'TWIN PEAKS: THE RETURN' CAME, SAW AND DISTURBED - THEN OMINOUSLY RECEDED INTO THE SHADOWS

David Lynch's return to television after 30 years, was heralded by some as a return to the small town meanderings of the Twin Peaks we knew and loved, circa 1990/91.  Instead, rather than falling prey to fan service and rehashing old characters, Lynch's new 18 part series kicked its way out of the gate with a massive narrative that spread across several cities, utilised heavy Lynchian imagery (people proceeding from/receding into shadow, dark & ominous soundscapes, brutal explicit violence and sexuality, oddly mistimed editing....) to reach for seriously ambitious heights - and on many fronts, it failed.

On many other fronts, it stupendously succeeded - particulalry in searing some deeply affecting and disturbing imagery onto audiences brains. Episode 8 'Got a light' featured some of the most stunningly realised  - and bizarrely terrifying - sequences of Lynch's career.

The 3rd season culminated with Episode 18, where a season-long narrative fraught with doppelgangers and dark/light plot mechanics, ended with what can only be described as time shifting realities. By the end, we're left frustrated and confused, something no doubt intended by Lynch - who's entire modus operandi in this series has been to emphasise delayed gratification over fan service, leaving us slack-jawed, in awe of Lynch's unmatched talent to paint with imagery, tone and mood.