Showtime in 2017. The show was created by renowned filmmakers David Lynch and Mark Frost, whose television successes included police drama Hill Street Blues, and it was widely promoted as the series that would “change television.” The program, set in the fictional northwestern US town of Twin Peaks, was focused on the central mystery surrounding the murder of local schoolgirl Laura Palmer (Sheryl Lee) and the efforts of FBI agent Dale Cooper (Kyle MacLachlan) in solving the case. The show featured a cast of inhabitants of the town and was renowned for quirky characters, dream sequences, and surrealism, which were seen as hallmarks of David Lynch’s cinematic work. The question of “who killed Laura Palmer?” constituted the key narrative enigma for the first season of the show. When this mystery was resolved at the midpoint of the second series, audience interest waned, and the show’s declining viewing figures led to its cancellation. The program’s original run ended on a cliffhanger where lead character Dale Cooper became possessed by the evil spirit BOB (who was responsible for Palmer’s death while possessing her father Leyland Palmer [Ray Wise]). In 1992, David Lynch directed the prequel film Twin Peaks: Fire Walk with Me, which involved a return to Twin Peaks to depict the events leading up to Laura Palmer’s murder. The film was initially viewed as a disappointment, especially for those who wanted resolution to the show’s cliffhanger ending. Fire Walk with Me has since been reappraised and is now widely viewed as a groundbreaking piece of filmmaking. In 2016, David Lynch and Mark Frost began teasing a Twin Peaks–related announcement on their social media, with The Return of the series on Showtime announced soon after. While some setbacks were encountered when Lynch temporarily departed due to conflicts over budget and artistic vision, Twin Peaks: The Return aired in 2017 and was widely hailed as a return to form for the series. Throughout its history, Twin Peaks has attracted a loyal fanbase and critical attention on issues, including authorship, aesthetics, narrative, and genre.

Experimentações narrativas em Twin Peaks: The Return: narração paramétrica na ficção televisiva contemporânea

O objetivo deste artigo é identificar a existência de narração paramétrica (conceito originalmente aplicado por David Bordwell a certas obras fílmicas) na ficção televisiva contemporânea, bem como apontar uma hipótese sobre o propósito do uso desse modo narrativo. Para tanto, elegemos como corpus a série "Twin Peaks: the return" (2017), dirigida por David Lynch e escrita por ele e por Mark Frost. Acreditamos ser possível identificar que existe pelo menos um evento narrativo na série que pode ser considerado paramétrico, que denominamos “Dale Cooper letárgico”. Através da análise desse evento narrativo, pretendemos demonstrar, que, usando uma narrativa paramétrica, Lynch e Frost subvertem grande parte das convenções que a própria série original engendrou em 1990, trazendo, assim, novas experimentações à ficção televisiva.

The Return of Twin Peaks: Squaring the Circle

Franck Boulègue's latest book about David Lynch and Mark Frost's famous television series focuses on the eighteen new episodes directed by Lynch for season 3, screened in 2017. Analyses the season with special importance given to readings from an intertextual, ontological and spiritual perspectives.

Avant-garde encounters with the Anthropocene

David Lynch’s Twin Peaks: The Return (2017) departs from the series’s origins as a detective thriller/primetime soap pastiche to reveal the sf creature feature lurking in its DNA. In The Return’s most celebrated hour, Lynch ventures deeper into experimental filmmaking by soaring into a recreation of the first atomic test at Alamogordo, now commonly cited as the Anthropocene’s origin date. Following the blast, Lynch introduces a creature feature backstory for the entire series via three indelible creatures: the blackened human-hybrid Woodsmen; the winged frogs that enter the mouths of their sleeping prey; and BOB, the series’s original villain. My essay examines how Twin Peaks has transitioned from being, in part, a show about a forest that needs protecting to an art film about a universe reeling in the aftermath of human-made ecological imbalance - a permanent rift that even the most determined authority figures (local law enforcement, the military, the FBI and other government agencies) can’t hope to remedy or comprehend. I also analyse how Lynch’s disruptive avant-garde filmmaking in The Return resists didacticism in favour of providing visceral and ambiguous ways to engage environmental crises.

Twin Peaks 2.0: Avoiding Influence Over an Australian Financial Regulator Assessment Authority

Globally, financial system regulators are susceptible to deliberate and inadvertent influence by the industry that they oversee and, hence, are also susceptible to acting to benefit the industry rather than the public interest – a phenomenon known as ‘regulatory capture’. Australia, arguably, has an optimal model of financial system regulation (a ‘Twin Peaks’ model) comprising separate regulators for prudential soundness on the one hand, and market conduct and consumer protection on the other. However, the current design of the Twin Peaks model has not been sufficient to prevent and address prolonged and systemic misconduct that culminated in a public Royal Commission of Inquiry into misconduct in the industry. Subsequent to the Royal Commission and other inquiries, the Department of Treasury has proposed legislation to establish an Assessment Authority to assess the effectiveness of the Twin Peaks regulators. The proposal includes enquiries by an Assessment Authority into the regulators’ independence, so as to identify instances of, and thereby mitigate, their capture. As with all financial system regulators, the Assessment Authority itself may be susceptible to regulatory capture, either by the Twin Peaks regulators, or by the financial industry. Thus, this paper poses the question: how can the new Assessment Authority be optimally constituted by legislation, and operated, to effectively oversee the effectiveness of the regulators, but itself remain insulated from the influence of the regulators and industry? We analyse the primary sources of influence over financial system regulators that the Assessment Authority will likely face and recommend ways in which a robust design of the Assessment Authority can mitigate those sources of influence. In doing so, we adopt an inter-disciplinary approach, drawing upon not only regulatory theory but also for the first time in relation to this question, organisational psychology. Our findings address gaps in the proposed legislation currently before Federal Parliament and propose methods by which those gaps may be filled, in order to ensure that this important reform to Australia’s financial regulatory regime has the greatest chance of success.