Top-Rated Episodes
S2.E7
Maddy prepares to leave Twin Peaks, Leo wants shoes, Norma learns of Nadine's regression, Tojamura reveals his identity to Pete, and Cooper arrests Ben Horne for the murder of Laura Palmer only to ...
S2.E22
Lucy chooses the father for her baby. Nadine's memory returns. Donna's father attacks Ben. Can Cooper overcome his deepest fears as he enters the surreal Black Lodge to save Annie?
S2.E9
After the discovery of Maddy's corpse, Cooper attempts to finally identify Laura's real killer using his visions as clues. The Bookhouse Boys and Major Briggs help out. Lucy tries to decide who the ...
Bill Pullman thinks you should check out "Bordertown" and can't wait to see his son's performance in Bad Times at the El Royale.
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Title: Twin Peaks (1990–1991)
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Celebrate the return of the cult television series with a look at the cast 27 years ago and now. Plus, learn more about the early career of Kimmy Robertson.
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Cast
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Plot Summary
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Plot Synopsis
Storyline
The body of a young girl (Laura Palmer) is washed up on a beach near the small Washington state town of Twin Peaks. FBI Special Agent Dale Cooper is called in to investigate her strange demise only to uncover a web of mystery that ultimately leads him deep into the heart of the surrounding woodland and his very own soul. Written by Douglas Baptie
Taglines:
A town where everyone knows everyone and nothing is what it seems.Parents Guide:
View content advisory »
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See full technical specs »
Details
Country:
USARelease Date:
8 April 1990 (USA) See more »Also Known As:
Das Geheimnis von Twin Peaks See more »Company Credits
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IMDbPro »
Technical Specs
Runtime:
(29 episodes)Color:
ColorAspect Ratio:
1.33 : 1
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Did You Know?
Trivia
Richard Beymer and Russ Tamblyn both starred in the film version of West Side Story, as Tony and Riff respectively. However, they were cast as Ben Horne and Lawrence Jacoby independent of each other and the coincidence was not noted until afterwards. In fact they didn't share many scenes until Horne's civil war delusion subplot in season 2. See more »Crazy Credits
There are some episodes that don't end with the usual Homecoming Queen photo of Laura Palmer and "Laura Palmer's Theme" in the credits: Episode 2 credits feature the Little Man from Another Place seen from above and dancing. Episode 8 features Gersten Hayward (Alicia Witt) playing the piano. Episode 14 shows Agent Cooper, the red curtains and the song "The World Spins" by Julee Cruise. Episode 18 features Ben Horne's old home movies seen in this same episode. Episode 29 features the coffee cup given to Cooper in the Red Room and Laura's face on it. See more »Contribute to This Page
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Twin Peaks, much like David Lynch's own Mulholland Drive and Blue Velvet, among other great works of his, examines the main notion, idea and scope behind what it is meant to conventionally be. Twin Peaks is a murder-mystery show, yes, but this is not even scratching the surface as an identifying measure to say what the show is. Another explanation, as if it were possible, is that it is ABOUT mystery, and in the case of murder of life. That might seem a little too preachy or didactic, but as one goes deeper into the series, and deeper into the Black Lodge, and deeper into every single backwards-ass character on the show, a pattern emerges. Abstractions are Lynch's life blood, and even in the weirdest moments of the show he and Mark Frost, along with their writers and directors, make Twin Peaks a collection of abstractions, but at the same time making them as much as possibly within reach of human emotion. It's one of the rare times that the kind of artful penetration into what is essentially good, essentially evil, and even essentially gray-in-area in human beings that usually presides in cinema is let out, practically in each episode, like some kind of feverish worm that crawls in your mind and won't stop...Maybe it's the owls.
But aside from the many, many, many layers to the show, to the dynamics between FBI Agent Cooper (Kyle MacLaughlin in his most recognizable role) and those he relates to everyday as well as in his dreams and Tibetan-inspired visions (the classic being the quintessential dream with the garbled-talking little-person), the teenagers with their own plots of neuroses and dramas and higher ambitions and darker demons, as well as those you'd least expect- the quiet ones- not to mention the ones residing on top in the little crevices we dare not usually seek out in small towns (i.e. the prostitution ring fronted by Mr. Horne), it's just a damn-well entertaining program. It's a superlative crossbreeding of the kind of inimitable melodrama that has the immediate feel of a soap-opera, but far more intelligent in the scope of acting and writing, and the classic absurdities that come up in the best of Lynch's work. Meaning that it will work, more or less, for two different audiences.
Fans of Lynch's will drink it up like damn-good coffee the endless quirks that become commonplace, where characters in any other show would get little no-note roles like the secretary Lucy, or the psychologist Jacobi, or even a classic nut-bar like the Log-Lady, who has the claim that the log is really her dead husband. This, plus enough dream sequences, elaborate lighting and set-design schemes, and the outrageous characterizations make it vintage Lynch/Frost work. For the other crowd, those who don't usually watch Lynch's movies and are more of just the regular TV potatoes, the series has an appeal for its more genuine side, the one that stays true to the ideas and dramatic tensions behind the characters. Even when it gets too weird, and especially in season 2 the feeling starts to get stronger and more nagging, one can't really totally pull away from it, like as if some old man with an old storybook was reading out something almost certifiable, but intriguing all the same. Laura Palmer's death brings out what her life was all about, and really what anyone connected to her is all about; there's an appeal to find out what's behind the lives of others, especially when it balances out between light and dark tendencies.
On top of this, the acting is par for the course top-notch. MacLaughlin, it seems could play this guy in his sleep after a while, and it doesn't take too long in the first season to get past his own odd-sense of awareness (and his regular reliance on dreams and visions) to get closer to solving the dreaded case of Laura Palmer. It's hard for me to think of any one performance that would be a bad one to knock-off, as even the more ludicrous ones- based on their characters- are played as believable as possible. Memorable guest appearances, however, are attributed to the likes of Michael Parks (known from the Tarantino/Rodriguez movies), David Duchovny (an excellent, far cry from Mulder) Frank Silva (as the one who, well, I won't say too much about him), and Lynch himself as the FBI regional chief who's a little hard of hearing. So much can be seen as the blackest of comedy, by turns very sudden and otherworldly and just plain strange (a signing and dancing Mr. Palmer and rows and rows of donuts just bits of what's in store), and it is often very funny. But there's also much in the way of what makes for the best TV: you want to keep watching each week, or now as is the case back to back on DVD, to see how this will turn out, however f***ed up it might get. Simply, it has something, if only in parts, for everybody/
So get yourself some pie and coffee, make sure to speak backwards and forwards again, and don't underestimate the power of a giant with some clues on hand. Twin Peaks is a world of secrets unveiled, and secrets that maybe shouldn't be unveiled yet sought after, and there's enough to keep fans talking for years to come as one of the great 'cult' show in modern TV.