David Lynch and company are interested in asking many questions about the nature of good and evil, the soul, and the universe, discussions that play out in Cooper’s interest in Tibetan philosophy and the ambiguity of what BOB truly represents. Yet it’s also a show with a deep romantic streak
“Slaves And Masters” is an episode of Twin Peaks that’s ripe with the feeling of change. The plots that the show spent too much time on over the last few episodes are finally drawing to a close, and the mysterious figures—Windom Earle, Thomas Eckhardt, Andrew Packard—are emerging from the shadows.
One of the early ideas behind Twin Peaks was that the murder of Laura Palmer was never intend to be the central focus of the show for long—in fact, David Lynch and Mark Frost are often cited that if they’d had their way the murderer would never be revealed. Instead, it was meant as a mechanism to introduce us an audience into the world of Twin Peaks, meeting the various eccentrics and peeling back the curtain—red or otherwise—hanging over their secrets. The town would generate stories on its own, and eventually questions of Laura and her death would fade away into the ether.
With the sheer breadth of stories being told on an average episode of Twin Peaks, it’s startling to take a step back and realize that each episode only covers a period of 24 hours. While not as slavishly devoted to calling attention to its timeframe in the way The Killing or 24 was, Twin Peaks is a show focused on the day-to-day of the town, beginning each episode with the prerequisite cup of coffee and ending on the wind blowing through the deserted streets and forest. The basic nature of that structure only makes it more remarkable to consider how much happens in a single day, and how good the writers are at keeping the momentum of each plot going as the season progresses.
When the viewer enters the world of Twin Peaks, they do it at close to the exact same time Laura Palmer leaves it. Whoever she was is gone entirely, departed off to heaven, hell, the darkness in the woods, the strange red room in Cooper’s dream, or perhaps to nowhere at all. Cooper and the Twin Peaks police department can overturn every stone in town until they find the killer, but nothing they do is going to bring her back. The only thing that’s left behind is a body growing colder by the minute, and the memories of a town that loved her without truly understanding anything about her.