35 Years of Twin Peaks Magic: Relive the Top 15 Unforgettable Moments That Haunt Us!

Back in April 8, 1990, when David Lynch and Mark Frost’s “Twin Peaks” made its debut on television, the show was already confidently established in its unique identity, standing among the most assured in TV history. This could be why it has continued to grip viewers’ imaginations for an impressive 35 years, with no indications of ever letting go.

If you watched it back in 1990-1992 during its initial run, you probably still recall how mesmerizing and thought-provoking it was each week, sparking endless debate as we waited for answers before the internet could confirm or debunk theories. (For a 16-year-old at the time, this show also led to frustration, especially when its cancellation loomed, and I wasn’t old enough to attend the bars hosting “Save Twin Peaks” gatherings.)

It’s plausible to think that the creators, Lynch and Frost, planned to revive the show 25 years later based on Laura Palmer’s dialogue in the Season 2 finale from 1992. However, “The Return” in 2017 on Showtime wasn’t so much a prophecy coming true as it was a fortunate coincidence – though it was certainly driven by significant moments they and their collaborators had crafted that left a lasting impression on our collective cultural memory, sparking a thriving fan speculation community.

In honor of the 35th anniversary of “Twin Peaks” and the passing of its creator David Lynch earlier this year, the content creator EbMaster has compiled a list of 15 pivotal scenes from the series, presented in chronological order. We decided against ranking them as it’s challenging to quantify a scene of pure delight versus one filled with dread. This compilation is not exhaustive, acknowledging that there are many other memorable moments, such as Agent Cooper’s introduction and Audrey’s dance number, which we did not include but recognize their significant impact on the show.

As a devoted cinephile, I can’t help but marvel at how these pivotal scenes in “Twin Peaks” encapsulate the characters, narratives, and the indelible spirit that has left an enduring mark on television spectators for decades upon decades. This iconic series continues to captivate new generations of viewers, just as it did when it first graced our screens.

“She’s dead… wrapped in plastic.” (Season 1, Pilot — “Northwest Passage”)

In a pivotal moment for the series, fisherman Pete Martell (Jack Nance), during his morning fishing trip, stumbled upon Laura Palmer’s (Sheryl Lee) body along the bank of Twin Peaks, Washington’s Wind River. Shocked, he immediately contacted Sheriff Harry Truman (Michael Ontkean) and said, “She’s dead… wrapped in plastic.” This grim discovery, so out of place in a town usually sheltered from the outside world, sparked an unsettling sense of unease that ignited one of the most captivating murder investigations ever depicted on television.

“Doesn’t she look almost exactly like Laura Palmer?” (Season 1, Episode 1 — “Traces to Nowhere”)

In the third episode of the series, Agent Cooper steps into the red-curtained waiting room known as the Black Lodge for the first time. Before exploring its zigzagging hallways, Cooper meets Mike, also known as the One-Armed Man (Al Strobel), and his malicious counterpart Bob (Frank Silva). Bob threatens to commit more murders. Inside this enigmatic foyer, Cooper has conversations with the deceased Laura Palmer, saying “I feel like I know her but sometimes, my arms bend back…” He also meets the Man From Another Place (Michael J. Anderson). The Man’s dance to Angelo Badalamenti’s jazz music is a memorable scene from the show, but it was the terrifying dream-like quality of the sequence that showed viewers that “Twin Peaks” wasn’t just an ordinary TV program.

“The milk will cool on you.” (Season 2, Episode 1 — “May the Giant Be With You”)

In the opening scene of Season 2, The Giant (Carel Struycken) makes his debut, adding significance to the episode’s start. David Lynch, who directed a script he co-wrote with Mark Frost, strategically utilizes the show’s day-per-episode format by stretching time to portray Agent Cooper’s reaction to being wounded in the Season 1 finale. The senile waiter (Hank Worden), engrossed in delivering warm milk to Cooper, fails to notice his critical condition. Lynch skillfully builds tension as the waiter hesitates, phones Deputy Andy Brennan (Harry Goaz) only to let it hang untouched, and ultimately leaves the FBI agent unattended. Cooper eventually shares his predicament (“Being shot is not as bad as I thought it might be, as long as you can keep the fear from your mind”) before the Giant poses three riddles that guide him towards Laura’s killer’s identity. This scene beautifully encapsulates Twin Peaks’ unique blend of small-town normality and mystery-filled suspense.

“A palazzo of some fantastic proportion.” (Season 2, Episode 1 — “May the Giant Be With You”)

In the TV show “Twin Peaks,” a significant aspect of the plot revolves around the struggle for connection between parents and children in the small town, with both parties often failing to understand or engage with each other. Throughout Season 1, Bobby Briggs (Dana Ashbrook) is portrayed as a rebellious young man, frequently clashing with his father, Marjor Garland Briggs (Don Davis). However, Briggs, who shares traits similar to Agent Cooper in terms of principles and extrasensory beliefs, consistently strives to mend their relationship. In a pivotal scene from the series, he shares a dream about Bobby, describing him as happy and at peace, living a life full of harmony and joy. “My son was standing there,” Briggs says. “We embraced – a warm, loving embrace, without any reservations. For that moment, we were one.” Despite their differences, his heartfelt words end with the hopeful sentiment, “I woke up feeling incredibly optimistic about you and your future.” This poignant speech leaves Bobby in tears and moves the audience as well, offering the kind of encouragement and support every child hopes to receive from a parent.

“I love you, Sheriff Truman.” (Season 2, Episode 2 — “Coma”)

Starting in Season 1, Albert Rosenfeld (played by Miguel Ferrer), displayed an amusingly arrogant and harsh attitude towards the townsfolk of Twin Peaks, leading to numerous arguments and even a physical altercation with Sheriff Truman. However, just as another confrontation seemed imminent due to his latest insult, Albert surprisingly shared his philosophy, which contradicted his abrasive behavior: “I take pride in enduring a punch, and I’d be happy to take another because I live my life guided by Gandhi and King. My interests are global,” he told Truman. “I completely oppose revenge, aggression, and retaliation. Love is the basis of such an approach. I love you, Sheriff Truman.” As he left, Cooper simply summarized his peer: “Albert’s path is a complex and challenging one.” From that moment on, series viewers saw Albert in a whole new light.

Madeline’s Vision (Season 2, Episode 2 — “Coma”)

For over three decades, Lynch’s image of Bob gradually crawling over a couch while fixing his gaze on the camera lens has haunted dreams. This shot captures the eerie feeling of sleep paralysis, causing viewers to feel uneasy as Bob advances, intermittently obscured by quick flashes of darkness that resemble blinking. Maddy’s terrified reaction mirrors that of the audience, who find themselves trapped in Bob’s intense gaze. It’s no wonder this image has become one of the most chilling and iconic moments in the series, as even without understanding the context of the show, it remains difficult to watch.

“I killed my daughter!” (Season 2, Episode 9 — “Arbitrary Law”)

The resolution of Laura Palmer’s murder generated immense excitement – even some restlessness – which sadly proved detrimental to the show’s viewership. However, the way Harley Peyton, Robert Engels, and “Twin Peaks” co-creator Frost handled this climactic revelation was nothing short of brilliant. It perfectly captured the ongoing struggle between good and evil, responsibility and mercy, practical investigation and transcendent spirituality. Ray Wise’s portrayal of Leland Palmer consistently kept Kyle MacLachlan’s Cooper on edge, but the scene’s true power lies in their shared journey: exorcising Bob from Leland as he confronts his wrongdoings, and guiding the remorseful Leland towards redemption: “Look towards the light, Leland.

“I prefer Denise, if you don’t mind.” (Season 2, Episode 11 — “Masked Ball”)

1990 saw Denise Bryson, a nonbinary character on “Twin Peaks,” breaking the mold by being portrayed without stereotypes or mockery. The character, previously known as Dennis, took viewers and the show’s characters alike by surprise, demonstrating that transgender individuals deserve respect. In hindsight, Denise’s inclusion in the series could have been written off as another manifestation of the show’s eccentricity, a trait that had become quite apparent by Season 2’s midpoint. However, Special Agent Cooper’s stunned reaction to learning about Bryson’s transition was quickly followed by acceptance, and his colleagues echoed this sentiment: “That’s a good color for him,” remarked Hawk (Michael Horse). Later, David Lynch reinforced the choice by promoting Denise to the role of FBI director in “The Return” and delivering a powerful message through Gordon Cole: “fix your hearts or die.” These early scenes beautifully illustrate how simple it is to respond with compassion rather than judgment when faced with someone’s identity, even when it challenges our expectations.

“The kind of girl that makes you wish you spoke a little French.” (Season 2, Episode 18 — “On the Wings of Love”)

Drawing inspiration from Lynch’s storytelling prowess, one of the show’s outstanding qualities was its knack for alternating traumatic incidents with heartwarming ones. Whether you felt that “Twin Peaks” deviated after solving Laura’s murder or found it navigating new landscapes, there were numerous memorable moments leading up to its (temporary) end in 1992. One such moment is the scene featuring Cooper’s blossoming romance with Annie Blackburn (Heather Graham) and Gordon Cole’s immediate affection for Shelley Johnson (Mädchen Amick). Cole utters the quote above upon seeing Shelley at the Double R, while Cooper tries to win over Annie through a nerdy joke about penguins. The scene’s hidden strength lies in Sheriff Truman’s quiet amusement watching Cooper, but the show’s portrayal of both agents’ genuine intentions highlights their goodness amidst the perils they encounter on the job.

“How’s Annie?” (Season 2, Episode 22 — “Beyond Life and Death”)

Summarizing the climactic scene of the show, where Cooper wakes up from rescuing Annie and mentions needing to brush his teeth, into a solitary impactful moment seems unattainable. Yet, David Lynch manages to end the series with such a scene that holds immense potential for further exploration, resulting in an additional 17 hours of narrative. In the bathroom, Cooper’s actions indicate that he is no longer the original FBI Special Agent, but rather a doppelgänger possessed by Bob. After hitting his head against the mirror, he sarcastically asks about Annie. This scene marked a turning point for Cooper as he bid farewell, leaving his identity in question and generating more queries than answers, keeping the audience on edge for another 25 years.

“I have crisscrossed this great land of ours countless times.” (“The Return,” Part 4 — “…Brings Back Some Memories”)

In the TV series “Twin Peaks,” the character Wally Brando, portrayed by Michael Cera, stirs controversy among viewers. He appears only once and seems a blend of various pop culture references. Despite the mixed reactions to similar characters on the show, Wally underscores the unpredictable nature of David Lynch’s creativity, which is a key reason for his popularity. The contrast between Cera, who is the antithesis of young Brando’s smoldering masculinity, sets up an intriguing introduction to the character.

Although Wally’s dialogue contains references to other Brando roles like “I came to pay my respects to my Godfather,” his deadpan gestures of respect towards Sheriff Truman and his parents, Andy and Lucy, underscore the innocence and goodness in Twin Peaks that can permeate even the next generation, contrasting with the complex, violent lives of characters like Audrey’s (Sherilyn Fenn) and Shelley’s children. Wally says, “I also came back to let my parents know, because this has been a matter of grave concern for them, that I’ve decided to let them do what they wish with my childhood bedroom.” Such thoughtfulness from a child would surely delight any parent.

The scene adds little to the plot of “The Return,” but among the show’s many nonsensical moments, this one feels surprisingly coherent.

“Threnody to the Victims of Hiroshima” (“The Return,” Part 8 — “Gotta light?”)

As a movie enthusiast, I can’t say there’s a single standout moment in this epic episode that surpasses the others; the chilling origin story of the entities and energies in “Twin Peaks” needs to be experienced as a whole or not at all. However, David Lynch masterfully portrays the detonation of the first nuclear bomb in 1945, making the destructive power of the device feel both awe-inspiring and terrifying. The explosion seems to unfold in slow motion, drawing the viewer closer to the mushrooming devastation. Krzysztof Penderecki’s discordant composition, created in 1961 as a tribute to the victims of Hiroshima, mirrors the disorienting energy of Lynch’s visuals. His images shift from swift particles to blinding bursts of color to walls of gas and fire. It’s this chaotic, uncontainable energy that has the power to create multiple layers of reality – making it a fitting starting point (or climax) for Lynch’s unpredictable, feverish creativity.

“Marry me?” (“The Return,” Part 15 — “There’s Some Fear in Letting Go”)

As a devoted cinephile, I can’t help but admire the heartfelt and optimistic portrayal of humanity in “Twin Peaks.” However, it’s rare to see characters like Ed (Everett McGill) and Norma (Peggy Lipton) receive a genuinely happy ending amidst the series’ frequent forays into soapy melodrama. Ed’s and Norma’s union, in my opinion, stands as the happiest of them all, a long-overdue conclusion to their tumultuous tale. After Nadine (Wendy Robie) finally grants Ed his freedom, he dashes to the Double R diner to confess his love for Norma. David Lynch masterfully creates a momentary misdirection when Norma steps away to discuss business with Walter (Grant Goodeve), whom Ed mistakenly believes to be a suitor. However, as Ed takes a seat at the counter and jokes about a cyanide pill, a live recording of Otis Redding’s “I’ve Been Loving You Too Long (To Stop Now)” from the 1967 Monterrey Pop Festival fills the background. From off-screen, Norma gently approaches and embraces Ed, agreeing to marry him. The echoes of Otis Redding’s fans fill the shots of Twin Peaks’ picturesque woods, as if the universe were saying, “For once, everything is right.

“I’m not me.” (“The Return,” Part 16 — “No Knock, No Doorbell”)

In “The Return,” Laura Dern brilliantly portrayed Agent Cooper’s enigmatic assistant Diane, a role perfectly suited to her given her past collaborations with David Lynch and her exceptional acting talent. In a pivotal scene, Dern powerfully conveyed Diane’s heart-wrenching disclosure to Gordon, Albert, and special agent Tammy Preston (Chrysta Bell) about being raped by Cooper. She masterfully depicted the character’s conflicting emotions of desire, fear, and betrayal, while also embodying the intricate duality of being a doppelganger for the “real” Diane, trapped in the mystical void of the Black Lodge. The struggle between these two personas ultimately proved too intense for the tulpa Diane to manage, leading to a confession of her true identity and an attempt on Gordon’s life that ended with her vanishing into oblivion.

“What year is this?” (“The Return,” Part 18 — “What Is Your Name?”)

David Lynch’s cliffhangers are second-to-none, not just for television series but also for episodic programming. The final episode of the show, remarkably, lived up to this reputation: Cooper, now clear-headed once more and having altered the show’s timeline by traveling back in time to save Laura Palmer, returns to what he thinks is the present. He sets out to find waitress Carrie Page (played by Sheryl Lee), offering to drive her home to Twin Peaks despite her insistence that she knows nothing about Laura or her family. Their long journey concludes at the Palmer house, now owned by strangers who are unaware of its history. Overwhelmed and disheartened, they return to Cooper’s car. The question arises as to when exactly this trip is taking place, a query that might explain why things seem so out of order, but it remains unanswered. As Special Agent Dale Cooper ponders the answer, the lights in the house go out and Carrie hears the voice of Sarah Palmer, causing her to scream – a sound only Laura could make. It’s uncertain whether they arrived too soon or too late to set things right, but it seems we may never find out the answer.

2025-04-08 18:48