Twin Peaks: A Neo-Aristotilean Analysis

Llowell Williams

Who killed Laura Palmer? This was the question that echoed across the nation after the premier of a promising new prime time drama named Twin Peaks in 1990. The series quickly found a large following, drawing all sorts of viewers for its unique cinematography, memorable characters, and compelling plot. The infatuation with the show was so widespread that it had some critics dubbing the craze Peakmania. (Woodward, 1990) Although the series only lasted for two years, a prequel film named Twin Peaks: Fire Walk With Me came to theaters in 1992 providing closure for fans. This essay seeks to uncover the themes and rhetoric of the Twin Peaks saga as framed by the series' creators David Lynch and Mark Frost the creation and transmission of such messages and their subsequent affects on their consumers, their viewers. It also seeks to evaluate the properties of Lynch's and Frost's rhetoric as presented in the show, and the ways in which their argument is supported and diffused. Along with this, it will be insightful to consider the strength of such a message does it resonate with the audience? First, though, it's important to examine a little history to help provide some context for the purposes of this analysis. Important to consider in any analysis of a cultural artifact is the context in which the artifact was both created and consumed. As with many forms of expression, Twin Peaks is a reflection of or response to the culture and society in which it arises. The series' creators, David Lynch and Mark Frost, were originally thrust together with the intent of creating a film based on the life of Marilyn Monroe in the late 1980s. This followed in the wake of the success of Lynch's other films, but never came to fruition. Lynch remarked of the project that he was sort of interested. I loved the idea of this woman in trouble, but I didn't know if I liked it being a real story. (Rodney: 1997) Despite the Monroe movie project being shelved, Frost and Lynch became good friends and continued to work on several other projects together. One was to become Twin Peaks in which themes from some of Lynch's previous work (namely, 1986's Blue Velvet) were to reappear, including a premise based around a small, idyllic town filled with unpleasant secrets. The idea was pitched to ABC in 1989 and the go-ahead was given to Lynch and Frost to begin

work on the pilot. Together they wrote the first script, with Frost focusing more on dialogue and conversation-oriented characters, like Ben Horne. The series' protagonist, Agent Cooper, however, was Lynch's creation, and as he explains, Cooper says a lot of the things I say. (Chion, 1995) This will be important to keep in mind as this essay analyzes the messages being conveyed through Twin Peaks and its characters (Agent Cooper in particular). As a vehicle for Lynch and Frost to communicate their messages, Twin Peaks must be also be considered in terms of its audience. Although the audience is always an important component in any piece of entertainment, it is especially important for Twin Peaks. Despite critics claiming the show would have a difficult time gaining a viewer base, especially in the prime time slot given it by ABC, the show quickly became a nationwide sensation. Peakmania had begun, drawing in vast numbers of viewers to uncover the mysteries behind Laura Palmer's murder and to become intimate with Twin Peak's quirky and bizarre residents. With Twin Peaks, Frost and Lynch create a universe in which its characters have complex relationships with each other and the events as they unfold. It helps create a canvas upon which an intricate allegory may be painted. One of the dominate themes of Twin Peaks is that of false impressions. As Agent Cooper drives into Twin Peaks during the pilot episode, he makes a remark about the tranquil beauty of the area, simply in awe of the majestic scene around him. The outsider sees Twin Peaks as a quaint little mountain town, where a murder would be completely out of place. This contrast is reinforced by the opening sequence in which Angelo Badalamenti's iconic theme, Falling, plays peacefully over slowly panning shots of the picturesque Twin Peaks area the viewer quickly realizes this is quite a contrast to the dark themes present throughout the series. It forces the viewer to ask him or herself: How could such an idyllic place play host to such disturbing events? Why has this been allowed to happen? As Twin Peaks progresses, we learn more about the events leading up to the murder of Laura Palmer and the not-so-secret double life she'd been living. Far from being the well behaved homecoming queen she was publicly know as, Laura had a number of affairs outside of her football star boyfriend, Bobby Briggs James Hurley, Dr. Jacoby, Ben Horne, and more. She also had an affinity for cocaine, as supplied by Bobby, and with the aid of locals Leo Johnson and Jacques Renault had been prostituting herself. Secrets like these continue to reveal themselves leisurely

over the course of the first season. To the viewer it becomes clear within the first few episodes that Laura had gotten involved in a dangerous, seedy world. In many ways, Laura's character could be seen as the symbolic manifestation of the types of social ills likely identified by Lynch and Frost. Between Laura's cocaine habit and the way she used and abused her friends and lovers, it's evident that somewhere along the way Laura's ability to assess value, worth in both the people around her and herself became warped and ultimately destructive. The unfortunate tragedy is not so much that this is what became of Laura, but that onlookers allowed her engage in such a destructive lifestyle and themselves leading such lives despite Laura's demise. In the third episode this point is underscored by her boyfriend, Bobby, who interrupts the eulogy being given by the local priest at Laura's funeral in an outburst: What are you looking at? What are you waiting for? You make me sick. You damn hypocrites make me sick. Everybody knew she was in trouble. But we didn't do a thing. Who killed the Prom Queen? You did! We all did! And pretty words won't bring her back. Keep your prayers. Laura doesn't need them. She would've laughed at them anyway. Through the reconstruction of the last few weeks of Laura's life, it is revealed that she was murdered by Killer Bob the name given to what is eventually identified to be a supernatural entity which hungers uncontrollably for bloodshed and self-indulgence. As the series continues it's shown that Bob is able to satisfy his desires by possessing and dominating an individual's mind and body then using them to commit his heinous acts. As Laura's story unfolds we learn that Bob desired to possess and dominate Laura, but she refused to submit and ultimately this infuriated Bob, pushing him to murder her. Killer Bob is a unique character in that he is not human and as such perhaps shouldn't even be considered a character; instead, he/it could be viewed as the manifestation of completely hedonistic indulgences and utter disregard for human life. Essentially this makes Bob the supreme representative symbol of society's ills and dysfunctional nature: the devaluing and objectification of human life. Killer Bob is violence and desire incarnate, the expression and result of distorted, destructive social norms taken to an extreme. Bob's acts are also very symbolic. While many of the residents of Twin Peaks may have, to one degree or another,

embraced the twisted morality that Bob represents, Bob is unique because he takes objectification to another level by literally transforming living people into inanimate objects through murder. (Lavery, 1995) After Laura's killer (Bob's physical host) commits suicide following capture by Agent Cooper and Sheriff Truman in Episode 16, a brief exchange illustrates the intended symbolic significance of Killer Bob: Albert: Maybe that's all Bob is. The evil that men do. Maybe it doesn't matter what we call it. Allowing Bob to inhabit your body, then, could be symbolic of embracing and participating in the elements that create social chaos (the evil that men do). Although Killer Bob may be the primary symbol of social ills, they are not only perpetrated by him. Take Ben Horne for instance, a respected local businessman, who plots to burn down the lumber mill and murder the mill's owner, Catherine Martell, with his goal being the acquisition of her land to be used and sold at great profit. Although Horne may seem shrewd, his callous treatment of human life not only Catherine's, but the people who would be greatly impacted by no longer having the employment of the lumber mill ends up undoing his scheme. Not only does Catherine escape death, but she comes back to make life hell for Ben. Ben's daughter, Audrey, feels increasingly neglected and responds by helping Agent Cooper gather evidence that at one point in the series leads to his arrest for Laura's murder (although it is a red herring). Ben's life quickly falls apart before his eyes, leading him to experience a mental breakdown that is only redeemed with a drastic change of heart in the latter half of the second season. In this way Ben Horne's character represents a person's ability to not only embrace distorted values (in this instance, his disregard for human life and his family in favor of monetary rewards) but to later re-evaluate priorities. Ben provides a glint of hope, suggesting that materialism and self-gain do not have to be forever his (or anyone's) goals; however, his character can be seen as a cautionary tale since his transformation did not occur until after his life falls to pieces. Within Twin Peaks, then, it becomes evident that obsession with material gain and self-indulgence lead invariably to misery.

Acting as a the mouth piece for Twin Peaks' creators (Lynch especially), is Kyle MacLachlan's character Agent Dale Cooper. Cooper, the series' protagonist, is symbolically significant. Arguably, he can be seen as an icon of humanity's potential to rise above the destructive shackles chaining down the likes of Killer Bob and Ben Horne. The difference lay in Agent Cooper's perception of people and things. Contrary to Bob and Ben, Cooper has a deep fascination and wonder with the world around him and has the ability to find the goodness in virtually everything. From the moment Cooper enters Twin Peaks he becomes enamored with the beauty of the area. The television viewer may begin to see Twin Peaks as a filthy little community plagued by twisted morals and malice as they watch more of the series, but Cooper firmly believes in the good that can be found everywhere in several episodes, he asserts that there are good people here. Agent Cooper becomes a symbolic contrast to what Killer Bob represents an unending desire to view people and objects through a lens of optimism and re-calibrated worth assessment. Perhaps this is what makes Agent Cooper such an endearing character his ability to find pleasure and satisfaction in virtually all people and things. His comments about the coffee, for example every cup of coffee is the best he's ever had may come across as somewhat comical to the viewer, but this is because the concept of simple pleasure and appreciation have become alien in our culture. (Lavery, 1995) As the series goes on many characters undergo fundamental changes, frequently acting unpredictably. Cooper, though, is one of the few constants on Twin Peaks through his unwavering principles and dedication to his duty (which can perhaps be seen as more than merely being an FBI agent; instead, as the protector of goodness and virtue): Major Briggs: An evil that great in this beautiful world. Finally, does it matter what the cause? Cooper: Yes, because it's our job to stop it. This bit of dialogue reinforces the ultimate message being conveyed by Frost and Lynch: It's everyone's job to recognize evil and do our part to stop it. That is, even a seedy little town like Twin Peaks has the potential to be redeemed and liberated from social dysfunction. Agent Cooper's refreshing, reliable demeanor makes him one of the only characters the viewer

can admire. Because of this, the audience becomes more receptive to what his character is communicating for Lynch and Frost. Cooper turns into a character you can sympathize with and appreciate someone to be emulated, even. Pathos becomes an extremely important aspect of the arguments being put forth in Twin Peaks. Through the creation of deep, complex characters Frost and Lynch are able to draw the viewer thoroughly into the world of Twin Peaks by uniquely creating a sense of both distance and immersion. Agent Cooper, for instance, through well written dialogue and superb acting from Kyle MacLachlan, becomes important to the viewer the power of this is evident especially regarding the season one cliffhanger in which Cooper is left to die with several gunshot wounds. The viewer becomes authentically concerned about his well-being and is equally relived when this incident doesn't turn fatal. The viewer also gains sympathy for other characters as well. Laura, although never actually active on the screen (except later in the film Twin Peaks: Fire Walk With Me), is the ultimate tragedy. She reminds us in one way or another of someone we know or have known either as the beloved prom queen type or the vice-driven sexpot, or possibly both. We see the pain and suffering she caused people, both in life and death, and can sympathize with those affected. This, perhaps above all else, is what makes Twin Peaks the powerful work that it was the ability to draw an outsider into its universe, forcing the viewer to develop relationships with the characters to the point where what happens to them is important to you. Arguably, bringing out these profound emotions and connections are what Frost and Lynch most want. By being able to related to these people (their fictional existence notwithstanding), Frost and Lynch have forced the viewer to, in essence, become an empathetic human being again and to hopefully begin to re-evaluate and re-examine the values the viewer possesses. Twin Peaks aired 30 episodes over a two year span. The plot is shown on the screen in a chronological order, beginning with the discovery of Laura's body and Agent Cooper's arrival and ending with a rather opened ended conclusion. Although the time passage in the show is somewhat ambiguous, Twin Peaks' events take place over the course of a month or less. As more information about the events leading up to Laura's murder is uncovered and more is discovered about Twin Peaks' secrets, Lynch and Frost's messages gain definition and are reinforced through the events in the show.

Twin Peaks as a show is often noted for its distinct presentation style. The use of color and visual contrast are important elements. One example is the vivid red curtains in Agent Cooper's dreams. Another is the RR Diner, with its blues, whites and yellows. Many shots are done in such a way as to draw the viewer to rapt attention. The use of tension and anticipation are used expertly in the way scenes are filmed and edited. (Lavery, 1995) A number of other movie and television styles have overt presences on Twin Peaks. Film noir leaves a major mark on the show as evidenced by the visual contrast used frequently and the dark plot lines investigated by the private eye-like Agent Cooper. Soap opera conventions also show their influence as seen by the over-the-top close up shots of characters and ridiculous plot elements (such as the much tangled love triangles). The soap opera elements of the show are underscored by a soap opera often on characters' televisions within Twin Peaks itself, called An Invitation to Love. The show is almost entirely scripted, in traditional television drama fashion. However, there are several instances of improvisation throughout Twin Peaks where actors were directed to engage in dialogue, in character, about something in particular but given the freedom to do it in an unscripted manner. This helped to create more natural and believable conversation between characters. (Rodley, 1995) Throughout this analysis it has been argued that David Lynch and Mark Frost's television drama Twin Peaks was a carefully constructed allegory intended to express a deep critique of modern social values and mores through the use of complex symbolism. In many ways the series and underlying message could be seen as an almost Marxist critique of post-industrial society, in which value for life and human relationships have fallen to a status inferior to the pursuit of material wealth and self-indulgent vice. However, this is not accidental, argue Lynch and Frost. Rather, this perversion of lifestyle and society has occurred without protest and with this come terrible costs. Whether their message was received and internalized by the Twin Peaks audience remains to be seen; however one thing is certain: it is a timeless artifact of television history.

Sources Cited:
Chion, Michel (1995). "David Lynch" British Film Institute. Lavery, David. (1995). Full of Secrets: Critical Approaches to Twin Peaks. Wayne State University Press. Lynch, David & Frost, Mark. (1990) Twin Peaks. ABC: Television. Retrieved: 1 Sep 2010. Rodley, Chris (1997). "Lynch on Lynch". Faber & Faber Woodward, Richard (April 8, 1990) When Blue Velvet Meets Hill Street Blues. New York Times. (http://www.nytimes.com/1990/04/08/arts/television-when-blue-velvet-meets-hill-street-blues.html?scp=33&sq= %22Twin+Peaks%22&st=nyt) Retrieved: 15 Sept. 2010