— David Lynch (@DAVID_LYNCH) 6 Ottobre 2014
Con questo Tweet ieri David Lynch ha annunciato il seguito di Twin Peaks, che andrà in onda su Showtime presumibilmente nei primi mesi del 2016.
Intanto Matt Buchanan ha dato le quote per le scommesse sul destino di questo sequel:
there is, roughly speaking, a twenty percent chance that the new limited series will elevate Twin Peaks; a forty percent chance that it will make it slightly worse; a thirty percent chance that it will stay the same; and a ten percent chance that it will truly and completely ruin it forever. I would take those odds, I think.
Interessante anche l’analisi di Alison Herman su Flaworwire. Il motivo di tutto il buzz che Twin Peaks è riuscita a creare intorno a sé è probabilmente dovuto ai cosiddetti Millenium:
Twin Peaks’ surge in popularity among those of us who weren’t even alive when it first aired is partly due to the defining difference between our viewing habits and those of our forebears. As live viewing has become just one of many ways we watch TV, the need for shows to actually be on the air in order to be trendy has diminished. It’s become common practice to put off seasons of even hit shows like Mad Men until they show up on Netflix, and Breaking Bad didn’t become, well, Breaking Bad until it had time to shore up a small army of dedicated streamers. So when Twin Peaks showed up on our stepbrother’s friend’s mom’s account at no extra charge, it didn’t matter that the show was pushing 25. It mattered that we didn’t have to catch a rerun by chance, or take the time to hunt down a physical copy.
The availability wouldn’t have mattered, obviously, if Twin Peaks wasn’t Twin Peaks. (Netflix and Hulu Plus and Amazon Prime, after all, have seven Hansel & Gretel: Witch Hunters for every Gilmore Girls, and none of those are getting a Showtime revival.) David Lynch’s foray into primetime appealed to its 2010s audience for many of the same reasons it was a hit during its original run: the idiosyncrasies; the suspense (who killed Laura Palmer, sure, but more importantly, who the hell is Diane?!); the uncanny mix of wholesome and freakish that characterizes so much of Lynch’s oeuvre.