See this paragraph for instance:
What the concept of “late style” allows us to see in the new Twin Peaks is the sense in which the show’s unresolved, intransigent style stems from a feeling of disappointment with the notion of the well-made work of art. Instead of the nostalgic recreation of a familiar form, Lynch gives us broken bits of what we loved, collaged together in surprising, often baffling ways. The series rejects smooth pacing, narrative efficiency, and well-defined character arcs. Plot threads are introduced and abandoned seemingly at will. Unexplained gaps in the story are the norm. The show plays inconsistent games with chronology, running roughshod over narrative continuity. It taunts its audience with gratuitous, overly specific references to characters we never meet (“Remember that guy, Sammy?” remarks Hutch at one point, apropos of nothing. “He passed away. Good guy.”) When The Return does offer us a classical, almost Aristotelian scene of resolution (with all the characters from the season’s various strands congregated into a single room), Lynch shows us just how unreal and unsatisfying such narrative resolution can feel: I speak, ahem, of Freddy’s magic green gardening glove. There is a falseness, and no small element of wish fulfillment, to this presentation of evil bested with a final punch, a point that Lynch drives home by superimposing Cooper’s slow-motion face over the remainder of the scene.
Interestingly, I could use almost the same writing if I ever wrote a cohesive review explaining why I think The Return was a failure.
https://lareviewofbooks.org/article/dav ... te-style/#!