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<\/p>\nFrom the day it premiered, Twin Peaks had a problem. Audiences wanted to know who killed Laura Palmer; David Lynch and Mark Frost weren\u2019t interested in telling them who killed Laura Palmer. When they agreed to reveal the killer, the network was apparently vindicated. Some 17 million viewers tuned in \u2014 the highest ratings the show had achieved since the season-two premiere.<\/p>\n
But now that the murder mystery had been resolved, the show had a new, even more vexing problem: If it wasn\u2019t about solving the murder of Laura Palmer, what was Twin Peaks about? Even Bob Iger concedes he may have been too hasty. \u201cLooking back on it now, I\u2019m not convinced I was right,\u201d he said. \u201cDeep down, I felt David was frustrating the audience, but it may well be that my demands for an answer to the question of who killed Laura Palmer threw the show into another kind of narrative disarray.\u201d Mark Frost agrees. \u201cWe paid a big price for it. You know, that was something that contributed as much as anything to the momentum falling apart.\u201d David Lynch was even blunter. \u201cThat killed Twin Peaks,\u201d he said. \u201cTotally dead. Over. Finished.\u201d<\/p>\n
The problem, of course, was that Twin Peaks wasn\u2019t \ufb01nished. It was in the middle of its second season, and the story would continue, one way or another, for at least 13 more episodes. \u201cEspecially network television\u2014 when you\u2019re dealing with 22 episodes, and the production monster\u2019s chasing you, you don\u2019t really have any other choice,\u201d says Mark Frost. \u201cI don\u2019t think it had been fully \ufb01gured out,\u201d says Scott Frost. \u201cProduction is like jumping out of a plane. And you have a parachute, but it\u2019s actually not attached to you yet.\u201d<\/p>\n
The resolution of Laura Palmer\u2019s murder isn\u2019t so much a period at the end of a sentence as it is an ellipsis: Leland may be dead, but BOB is still out there, hunting for another host. Or, to put it another way: With the central mystery resolved, the show\u2019s writers had unprecedented freedom to rede\ufb01ne what Twin Peaks could be. \u201cI don\u2019t know if there was a master plan there at all. We got so good at resolving things we thought up that we were kind of fearless about what we put in,\u201d says writer Robert Engels. \u201cThat was one of the things that was fun about the show \u2014 that we had the sense that we could pretty much do or try anything,\u201d says writer Harley Peyton. \u201cThere were times when that took us down weird avenues, but there were times when it took us in absolutely the right direction. I think we took some wrong turns along the way, but that, to me, is part of the process, and part of making something under sort of insane circumstances.\u201d<\/p>\n
There\u2019s a palpable sense of desperation as Twin Peaks \u2014 just one episode removed from Leland\u2019s death \u2014 manufactures another, \ufb02imsier reason for Cooper to stick around town. Targeted (correctly) by the FBI\u2019s internal affairs division for his extralegal undercover mission at One Eyed Jack\u2019s and (incorrectly) for stealing a large amount of cocaine, Cooper is suspended from the FBI and forced to hand over his badge and gun. Twin Peaks had already flirted with turning Cooper, a consummate outsider, into a Twin Peaks insider. (At the very least, it was hard to imagine him saying good-bye, forever, to the Double R\u2019s coffee and cherry pie.) But Cooper\u2019s dismissal from the FBI, even temporarily, altered the show\u2019s fundamental building blocks in a way that proved challenging to reverse. So much care had been put into crafting the show\u2019s look and feel: What happened when you upended it? \u201cWe were doomed the day that Agent Cooper turned in his black suit for lumberjack flannel,\u201d says editor-director Duwayne Dunham.<\/p>\n
Twin Peaks had always managed to juggle its darkest moments with its silliest, but the show\u2019s unique tone was becoming harder and harder to balance. \u201cIf we made mistakes along the way, one of them was maybe falling in love with comedy a little too much,\u201d says Peyton. \u201cThis is the thing you always have to be careful of as a writer: Are you entertaining yourself, or are you entertaining the audience? We were certainly entertaining ourselves, and the hope was that we would entertain the audience as well.\u201d<\/p>\n
No sustained analysis of season two would be complete without a brief survey of some of the show\u2019s wackier story lines. Nadine Hurley waking from a coma with the strength of a superhero and the mind of a teenager? \u201cI was a big comic book fan, so I brought in Nadine\u2019s superpowers, which I thought was hilarious. That\u2019s on me,\u201d says Peyton. The emergence of Lana Milford (Robyn Lively), a black widow who seduces both of the elderly Milford brothers while turning every other man in Twin Peaks \u2014 even, uncharacteristically, Cooper \u2014 into a drooling idiot? \u201cThat was meant to have a supernatural aspect, but that supernatural aspect never actually comes in, so it\u2019s just unresolved,\u201d says Peyton. Ben Horne, trying to reverse the Civil War while delusionally believing himself to be Robert E. Lee? \u201cThat idea came about at the same time Ken Burns\u2019s [The] Civil War miniseries happened. Had that miniseries not come out, I doubt that story ever would have gone into the series,\u201d says writer Scott Frost.<\/p>\n
And then there\u2019s what Peyton acknowledges as \u201cthe most grievous thing I ever did in the Twin Peaks universe\u201d: James Hurley\u2019s brief, stand-alone detour into a film noir after he crosses paths with a femme fatale named Evelyn Marsh. \u201cJames is just such a wonderful actor, and he had this wonderful vibe that sort of made him a perfect \ufb01t for that kind of story, which is why we wanted to do it in the \ufb01rst place,\u201d says Peyton.<\/p>\n
At this point in the story, James\u2019s love life has gone full Peyton Place. \u201cThe only thing I really, really wish they would have done is kept James with Donna,\u201d says actor James Marshall. \u201cWhen Laura died, the reality of their attraction came around. And when they got together, they should\u2019ve stayed together. They could help each other through their grief, and you actually see two people heal while everything else is going crazy. Instead: Evelyn Marsh.\u201d<\/p>\n
<\/p>\n
\n \u201cThe most grievous thing I ever did in the Twin Peaks universe.\u201d
\n Photo: ABC\n <\/p>\n
In a rare subplot that takes place entirely outside Twin Peaks, James \u2014 on a sullen solo motorcycle trip after Maddy is murdered \u2014 suddenly wanders into a James M. Cain novel. Twin Peaks had nodded at classic noir tropes before; Neff, the insurance agent who alerted Catherine Martell to a shady policy in the show\u2019s first season, was named in tribute to the protagonist of Cain\u2019s 1943 crime classic Double Indemnity. This particular subplot owes Cain an obvious debt and stretches across five episodes, as the married Marsh picks up James at a bar, hires him as a mechanic, sleeps with him, and frames him for killing her husband before having a change of heart and letting him go.<\/p>\n
It is as paint-by-numbers as a noir story can get, and those responsible for translating it to the small screen were just as dubious of the story line as the audience. \u201cYou hadn\u2019t seen a character like Evelyn in Twin Peaks. She felt like she came from, I don\u2019t know, Dynasty or something,\u201d says Dunham, who directed one of the episodes in which the Evelyn Marsh subplot unfolds. \u201cI regret that I didn\u2019t do a better job with it. But it just didn\u2019t fit. It was completely wrong, and it was wrong for James. James \u2014 that character \u2014 would not be attracted to that. James was one of the Bookhouse Boys.\u201d Marshall agrees. \u201cI think there were a lot of actors on the show who were reputable, seasoned actors \u2014 who\u2019ve been around a long time \u2014 doing exactly what I was scared to do: going to production and fighting for their parts,\u201d he says.<\/p>\n
\u201cSo much happened on the show where I didn\u2019t know if my character was coming or going,\u201d said Lara Flynn Boyle. \u201cI called [David Lynch] every day, like, \u2018Oh my God, they\u2019re ruining the show.\u2019 He got sick of hearing from me,\u201d says Sherilyn Fenn. \u201cThis costumer, in the second season, said, \u2018Oh, I\u2019ve got 20 hula skirts.\u2019 And I was like \u2026 \u2018Do you think Twin Peaks is just this random, let\u2019s-be-weird-to-be-weird? Because it isn\u2019t. It never was.\u2019\u201d<\/p>\n
\u201cIt just was getting weird for weird\u2019s sake,\u201d agrees Dunham. \u201cMy thing is: That\u2019s not an accurate understanding of David\u2019s work. It\u2019s not just weird for weird\u2019s sake. There\u2019s a\u00a0purpose and a reason. That\u2019s why, in David\u2019s hands, he can make that stuff work.\u201d<\/p>\n
The problem reached its nadir in \u201cEpisode 21,\u201d the first (and only) episode directed by Uli Edel. As the director of the acclaimed, noirish drama Last Exit to Brooklyn, Edel had earned a reputation as a talent to watch. But his abrasive style clashed with the cast, who were justi\ufb01ably confident, by then, that they knew what they were doing. During the filming of one scene, \u201cUli said, \u2018You\u2019re just furniture to me, man. Just go where I tell you,\u2019\u201d says Michael Horse. \u201cSo I go to the crew and said, \u2018This guy, Uli, is he good?\u2019 And they said, \u2018Yeah, he\u2019s really good.\u2019 And I went to Uli and said, \u2018Hey, man, you can say that to me. But if this isn\u2019t Emmy-quality shit, I\u2019ll come to your house and kick your ass.\u2019\u201d<\/p>\n
It just was getting weird for weird\u2019s sake. That\u2019s not an accurate understanding of David\u2019s work.<\/p>\n
\u2014 Duwayne Dunham, editor-director<\/p>\n
Horse\u2019s conflict with Edel was a representative example of the cast\u2019s larger sense that Twin Peaks had been handed to some unfit caretakers while\u00a0Frost and Lynch were busy elsewhere. \u201cI hope I\u2019m not making anybody mad, but they claimed David and Mark were totally on top of the Twin Peaks stuff \u2014 that they were giving yeses and noes and overseeing everything in every detail. But I know that, working with David, it was a way different show. So I just don\u2019t believe that,\u201d says Marshall. \u201cI do think that it had an effect on the show. How could it not? You could be the most talented person on earth. You\u2019re not going to be able to imitate David\u00a0Lynch.\u201d<\/p>\n
It\u2019s true that the Leland reveal in \u201cEpisode 14\u201d was Lynch\u2019s last directing credit until the season-two finale. But while there are Twin Peaks fans who believe season two\u2019s missteps were due to Lynch\u2019s absence, it was Mark Frost who spent some time away from the show during its perceived dip in quality. Just as Lynch spent a chunk of Twin Peaks\u2019s first season directing Wild at Heart, Frost took a leave of absence from season two to direct Storyville, a moody, James Spader\u2013starring political thriller. \u201cHis absence made things complicated. Certainly for my relationship with David,\u201d says Peyton.<\/p>\n
By this point, Peyton and Engels \u2014 long established as two of Twin Peaks\u2019s most reliable writers \u2014 had been given producer credits and taken on some duties that, today, would fall under the umbrella of \u201cshowrunning.\u201d When Frost went to New Orleans to shoot Storyville, he left Peyton in charge. \u201cIt\u2019s not like I had to somehow convene a writers\u2019 room and figure out what we\u2019re going to do next. We know what every episode is going to be, and Mark was talking to me every day,\u201d says Peyton. \u201cBut one night \u2014 at, like, almost midnight \u2014 my phone rings, and it\u2019s Todd Holland. And Todd is freaking out because he just got off the phone with David Lynch, who gave him a raft of script notes that were going to impact his shooting the following morning. Now, I\u2019m already a little irritated, so I say, \u2018Look. Ignore David\u2019s notes. He has no business calling you up at 11 o\u2019clock at night with script notes. Just shoot your day and let it be.\u2019 He\u2019s very thankful, and I feel I\u2019ve done my job.\u201d<\/p>\n
\u201cMy phone rings the next day. And David yelled at me for ten minutes. And I\u2019m telling you: Ten minutes is a long time to have someone yell at you. His temper \u2026 you didn\u2019t see it very often, but I saw it, and he was fucking furious, yelling at the top of his lungs: How dare I? What the fuck am I doing? Who the fuck do I think I am? The phone call, obviously, did not end well. And my relationship with David \u2014 whatever relationship I had \u2014 that was the end of our relationship.\u201d<\/p>\n
The disagreements among creatives at the top of the show were further complicated by the actors, who continued to use their own power to try to shape the stories written for their characters. \u201cThere were some political things that were starting to happen, and I just got out of the way for the whole thing,\u201d says Marshall. \u201cThere were several other actors on the show who were vying for different things, and it was like \u2026 I didn\u2019t want to be involved in that.\u201d<\/p>\n
Most signi\ufb01cant was the scrapping of a plotline that had been simmering since the beginning of season one: the flirtation between Cooper and Audrey Horne. \u201cAs far as I remember, we all believed that they were a couple or going to be a couple,\u201d said Tina Rathborne, who directed one of season one\u2019s many sexually charged scenes between Audrey and Cooper. \u201cAudrey\u2019s seduction of Coop seems part of the dual lesson that Coop is learning. He\u2019s learning about his more innocent side, and he\u2019s learning about his darker side, that he\u2019s willing to be seduced by this young girl. This young, somewhat raunchy girl. But he\u2019s also willing to defend his higher side.\u201d<\/p>\n
In season one, Cooper\u2019s so-called \u201chigher side\u201d seemed to win out. When he found Audrey waiting for him, naked, in his bed at the Great Northern, he let her down by gently explaining that what she really needed was a friend. But owing to Kyle MacLachlan and Fenn\u2019s undeniable onscreen chemistry, the writers kept looping Cooper and Audrey back together. Audrey goes undercover at One Eyed Jack\u2019s to help the man she calls \u201cmy special agent\u201d; Cooper risks his career to rescue her. When Audrey meets Denise Bryson and feels threatened by the presence of Cooper\u2019s female FBI peer, she marks her territory by planting a kiss on his lips.<\/p>\n
If the writers didn\u2019t want the audience to be invested in a romance between Cooper and Audrey, they were doing a very, very bad job backing away from the story. That\u2019s because\u00a0they had every intention of doubling down on what had obviously emerged as the show\u2019s most potent will they\/won\u2019t they. \u201cDavid took me to dinner and basically asked me if I was in love with Kyle,\u201d says Fenn. \u201cAnd I burst out laughing. Not even slightly! He\u2019s a great guy, he\u2019s a nice person, but that\u2019s it. I didn\u2019t have any feelings that way. At all. The truth is that as human beings, he and I didn\u2019t have that kind of chemistry. But those characters, for some really weird reason, did.\u201d Peyton adds, \u201cWe were going to do a \u2014 \u2018romance\u2019 may be the wrong word, but certainly an exploration of the relationship between Audrey and Cooper. That didn\u2019t happen, and it didn\u2019t happen because Kyle refused.\u201d<\/p>\n
For years, the of\ufb01cial story has been that MacLachlan rejected the plotline because he didn\u2019t believe Cooper would get involved with a high-schooler. There\u2019s a solid plot justification for that argument; Cooper did, after all, gently reject Audrey for the same reason back in season one. But whatever the merits of that argument, there\u2019s no question that offscreen dynamics were also in play. At the time, MacLachlan was dating Lara Flynn Boyle, whose push for Donna\u2019s unconvincing bad-girl makeover in season two was judged, by some, to have been a response to Fenn getting more attention for her coquettish performance.<\/p>\n
\u201cI still remember talking with Mark [Frost],\u201d says Peyton. \u201cMark was saying, \u2018No, we\u2019re going to draw a line in the sand. We can\u2019t do this. We planned this pretty carefully, and it\u2019s going to upend our second season.\u2019 Then Kyle went into Mark\u2019s of\ufb01ce with David. I remember waiting and waiting and waiting. And then he came out and said, \u2018No, we\u2019re not doing it.\u2019 And that was because David was the one who was basically saying, \u2018We\u2019re going to go with what the actors prefer.\u2019 The thing about David that I learned over time is that he will sort of do anything for the actors. And because he\u2019ll do anything for them, they will do anything for him.\u201d<\/p>\n
Whatever the underlying reasons for it, even those who were frustrated by MacLachlan\u2019s justification now concede it was better that the Cooper-Audrey plotline didn\u2019t move forward. \u201cIt\u2019s hard to say, because nowadays, I would say, \u2018No, we can\u2019t do that, because he\u2019s in a position of power and she\u2019s much younger.\u2019 All the things Kyle was saying. It\u2019s easy to say he did it because of Lara Flynn Boyle. But who knows why?\u201d says Peyton. \u201cI mean \u2026 he did end up with a love interest who was the same age [as Audrey]. And she was from a convent, for crying out loud.\u201d<\/p>\n
Cooper\u2019s formerly cloistered paramour was Annie Blackburn (Heather Graham), a half-sister of Norma Jennings whose sudden arrival in Twin Peaks was written to fill in the gap where the Cooper-Audrey romance would have been, and actor Heather Graham knew what she was walking into. Prior to being cast, Graham had already made her way into the outskirts of Lynchland by co-starring, opposite Benicio del Toro, in a Calvin Klein commercial Lynch directed. But playing a woman capable of instantly bewitching Dale Cooper would be an entirely different challenge, and Graham met Lynch at his home to discuss the character \u2014 after he showed off another ongoing project. \u201cHe was doing some kind of experiment where he was putting meat into this kind of art piece and letting ants crawl on it,\u201d says Graham.<\/p>\n
Graham recalls Lynch describing Annie as \u201ca finely tuned machine. Like a Ferrari or a sports car that\u2019s very amazing \u2014 but that it can be easily thrown off-balance, if something goes wrong.\u201d Peyton had a blunter appraisal: \u201cSad to say, Annie was \u2014 at least when the character was initially conceived \u2014 a damsel in distress. And not a great deal more than that,\u201d he\u00a0says.<\/p>\n
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<\/p>\n
\n \u201cWhen we said, \u2018Okay, well, who\u2019s going to sweep Audrey off her feet?\u2019 [Harley Peyton] said, \u2018Well, it should be a singing cowboy.\u2019\u201d
\n Photo: ABC\n <\/p>\n
Audrey, for her part, got a new love interest of her own \u2014 though not before the show teased a flirtation between Audrey and Bobby, who was brie\ufb02y positioned as Ben Horne\u2019s new right-hand man. \u201cI don\u2019t know if they were de\ufb01nitely going to go with it. I thought they were de\ufb01nitely going to go with it, and we had those moments,\u201d said Dana Ashbrook. \u201cI think it was either a MacGuffin, or a change of someone\u2019s mind, or I don\u2019t know. It was so on the fly, always, the story.\u201d In the end, Bobby stayed true to Shelly \u2014 though not before Gordon Cole planted a kiss on her \u2014 and Audrey got her own new love interest in John Justice Wheeler, a dashing young businessman-pilot played by Billy Zane. \u201cIt was Harley who came up with [John Justice Wheeler],\u201d says Mark Frost. \u201cWhen we said, \u2018Okay, well, who\u2019s going to sweep Audrey off her feet?\u2019 he said, \u2018Well, it should be a singing cowboy.\u2019\u201d<\/p>\n
Wheeler does, in fact, throw on a cowboy hat, take Audrey on a picnic, and serenade her with a rendition of the cowboy folk standard \u201cBury Me Not on the Lone Prairie.\u201d Fenn herself was unconvinced. \u201cHe\u2019s a really nice guy. But the first time I met him was at 6 in the morning. And he goes, \u2018What would you do if I\u00a0leaned over the table and kissed you?\u2019 And I go, \u2018I\u2019d have a problem with that.\u2019\u201d Still, Wheeler\u2019s routine is enough, apparently, to knock Audrey\u2019s crush on Cooper out of her brain entirely; the episode\u2019s script describes her\u00a0as \u201cwarm and certain\u201d as she reassures Wheeler that she doesn\u2019t have feelings for anyone else.<\/p>\n
With Cooper and Audrey splintering off into their own separate love stories \u2014 and much of the other main cast engaged in their own semi-stand-alone arcs \u2014 Twin Peaks needed both a villain and an event to justify weaving everything back together. If there was anything that bound Twin Peaks\u2019s many threads in the back half of the second season, it was the simmering threat of Cooper\u2019s insane former partner Windom Earle, revealed early in season two as having escaped custody hell-bent on revenge. Though it wasn\u2019t clear at the time, Earle\u2019s clash with Cooper would become Twin Peaks\u2019s most signi\ufb01cant arc following the resolution of Laura\u2019s murder. \u201cThat was supposed to be short-lived,\u201d says Engels. \u201cI talked those guys into hiring [Kenneth Welsh]. He was a friend of mine, and they just loved him, so that character became bigger.\u201d<\/p>\n
After escaping a mental institution and stalking Cooper to Twin Peaks, Earle engages Cooper in a grotesque version of the daily chess game they played when they were partners. Whenever Earle takes a piece, he commits an equivalent murder; the loss of a pawn, for example, leads to the murder of a drifter with no direct connection to the larger narrative.<\/p>\n
Once Cooper realizes the game Earle is playing, he\u2019s savvy enough to build a strategy not aimed at winning the game, but at protecting the pieces remaining on his side of the board. Still: You\u2019d think he\u2019d be smart enough to realize that protecting his queen is paramount \u2014 especially since he\u2019s simultaneously falling in love with Annie, whose innocence and lack of worldliness makes her an especially ripe target. And you\u2019d de\ufb01nitely think he\u2019d be smart enough to recognize the danger when the Giant literally appears in front of him, waving his arms and mouthing the word no, after Annie suggests she\u2019ll enter the Miss Twin Peaks pageant. But when Cooper falls in love, it seems, his deductive powers vanish; just a few episodes earlier, he flirts with Annie at the Double R, then walks right by the not-especially-well-disguised Windom Earle.<\/p>\n
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<\/p>\n
\n If there was anything that bound Twin Peaks\u2019s many threads in the back half of the second season, it was the simmering threat of Cooper\u2019s insane former partner Windom Earle, played by Kenneth Welsh.
\n Photo: ABC\n <\/p>\n
All these plotlines converge in the penultimate episode of Twin Peaks, which also turns out to be the last gasp of the comedy-focused storytelling that had come to the forefront of the \ufb01rst season. The Miss Twin Peaks pageant was designed, among other things, to bring the increasingly scattered group of characters back together: Donna Hayward, Shelly Johnson, Lucy Moran, Nadine Hurley, Lana Milford, and Annie Blackburn all compete, and Norma Jennings, Doc Hayward, Pete Martell, and Dick Tremayne all play a role in judging the pageant. Though she had been targeted by Windom Earle alongside Donna and Shelly just a few episodes earlier, Audrey is noticeably absent for much of the competition. \u201cI called David right away and said, \u2018I\u2019m not doing it,\u2019\u201d says Fenn. \u201cNo fucking way. Audrey was there, but I didn\u2019t, like, parade up and down a fucking catwalk in a bathing suit.\u201d<\/p>\n
Goofy as it is, the levity feels welcome before Twin Peaks takes its final plunge into the darkness. Lana Milford does something called \u201ccontortionistic jazz exotica,\u201d and Lucy Moran does a dance that ends in the splits, which led to actress Kimmy Robertson needing to reassure people that there was no damage to the baby. (Robertson, for the record, was not actually pregnant.) But when Annie Blackburn is crowned Miss Twin Peaks \u2014 after a speech that leans heavily on the words of Chief Seattle, a leader of Washington\u2019s Suquamish and Duwamish tribes \u2014 Earle, who has infiltrated the Miss Twin Peaks pageant disguised as the Log Lady, makes his move. A queen has been crowned; he\u2019s ready to claim her.<\/p>\n
It\u2019s a strong cliffhanger for the season finale, but that\u2019s not how it originally aired. By this point, ABC\u2019s scheduling of Twin Peaks had become erratic, with lengthy hiatuses in December and January \u2014 a problem further exacerbated when the show was preempted by coverage of the Gulf War. After the memorably bizarre cliffhanger of \u201cEpisode 23\u201d \u2014 which concluded with Josie Packard, revealed as the mysterious shooter who shot Cooper in the season-one finale, somehow trapped in a drawer pull in a Great Northern Hotel room \u2014 ABC put the show on hiatus. That troubling sign prompted a fan campaign called COOP, or Citizens Opposed to the Offing of Peaks, to place hundreds of phone calls and send thousands of letters and packages, some containing logs or doughnuts, to ABC. David Lynch goosed the campaign further in a February appearance on Late Night With David Letterman<\/a>, where the host gamely posted Bob Iger\u2019s mailing address. (\u201cI love annoying these network weasels,\u201d said Letterman.)<\/p>\n ABC relented, and Twin Peaks returned on Thursday, March 28 \u2014 an escape, at last, from the wasteland of Saturday night. But the reprieve was short-lived. Less than a month later, on April 18, 1991, \u201cEpisode 27\u201d aired \u2014 a return to form that ended, promisingly, with BOB reemerging from the Black Lodge. But anyone intrigued by that cliffhanger was forced to wait nearly two months, to June 10, when the network unceremoniously dumped the final two episodes as a double feature. Though Twin Peaks hadn\u2019t been formally canceled, everyone involved knew the writing was on the wall. \u201cAs a phenomenon,\u201d Mark Frost conceded a month before the season-two finale aired, \u201cthe show is over.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"From the day it premiered, Twin Peaks had a problem. Audiences wanted to know who killed Laura Palmer;…\n","protected":false},"author":2,"featured_media":302129,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[6427,412,62805,146,85,46,411,37028,152205,4578,4579],"class_list":["post-302128","post","type-post","status-publish","format-standard","has-post-thumbnail","category-tv","tag-book-excerpt","tag-books","tag-chapters","tag-entertainment","tag-il","tag-israel","tag-tv","tag-twin-peaks","tag-twin-peaks-season-2","tag-vulture-homepage-lede","tag-vulture-section-lede"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/302128","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=302128"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/302128\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/302129"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=302128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=302128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=302128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}