Twin Peaks was truly a profound phenomenon, both in its original run and long-awaited revival. The first two seasons were very impactful on television storytelling, structurally speaking alone. But David Lynch’s work has certain characteristics that are unlike anything else on any screen. His surrealism and quirks provide a visual language that is rewarding and provocative.
These indulgences took the foreground for the revival, as opposed to the 90s run. Only the oddest of those episodes were left to Lynch’s directing, resulting in a more cohesive story overall. The revival episodes focused on abstract, artistic expression. But Season Two was still the most divisive, including the best and worst episodes alike. Here is IMDb’s ranking of those striking stories, spoilers included!
Best: “Arbitrary Law”
This episode is famous for Leland’s remarkable confession scene. Ray Wise delivers a true powerhouse performance, on both accounts. Firstly, he was an incredible BOB. He is exactly as disturbing and intimidating as Frank Silva. That’s no easy feat. But secondly, and more importantly, Wise is terrific as Palmer—finally revealing his tragic history with BOB.
It’s extremely upsetting to learn that he had such an invasive experience. It also absolves him of the horrors he committed against Laura. He clearly has a genuine love for his daughter, and he claims to see her while passing away. This immense progress far outshines the melodrama of the show, which is probably why this episode earned a high ranking.
Worst: “Let’s Rock”
It’s no coincidence that Diane walks through a red curtain to discuss the Blue Rose task force. This episode may be the lowest-rated chapter of the revival, but it still has some incredible moments. One such example is Grace Zabriskie’s superb acting ability. Sarah Palmer’s episode in the market is truly disturbing.
Now, the entirety of Twin Peaks: The Return was extraordinarily slow. So, stories like this particular episode don’t necessarily stand out, for progressing very little. However, this was nearing the end of the new season, and patience was really starting to wear thin. It was frustrating to have so many new questions, with far less time to actually answer or contemplate them.
Best: “The Past Dictates the Future”
This frenetic half of the two-part series finale could have been a satisfying end all by itself. The “Judy” entity is finally explained, right at the beginning of the episode. Naido turns into Diane. BOB turns into an angry floating orb to fight the kid with the superhuman glove.
It’s a chaotic, bizarre, and mind-blowing piece of television, no matter your final opinion. The subsequent episode, somewhat divisive, felt more like an epilogue. Instead, this selection is full of brisk pacing, and terrific fan service like Lucy’s rescue.
Worst: “Wounds and Scars”
Josie had just disappeared into a doorknob, so Harry was understandably upset about it. He ends up pretty drunk in this one. But there’s a lot more to like about this episode. It isn’t all that difficult to find highlights in the lesser episodes of this series.
Windom Earle catches on to Cooper’s plan and visits Donna. His plot is finally gaining the kind of traction it needed. Then, the Log Lady also reveals some interesting tidbits about having disappeared when she was seven. Not only is she a terrific character, but the underlying supernatural mystery in Twin Peaks was really distinguishable on television. The melodrama was always simply an agent of the surrealist horror that Lynch craved.
Best: “Beyond Life And Death”
Lynch once again helms the director’s chair for the Season Two finale. It was the last time we’d get to visit Twin Peaks on our televisions for twenty-five years. That’s just the kind of meta stunt Lynch and his fans would desire. After the cancellation of Twin Peaks, this was the series finale as audiences knew it. So, there are plenty of resolutions going around.
Bobby proposes, Nadine gets her memory back, and Audrey’s fate was unknown. But there’s far more Black Lodge than usual in this one, really allowing Lynch to let loose. It’s all very confusing, but the end result is that Cooper himself ends up possessed by BOB. This cliffhanger ending was infuriating and rewarding all at once. But this show innately must have an open-ended conclusion. That is the nature of the show and Lynch.
Worst: “The Black Widow”
It’s abundantly clear at this point in the show that the last-minute Windom Earle plot simply wasn’t enough. The series lost all of its steam after the conclusion of Laura’s murder plot. That’s why Lynch so vehemently wanted to avoid it. But now, we have an episode where storytelling has slowed to a crawl.
Much of the story seems to be more of an aside. Nadine engaging in high school wrestling is intolerable. Benjamin Horne is losing it, and that’s always boring. Then there’s the offense of Lana Milford—a random character with extreme libido.
Best: “Lonely Souls”
It’s truly intriguing how much Twin Peaks fans love their answers as much as their mysteries, and this episode is filled to the brim with both. Lynch was eventually pressured into revealing the identity of Laura’s killer, the crux of the entire series. Many considered that to be a mistake, but it’s also one of the most incredible moments in television history.
The ensuing murder of Maddy is surprisingly long and vicious, reminiscent of Hitchcock. The other content in the episode is also extraordinary. There are numerous, cryptic clues throughout the entire story as BOB is pursued. Cooper’s visions also add to the visual flair of the episode. It’s one of the few that was directed by Lynch himself, whose cinematic approach and undeniable talent are overwhelming.
Worst: “Masked Ball”
Alright, so this episode probably ended up in the bottom five because of the James subplot. That isn’t too surprising, given the soapy elements associated with that character. But this time, he literally leaves Twin Peaks, the place we’re interested in.
He ends up in some senseless story at a roadhouse, being manipulated by a housewife. However, it was pretty progressive to incorporate Duchovny’s Denise character in this episode. We also get a touching reflection from Josie about her backstory, thankfully making her more sympathetic. There’s just enough casework to get this episode along, despite its faults.
Best: “No Knock, No Doorbell”
“People are under a lot of stress.” Rodney Mitchum truly put it best in this crucial episode of Twin Peaks: The Return. Audiences may have been rather biased in rating this episode the highest in the series, given that Cooper finally wakes. The entire season was hinged on Cooper failing to remember who he was, after all. The second he actually comes to, the story is kicked into high gear. The show would’ve been over far more quickly without the long wait.
Ironically, in a revival that so intentionally tested fans’ patience, our highest-rated episode involves abrupt progression. Diane’s purpose is also finally realized after receiving a text from the evil Cooper. She’s revealed to be a tulpa. Audrey is…somewhere. This episode has incredible humor, a uniquely brisk pace, and bizarre special effects. It also has as many answers as questions. It’s the perfect Twin Peaks experience.
Worst: “Slaves and Masters”
This is the lowest-rated Twin Peaks episode, but even at its worst, Twin Peaks has always had more artistry and substance than most television. That’s because it’s unconventional, and it’s easy to become invested early on in the many mysteries and idiosyncratic characters.
This show has always leaned on style more than substance, but the entire subplot about Benjamin Horne abruptly believing he is General Lee? That was just needless and tiresome. We also get more of the confused, somehow super-strong Nadine. That was equally tangential to, well, everything. The best thing about the episode is Leo getting his comeuppance, but even that overstays its welcome.
