At 10:30 AM on 26th March, I entered Duke of York’s Picturehouse, Britain’s oldest cinema in continuous use. At 19:30 PM on 27th March, I left. I’d just spent 33 hours drinking coffee, eating doughnuts, and watching Twin Peaks. I wouldn’t commit myself to a marathon screening of any other show – in fact, up until this point the longest I’d spent in the cinema was to see Nymphomaniac parts 1 & 2 back-to-back. But Twin Peaks is different.
While it may have stiff competition for favourite TV show, I feel confident in saying it has been the most electrifying and influential – from my tastes in art to my own writing. It also introduced me to its co-creator David Lynch, who has been my favourite director ever since. If you hate season two of Twin Peaks or think Inland Empire is a mess, you might feel the urge to call me a Lynch apologist, because there’s almost nothing he’s made that I don’t love (well, except Dune). And that’s mostly because of the connecting thematic thread I feel between each of his projects. An ongoing storyline based upon an unfolding mystery is perfect for Lynch’s sensibilities, and gave him the opportunity to explore these themes in more detail than he could with individual two-hour experiences. The way these ideas evolved throughout the show, and how they suffered during Lynch’s midseason departure, becomes easier to discern when viewed in a marathon format.