Let's talk about the crazy score of the new Twin Peaks

The revival sounds very different from the original. Here's why.

Twin Peaks, Part 8.
(Image credit: Suzanne Tenner/SHOWTIME)

The latest episode of Showtime's revival of Twin Peaks was the Black Lodge of TV. Part eight begins normally enough (for an episode of David Lynch's oddest and longest-running creation, anyway), but it evolves into something closer to an experimental film — a kind of innocence-smashing mash-up of Terence Malick's Tree of Life, Kubrick's 2001: A Space Odyssey, film noir, sci-fi, nostalgic Americana, and — most importantly — fear. Or garmonbozia, to steal a term from the show — the pain and sorrow spirit-villains consume like creamed corn.

Nobody knows what to make of part eight — me especially! — so let's talk about the music. Specifically, about the episode's use of Penderecki's Threnody to the Victims of Hiroshima. Lynch used Threnody to score a long sequence in which the camera zooms into the mushroom cloud of the July 16, 1945, Trinity nuclear test. It's a little on the nose, as these things go — a piece dedicated to the victims of the atomic bomb scoring footage of the first atomic bomb.

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Lili Loofbourow

Lili Loofbourow is the culture critic at TheWeek.com. She's also a special correspondent for the Los Angeles Review of Books and an editor for Beyond Criticism, a Bloomsbury Academic series dedicated to formally experimental criticism. Her writing has appeared in a variety of venues including The Guardian, Salon, The New York Times Magazine, The New Republic, and Slate.