First time poster here. Really excited about S3 of Twin Peaks, and delighted that Lynch is directing the entire run. While I loved Twin Peaks at the time, watching it again recently (after purchasing the box set), I was struck by how dated it seemed in places, and how uneven it was. There were moments of magnificence, particularly within the Lynch-directed episodes, but a lot of it hasn't aged that well. I agree with (forum contributor) Agent Sam Stanley - much of the 'coffee and cherry pie quirkiness' seems a bit stale now, particularly after Fire Walk With Me.
I was one of the TP aficionados who didn't really rate FWWM when it first came out. It didn't seem to fit with the TV series at all. I just didn't 'get' the false start - the Deer Meadow sequence; Lil the dancing girl; the Blue Rose stuff. Sam Stanley's tics seemed annoying; the sour denizens of Deer Meadow were unglamorous and unwelcoming, complete inversions of the (mainly) sexy, sunny, friendly residents of Twin Peaks. It seemed like Lynch was toying with our expectations, giving us exactly what we didn't want. It was too much to process, uncompromising and alien, when most of us were expecting the familiar.
Watching FWWM that first time, I was relieved when the familiar TP theme tune finally kicked in and we were back in the town we loved, the scent of fresh pines replacing the stale aroma of last night's leftovers at Hap's Diner, but it still wasn't quite right. Something was off: Donna wasn't 'Donna'; Laura Palmer was flesh and blood not a telegenic corpse wrapped in plastic; most of the well-loved townsfolk were missing; there was no resolutely cheerful Dale Cooper here.
FWWM was a harrowing and disorientating experience, but, as is usually the case with Lynch movies, it has grown with subsequent viewings into something incredibly powerful and transcendent. For me at least, FWWM resonates much more deeply than the TV series. There is an authenticity and emotional heft to the movie that precludes reversion to the trivial/wacky tone of much of the TV series. The tonal shift from TP to FWWM was jarring, but to shift back now would seem like a sell out. I just don't see Lynch abandoning FWWM - it is not merely a part of the TP universe, it is central now, like an ominous black hole at the centre of a galaxy.
The symbolic destruction of the TV set at the start of FWWM was a declaration of intent. TP, the TV show, lost direction and focus, as it drifted aimlessly through S2, helmed by a succession of directors who could never hope to replicate Lynch's vision or style. Lynch's S2 finale was a rebuke to much that preceded it, a dark and surreal trip ending on an uncomfortable subversion, the metamorphosis of nice Agent Cooper into Evil Dale, that surely signalled Lynch's uncompromising vision for the future of the saga, so bleakly realised in FWWM.
As time passes, I am ever more intrigued by the mysteries of FWWM.
Frankly, and I know I will be out of step with many of the contributors to this board on this, I care little about Ben Horne, Catherine Martell, The Packard Mill etc.
I want to know more, much more, about Chester Desmond, Phillip Jeffries, Sam Stanley, the mysterious Judy, Carl Rodd and the Tremonds/Chalfonts.
Clearly this mystery is not limited to Twin Peaks. I would like to see Lynch take an expansive view of this mysterious world, to pull the camera back from it's preoccupation with the inhabitants of Twin Peaks and reveal more about Deer Meadow, Seattle and other locations.
I am greatly intrigued by the notion that there could be some, as yet unrevealed, nexus between the worlds of Twin Peaks, Lost Highway and Mulholland Dr. It seems possible that the terrifying Mystery Man from Lost Highway and the Cowboy from Mulholland Dr. are entities that have frequented the Black Lodge and have some connection with The Man from Another Place and BOB.
I am rather taken by Lost in the Movies' suggestion that S3 might unify all of Lynch's work to date. The 'Sinnerman' outro to Inland Empire , with the appearance of Laura Harring/Camilla Rhodes from Mulholland Dr. and the reference to Twin Peaks, suggested that Lynch regards his individual works as pieces of a larger jigsaw puzzle, that can be slotted together to form a unified whole. Personally, I would love to see Lynch 'fold in' at least some of the aspects and characters (particularly the supernatural entities) of the worlds of Mulholland Dr. and Lost Highway to S3, though I concede that might be a controversial view.
So, in summary, my wishes hopes and dreams for S3:
1) Dale Cooper. I hope this series focuses more on 'Evil Dale.'
2) Laura Palmer. She is integral to Twin Peaks and the series is unimaginable without her presence, in one form or another.
3) Agent Chester Desmond. Where happened after he disappeared at the Fat Trout Trailer Park?
4) Phillip Jeffries. I want to know about those missing years. What happened at that meeting? Why did Jeffries say, 'Who do you think this is there?', while pointing at Cooper? Did Jeffries have a premonition of, or an insight into, the future Evil Dale, or was Agent Cooper not quite as innocent as we thought?
5) Judy. Perhaps the most enigmatic figure in all TP/FWWM mythology. I want to know more.
6) Carl Rodd. I want to know more about the places he'd 'gone', and what it was about those places and experiences that made him 'just want to stay' where he was? And what has happened to him, and where has he been, since FWWM? Harry Dean Stanton is wonderful. One look at the world-weary Carl Rodd is all you need to know that he has a tale or two to tell.
7) Albert Rosenfield. Miguel Ferrer is great in this role.
8 ) Gordon Cole. Of course.
9) The Man from Another Place. Almost as integral/iconic as Laura Palmer. TP wouldn't be TP without Michael J. Anderson.
10) Leland Palmer. Ray Wise has to be there. IMO, Leland was the real villain of FWWM, not BOB. No exculpatory sleight of hand in the movie. Leland was a child molester and a murderer, not a nice guy temporarily possessed by evil spirits, as the TV show seemed to suggest.
11) Bobby. Much more complex than the bland James (who, along with Donna, I can take or leave). Bobby gone bad, hopefully.
12) Shelly. I can never get enough Mädchen. Still beautiful after all these years.
13) Agent Sam Stanley. I've grown to like his idiosyncrasies.
14) Annie Blackburn. I love Heather Graham, even if her character in the TV series was rather vapid. Hoping for more from her this time round, if she features.
15) Deer Meadow, Twin Peaks 'ugly doppelgänger'. I want to know more about it and meet more of it's surly, unhelpful residents.
16) Seattle and the room above the convenience store. Who lived there?
17) New young characters and unknown actors. I don't want S3 to be a retirement home. TP was fresh and vibrant when it arrived out of nowhere. It trashed conventions and expectations. I can't see Lynch pandering to the expectations of fans. He's an artist not a populist. Lynch can work magic with unknowns. Fresh-faced innocents have populated his work from Blue Velvet to Mulholland Dr. I simply can't see S3 being all about the oldies, though they will have their part to play. I like the idea of an investigative journalist discovering the world of TP through fresh eyes.
18) Would love to see the beautiful Chrysta Bell feature in this series somewhere, perhaps as a chanteuse. Lana Del Rey would fit right in too.
19) Badalamenti. New Badalementi music is always good news. His soundtrack to FWWM was majestic.
20) I'd like to know more about other Blue Rose cases, and if, and how, they tie in with the mysteries of TP.
21) I would love to see cross-pollination of TP with the essence of other Lynch works, particularly Lost Highway and Mulholland Dr. TP is merely one location (or portal) within the Lynch Multiverse, and I hope that we see some characters, references or echoes from other Lynch works in S3. The Cowboy and The Mystery Man seem particularly compatible with the world/mythology of TP.
22) A synthesis of the best elements of the film and the TV show, ideally closer in tone to the movie. It's 2015 and it's on Showtime - this can be dark, surreal and challenging. Yes, there should, and will be, moments of humour and lightness to leaven the darkness, but let's not smother this in kitsch and wacky humour. My hope is for something darkly beautiful. If anyone is capable of truly transcendent TV it is Lynch.