Kafka's crime film : Twin Peaks: The Return and the brotherhood of Lynch and Kafka

When David Lynch teamed with veteran showrunner Mark Frost to create ¬ the original Twin Peaks (1990– 1991), critics attempting to codify it labeled it a murder mystery serial. Certainly, the premise seemed to lead in that direction: when the dead body of homecoming queen Laura Palmer (Sheryl Lee) is found, a young FBI agent named Dale Cooper (Kyle MacLachlan) is sent to assist the investigation by the local Sheriff’s Department. However, the first two seasons of Twin Peaks would soon transcend the limitations of generic boundaries in much the same way Lynch’s cinematic works refuse a similar rudimentary classification. The paranormal became inextricably interlaced with the show’s soap-opera skeleton. The resolution of Laura’s murder became a turning point in the original series; rather than concluding the mystery, it introduced more potent philosophical questions on the nature and origins of the evil responsible. It was revealed that BOB (Frank Silva), the interdimensional entity that had possessed Leland Palmer (Ray Wise) and effected the murder of his daughter, had escaped the bounds of a place called the Black Lodge. The pursuit of the Black Lodge by Season Two’s main antagonist Windom Earle (Kenneth Welsh) revealed a deeper mythology about the woods, and the eternal struggle between light and dark, good and evil.