1 See Jowett for more on the roles of parody and homage in the afterlife of Twin Peaks.
2 The Salish Lodge and Spa in Snoqualmie doubled as the Great Northern Hotel, but the Great Northern’s interiors were shot at the Kiana Lodge in Poulsbo. The exterior of the latter location served as the Martell home.
3 Packard, the maiden name of Laurie’s character Catherine Martell, is also the surname of her character in The Hustler, Sarah Packard, as well as the boss of Lynch’s father in Boise, Idaho, when he worked for the US Department of Agriculture (Lynch and McKenna 23).
4 For a comprehensive mapping of the intertextual references in the series, see Halskov 146–51. According to his interview with Caleb Deschanel, director of Episodes 6, 15, and 19, Frost was conscious of film and television citations in the larger story and discussed them with Deschanel, but Lynch was tight-lipped about the intertextuality.
5 For further investigations of this phenomenon, see: Hayes and Boulègue; Halskov; Hills; Jenkins; and R. Williams. See also Smith, Goddard, and Fairclough for a special issue of the journal Series dedicated to the fan cultures of Twin Peaks.
6 See Lim for a critical biography of Lynch, and Todd for a study of his reputation. Both writers address the relationship between his status as an auteur and his public image.
7 See Ayers for more on melodrama and the “sincere emotional engagement” (95) of Twin Peaks. For more on the series as a soap opera, see Halskov and Linda Ruth Williams.
8 See Naremore, More than Night, for more on noir as a “mediascape” rather than as a category of films alone.
9 See also Reeves et al. for a discussion of Twin Peaks in the context of postmodernism and television.
10 For an excellent discussion of race, place, and nation, which indirectly touches on the western location, see Guan.
11 Tim Hunter, a self-identified “film buff,” has acknowledged the influence of film noir and the Technicolor melodramas of Sirk and Vincente Minnelli on the episodes he directed (Episodes 4, 16, and 28). See Halskov 148–49.
12 Fenn went on to play Elizabeth Taylor in the made-for-television film Liz: The Elizabeth Taylor Story (NBC, 1995), and Tamblyn reprised his character for three episodes of General Hospital in 2000.
13 For an in-depth analysis of Angelo Badalamenti’s score, see Norelli.
14 The real house is located in Everett, Washington, and the real owner (as of 2014) plays Alice Tremond in Part 18 (Ivie). Lynch used this same house for Twin Peaks: Fire Walk with Me and the pilot. A different house located in Monroe, Washington, was used for exterior shots in the first two seasons.
15 See Scheibel for a similar argument about Lynch’s Mulholland Drive.
16 See Martin for a larger discussion of Lynch’s use of architecture and design in Twin Peaks.
17 See Thain for a reading of the “dance moves” in Twin Peaks.
18 See Hallam, Twin Peaks, for more on this idea.
19 Thomas Leitch wonders, indeed, if “all adaptations are performances” (“Adaptation and Intertextuality” 99), and, in an intriguing related discussion, Kyle Meikle demonstrates how adaptations provide a “unique series of interactivities,” including between “old materials and new, old media and new” (555).