Which was obviously a direct response to you saying “All I am suggesting is Lynch gaining the sort of talk and interest in whatever he's up to that happened with Blue Velvet and Wild at Heart”. You compared the reception of the two in the first place, so it’s a bit rich to call people silly for joining in your conversation. But whatever...I was responding to your comment -
"In terms of critical reception and cultural significance the Return is clearly every bit as important as either of those films (probably a great deal more than WAH)."
The Return could have been more accessible, but it would have meant consciously tailoring the story as a new beginning. Another FBI agent is working on a case with seemingly supernatural elements, and discovers records pertaining to a similar case from over two decades ago, in a small North West town called Twin Peaks...
That kind of template allows newcomers to discover the world and mythology through the eyes of a new character, easing them into the narrative. It is the reason why every reboot under the sun now adopts this approach. This means that this kind of delayed sequel feels stiflingly familiar however, and I am grateful that Lynch and Frost eschewed this formula for something richer and more audacious.