{"id":184285,"date":"2021-02-06T00:00:53","date_gmt":"2021-02-06T05:00:53","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=184285"},"modified":"2023-12-16T23:43:29","modified_gmt":"2023-12-17T04:43:29","slug":"twin-peaks-episode-7-the-season-1-finale-is-a-tapestry-of-dangling-threads","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2021\/02\/06\/twin-peaks-episode-7-the-season-1-finale-is-a-tapestry-of-dangling-threads\/","title":{"rendered":"Twin Peaks Episode 7: The Season 1 Finale is a Tapestry of Dangling Threads"},"content":{"rendered":"

Twin Peaks<\/em> has always been both a TV show and a show about TV, making references to itself and to the broader medium of which it is a part. Its characters are like the dreamer who dreams and lives inside the dream, but this is a dream we are invited to share—it extends beyond the boundaries of the set and into the \u201creal world\u201d at the same as it blurs the lines of what is real and what isn\u2019t. In Episode 7 (the Season 1 finale, written and directed by Mark Frost), Montana is shot on screen in Invitation to Love<\/em> as Leo is shot on our screens in Twin Peaks<\/em>, and the whole episode itself plays like a soap opera or overblown season finale full of cliffhangers.<\/p>\n