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After a Part 17 that served mostly to resolve the long-simmering storylines of the town of Twin Peaks, Part 18 is an eerie trip through a mirror universe where the mythology of the series is almost irrelevant. That only scratches the surface of trying to explain what the hell happened in the finale, of course. Underneath the artifice - the suggestions made by this soap operatic melodrama - is that endless, echoing scream. The final hour of “Twin Peaks: The Return felt like it was the final stroke cutting through a shroud of illusion about America that the show has explored since the first episode. It’s like a reverse camp, and it’s especially apparent for any emphasis on Lee, who so thoroughly embodies his “Twin Peaks” aesthetic. Lynch’s art, at least part of it, injects meaning behind moments that would otherwise be stunning for their artifice.
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The gas station in the final episode is shrouded with darkness that looks ready to close in at a moment’s notice. Emptiness is a part of this country’s cultural heritage driving through America, in “Twin Peaks,” feels as isolated and hair-raising as it might on a long stretch of two-lane highway through remote Texas. One of the reasons “Twin Peaks” is so persistently seductive is because it finds a way to inhabit American emptiness in a way few others can approach. It’s one of the most beautiful and the most ultimately tragic elements of “Twin Peaks” - the show that gives such remarkable voice to its victim is also constantly reminding the audience of the unnameable horror of her final days. Unlike most dead girls who become inciting incidents, Laura is the reanimated center of her own murder: Even though she is dead, she is also brought to life again and again by the camera, either as a spiritual being, in a flashback, or as a different person entirely.
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The two-part finale of “ Twin Peaks: The Return” recentered the “Twin Peaks” story on its long-dead victim, Laura Palmer.