Before the one-and-a-half-hour pilot episode premiered on television, a screening was held at the Museum of Broadcasting in Hollywood. Media analyst and advertising executive Paul Schulman said: "I don't think it has a chance of succeeding. It is not commercial, it is radically different from what we as viewers are accustomed to seeing, there's no one in the show to root for." In
The New York Times, John J. O'Connor wrote: "
Twin Peaks is not a send-up of the form. Mr. Lynch clearly savors the standard ingredients ... but then the director adds his own peculiar touches, small passing details that suddenly, and often hilariously, thrust the commonplace out of kilter."
Entertainment Weekly gave the show an "A+" rating, and Ken Tucker wrote: "Plot is irrelevant; moments are everything. Lynch and Frost have mastered a way to make a weekly series endlessly interesting."
Richard Zoglin in
Time magazine said that it "may be the most hauntingly original work ever done for American TV". The two-hour pilot was the highest-rated movie for the 1989–90 season with a 22 rating and was viewed by 33% of the audience. In its first broadcast as a regular one-hour drama series,
Twin Peaks scored ABC's highest ratings in four years in its 9:00 pm Thursday time slot. The show also reduced NBC's popular sitcom
Cheerss ratings.
Twin Peaks had a 16.2 rating, with each point equaling 921,000 homes with TVs. That audience had dropped 30% from the show's first appearance on Thursday night. This was a result of competing against
Cheers, which also appealed to the same demographic that watched
Twin Peaks. A production executive from the show spoke of being frustrated with the network's scheduling of the show. "The show is being banged around on Thursday night. If ABC had put it on Wednesday night it could have built on its initial success. ABC has put the show at risk." The show achieved its best ratings since its third week on the air with a 12.6 and a 22 share of the audience. On May 22, 1990, it was announced that
Twin Peaks would be renewed for a second season. In the first and second season, the search for Laura Palmer's killer served as the engine for the plot and captured the public's imagination, although the creators admitted that this was largely a
MacGuffin. Each episode was really about the interactions between the townsfolk. Critics have noted that
Twin Peaks began the trend of accomplished
cinematography now commonplace in today's television dramas. Lynch and Frost maintained tight control over the first season and served as
showrunners, handpicking all of the directors, including some whom Lynch had known from his days at the
American Film Institute (e.g.,
Caleb Deschanel and
Tim Hunter) and some referred to him by those he knew personally. Lynch and Frost were less involved and exercised less control in the second season, corresponding with what is generally regarded as a decrease in the show's quality once the identity of Laura Palmer's murderer was revealed. While Frost and Lynch technically remained showrunners after
Episode 14, the episode in which the killer's identity was revealed, Lynch had little creative control over the direction of the series from that point forward other than
the season finale. Frost became less involved after
Episode 16 and became more involved again with Episode 26 onwards. After Episode 14, series producers
Harley Peyton and
Robert Engels served as additional showrunners along with Frost and Lynch. The aforementioned "water cooler effect" put pressure on the show's creators to solve the mystery. Although they claimed to have known from the series' inception the identity of Laura's murderer,
Critical acclaim , where
Twin Peaks was nominated for fourteen awards. He was nominated for directing and co-writing the
pilot episode. For its first season,
Twin Peaks received fourteen nominations at the
42nd Primetime Emmy Awards, for
Outstanding Drama Series,
Outstanding Lead Actor in a Drama Series (Kyle MacLachlan),
Outstanding Lead Actress in a Drama Series (Piper Laurie),
Outstanding Supporting Actress in a Drama Series (
Sherilyn Fenn),
Outstanding Directing for a Drama Series (David Lynch),
Outstanding Writing for a Drama Series (David Lynch and Mark Frost), Outstanding Writing for a Drama Series (Harley Peyton),
Outstanding Art Direction for a Single-Camera Series (
Patricia Norris and Leslie Morales),
Outstanding Original Main Title Theme Music (Angelo Badalamenti and David Lynch),
Outstanding Music Composition for a Series (Original Dramatic Score) (Angelo Badalamenti),
Outstanding Original Music and Lyrics (Angelo Badalamenti and David Lynch), and
Outstanding Sound Editing for a Series. On
Rotten Tomatoes, the first season received a 91 percent approval rating with an average score of 8.95 out of 10 based on 118 reviews, with a critics consensus of: "
Twin Peaks plays with TV conventions to deliver a beguiling – and unsettling – blend of seemingly disparate genres, adding up to an offbeat drama with a distinctly unique appeal."
Metacritic scored the season 96 out of 100 based on 17 reviews. For its second season, it received four nominations at the
43rd Primetime Emmy Awards, for Outstanding Lead Actor in a Drama Series (Kyle MacLachlan), Outstanding Supporting Actress in a Drama Series (Piper Laurie), Outstanding Sound Editing for a Series, and
Outstanding Sound Mixing for a Drama Series. At the
48th Golden Globe Awards, it won for
Best Television Series – Drama, Kyle MacLachlan won for
Best Performance by an Actor in a TV Series – Drama, Piper Laurie won for
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for TV; while Sherilyn Fenn was nominated in the same category as Laurie. Numerous publications have listed
Twin Peaks among the
greatest television series of all time. The pilot episode was ranked 25th on
TV Guides 1997
100 Greatest Episodes of All Time. It placed 49th on
Entertainment Weekly "New TV Classics" list. In 2004 and 2007,
Twin Peaks was ranked 20th and 24th on
TV Guides Top Cult Shows Ever, and in 2002, it was ranked 45th of the "
Top 50 Television Programs of All Time" by the same guide. In 2007, UK broadcaster
Channel 4 ranked
Twin Peaks 9th on their list of the "50 Greatest TV Dramas". In 2007,
Time included the show on their list of the "100 Best TV Shows of All-Time". In 2011,
Empire listed
Twin Peaks as the 24th best TV show in their list of "The 50 Greatest TV Shows of All Time". In 2012,
Entertainment Weekly listed the show at no. 12 in the "25 Best Cult TV Shows from the Past 25 Years", saying: "The show itself was only fitfully brilliant and ultimately unfulfilling, but the cult lives, fueled by nostalgia for the extraordinary pop phenomenon it inspired, for its significance to the medium (behold the big bang of auteur TV!), and for a sensuous strangeness that possesses you and never lets you go." It was ranked 20th on
The Hollywood Reporters list of Hollywood's 100 Favorite TV Shows.
Declining ratings (seen here in 2011) to the cast. With the resolution of
Twin Peaks main drawing point (Laura Palmer's murder) in the middle of the second season, and with subsequent storylines becoming more obscure and drawn out, public interest began to wane. This discontent, coupled with ABC changing its timeslot on a number of occasions, led to a huge drop in the show's
ratings after being one of the most watched television programs in the United States in 1990. Due to the
Gulf War,
Twin Peaks was moved from its usual time slot "for six weeks out of eight" in early 1991, according to Frost, preventing the show from maintaining audience interest. A week after the season's 15th episode placed 85th in the ratings out of 89 shows, ABC put
Twin Peaks on indefinite
hiatus, a move that usually leads to cancellation. An organized letter-writing campaign, dubbed COOP (Citizens Opposed to the Offing of
Peaks), attempted to save the show from cancellation. The campaign was partly successful, as the season returned to airing on Thursday nights for four weeks from late March. The series then went on another hiatus, before the final two episodes of the season aired back-to-back on June 10. According to Frost, the main storyline after the resolution of Laura Palmer's murder was planned to be the second strongest element from the first season that audiences responded to: the relationship between Agent Cooper and Audrey Horne. Frost explained that Lara Flynn Boyle, who was romantically involved with Kyle MacLachlan at the time, had effectively vetoed the Audrey–Cooper relationship, forcing the writers to come up with alternative storylines to fill the gap. Sherilyn Fenn corroborated this claim in a 2014 interview, stating: "[Boyle] was mad that my character was getting more attention, so then Kyle started saying that his character shouldn't be with my character because it doesn't look good, 'cause I'm too young... I was not happy about it. It was stupid." This meant the artificial extension of secondary storylines, such as James Hurley and Evelyn Marsh, to fill in the space. After ratings began to decline, Agent Cooper was given a new love interest, Annie Blackburn (
Heather Graham), to replace the writers' intended romance between him and Audrey Horne. Despite ending on a deliberate audience-baiting cliffhanger, the series finale did not sufficiently boost interest, and the show was not renewed for a
third season, leaving the cliffhanger unresolved. Lynch expressed his regret at having resolved the Laura Palmer murder, saying that he and Frost had never intended for the series to answer the question until the very end of the series, after many seasons, and that doing so "killed
the goose that laid the golden egg." Lynch blamed network pressure for the decision to resolve the Palmer storyline prematurely. Frost agreed, noting that people at the network had wanted the killer to be revealed by the end of season one. Their statements were corroborated by former ABC executive
Bob Iger in his 2019 memoir,
The Ride of a Lifetime, where he wrote that after ABC pushed for the killer to be revealed prematurely, there was an immediate decrease in the show's quality. Looking back, Frost has admitted that he wished he and Lynch had "worked out a smoother transition" between storylines and that the Laura Palmer story was a "tough act to follow".
Fire Walk with Me polarized critics upon its release, especially in comparison to the widespread acclaim of the series. The film was nominated for the
Palme d'Or at the
1992 Cannes Film Festival. It grossed US$1.8 million in 691 theaters on its opening weekend, and went on to gross a total of $4.2 million in North America. The film has developed a
cult following over time and been positively reevaluated in the 21st century, and it is now widely regarded as one of Lynch's major works and one of the greatest films of the 1990s. The release of the third season in 2017, which made many references to the film, led to additional renewed critical and scholarly interest. ==Influence==