Whatever you want to call it – Season 3, a “limited series,” or something new entirely, David Lynch and Mark Frost’s Twin Peaks revival is finally upon us, and tasked with discussing its first four episodes, Kate and Simon, are, well, a little overwhelmed. With the recognition that there will be plenty more hours to discuss, your humble hosts take the long view, looking at Lynch’s updated aesthetic tactics, as well as the new series’ expanded sense of both horror and humour.

Kate and Simon face down a couple of occasionally patchy but still fascinating episodes with the help of the brilliant (Dr.!) Sara Ann Swain: “The Man Behind the Glass” and “Laura’s Secret Diary.” Of note this week: missing Bobby and Shelley (and conscious Audrey), Slavoj Žižek and his feelings about flowers/anatomy, Albert’s showstopping monologue, the Josie problem, the series’ use of soap opera tropes and actors, and a whole lot more.

“The legend of how awful [these episodes] are shades your approach to them…not everything in them is terrible…” We wrestle with perhaps the darkest, most awful stretch of Twin Peaks episodes we possibly could, with the help of Olivier Creurer. What can be salvaged from the wreckage? Discussed: the sudden influx of supporting characters, flutes, Poochie, Diane Keaton’s (uh) directorial acumen, flutes, Billy Zane, the series’ behind-the-scenes collapse, flutes, and so, so very much more.

The final episodes of Twin Peaks‘ original ABC run are covered on this week’s podcast, and the momentous occasion brings out a lot of feelings in Kate and Simon – as well as a lot of profound nerdery. A slightly extended episode includes Kate and Simon bonding over their shared hatred of Jacques Tati, a detailed breakdown of the Red Room / Black Lodge sequences, and plenty of questioning as to whether we really needed any of this Miss Twin Peaks business.

Kate and Simon fly solo, which means a whole lot of tangents, trivia, and goofiness ensue, including a particularly juicy bit of archival goodness that is 100% (to the best of our knowledge) exclusive to this podcast. (Exclusive!) Meanwhile, much energy is spent considering the creative role of Jennifer Lynch, the use of non-actors and the influence of nontraditional casting, and the ballad of Josie Packard. Also, many apologies are given, and Simon ponders one of his most profound regrets. (Not really that profound. But a little bit profound.)

As we head into the final stretch of Season 2, things are finally starting to look up – or are they? Guest James Cathcart helps Kate and Simon crawl out from under the worst subplots and new elements of the second season while looking ahead to the (triumphant?) end of the season.

To cap off Twin Peaks‘ first season, Kate and Simon are joined by Goomba Stomp/Sordid Cinema editor and longtime partner in podcasting Ricky D. Does the climactic episode live up to the landmark television that preceded it? We answer this and other questions, like whether or not Leo has been shot enough times, whether Mark Frost cut it in the directors’ chair, and whether or not everyone on the podcast knows who Drake is. (The answer may surprise you!)

Kate and Simon are joined by Connor Denney (@reviewoffilm) to talk “Cooper’s Dreams” and “Realization Time,” Season One’s penultimate episodes. Of particular interest this week: roleplaying, doubling (and tripling!), Audrey, Bobby, amateur law enforcement, and how non-Lynch directors interpret what it is to be “Lynchian.”

With the help of guest Matt Croombs, Kate and Simon dive deep into “Rest in Pain” and “The One-Armed Man” while also pondering, among other things, Twin Peaks‘ place in the late 80s / early 90s political and cultural landscape, how its take on surreal dreamscapes collides and colludes with other threads of representation, and how it squares with some of its contemporaries in the so-called “Golden Age” of television. Also: did you notice all those birds?

In a slightly belated (sorry!), slightly extended outing, Kate and Simon are joined by Jessica Bardsley for possibly the most impactful one-two punch of the entire series, the Season Two openers “Mat the Giant Be With You” and “Coma,” two Lynch-directed episodes with a ton of notable elements, scenes, and flourishes. We dive deep on the music, the impact of Lynch’s return to the directors’ chair, and so very much more.