There’s a milky pink beverage on the table of Sylvia Horne’s home when Richard - her grandson - storms in to steal her money and jewels, in what may be the most nigh-unbearably unpleasant scene in “Twin Peaks: The Return” so far. That scene comes early in the episode, and is filled with so many vivid details that show how much Lynch and his crew are on their game: from the mismatched paint job on Richard’s car to the way Miriam is barely visible behind her glass door as the young Horne’s reflection fills the rectangle. There are pink flamingoes on the lawn of another Twin Peaks RV-dweller, Miriam Sullivan, when another next-generation Twin Peaks nogoodnik, Richard Horne, beats her to death for sending a letter to the police about his hit-and-run. The color that dominates this episode, though, is pink - and not an eye-popping neon pink, but a softer, hazier, almost sickly shade. and this garish red hunk of ceramic comes flying through, accompanied by an ugly yowl. What most stands out about the fight is that it shatters a quiet, peaceful moment, with Carl Rodd sitting outside, strumming a guitar, singing “Red River Valley.” The colors outside are so light, and gentle on the eyes. That scene doesn’t last long enough for us to find out anything more about the Burnetts. Red is also the color of the coffee cup that Steven Burnett flings through the window of an RV while he’s yelling incoherently at Becky Burnett. That’s the unmistakable color of the Joneses’ door in their cookie-cutter Las Vegas subdivision and it’s the color of the shoes that Janey-E’s wearing when she slowly realizes that the new version of her old husband has become sexually desirable. This week’s episode is maybe the most color-conscious one of the new “Twin Peaks.” As has been the case throughout the run of the show - dating from Agent Dale Cooper’s first dream sequence in 1990 - the hue that pops the most is red. Unlike the original series, which brought cinematic depth to network television, the new one exploits digital’s tendency toward murkiness whenever there’s anything other than a bright color on the screen. One of the somewhat surprising pleasures of this revival then has been how great the show looks, thanks in large part to how the director has mastered using these new cameras to get the effects he wants. Before his return to “Twin Peaks,” David Lynch had been working a lot with digital video, in various shorts and in his 2006 film “Inland Empire.” Lynch being Lynch, he often seemed more interested in accentuating the flatness and fuzziness of the image than in tweaking the technology to try to replicate the richness of film.
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