*Brooke McCorkle argues that sound in The Return marks a shift from previous seasons – in that it is often ‘hyper-rendered not just for an ephemeral “jump scare” moment, but rather [is] in service of the story and/or the overarching aesthetic of the Twin Peaks world’. A core part of this aesthetic rendering of the world is that it becomes ‘real’ only in certain spaces. McCorkle focuses on electricity, something that has fascinated Lynch throughout his career, and which she connects to the manner with which the nature of evil is presented within the season – ‘like electricity, she says, the evil is transitory or, to put it better, transmigratory’.
*Dean Hurley explained in an interview that electricity is written into the script of Twin Peaks: The Return, and that his bespoke library of electricity sounds ‘became a defining signature of the show’. (Marshall Kingsley, Rupert Loydell, "Sound Design, Music and the Birth of Evil in Twin Peaks: The Return", Music and the Moving Image, 24-27 May 2018, NYU Steinhardt, New York.)