Cool your jets, David.
Cool your jets, David. Showtime

Last night I dreamt that David Lynch and I lived in the same apartment building. Dream Lynch was an unpleasant neighbor—he repainted his unit a different color every single day, and the fumes were unbearable. Then this morning I awoke to learn that the real Lynch just implied he's open to making another season of Twin Peaks: The Return. Here's the thing: That's a bad idea. Both Davids just need to cool their jets.

Welcome to Twin Peaks reports that earlier this week Lynch did a Skype interview at Serbia’s Belgrade Culture Centre, where he currently has his “Small Stories” photo exhibition on display. It was his first public appearance since the finale aired nearly two weeks ago. My mind is still unspooling in the wake of it—I can't claim to understand what happened, seeing as the last two episodes resolved precious few of the series' enduring mysteries, and posed far more questions than they answered.

Lynch was characteristically cagey with his responses during the Belgrade Culture Centre Q&A session; when an audience member asked what happened to Audrey Horne, who we last saw in what appeared to be a mental health institution, the director said, "What matters is what you believe happened. Many things in life just happen and we have to come to our own conclusions. You can, for example, read a book that raises a series of questions, and you want to talk to the author, but he died a hundred years ago. That’s why everything is up to you."

When asked if there'd be a fourth season, Lynch simply stated, “It took me four and a half years to write and film this season.” It's not a hard "yes," but he's leaving the door open.

Though the finale was confusing, I do know (well, I think I know) that Diane's note to Cooper in the motel room addressed to "Richard," from "Linda" suggests that they've entered a new reality. This is confirmed when Cooper/Richard takes Laura Palmer/Carrie Page from Odessa, Texas, back to Twin Peaks, where they discover her childhood home is now occupied by Alice Tremond (the name of the old lady with the creamed corn grandson Laura visited for Meals on Wheels). Then—in a very Mulholland Dr. turn of events—they hear someone bellow "LAURA" from inside the house and Laura/Carrie lets out one final, dimension-rupturing scream.

Our last visit to Twin Peaks was not to the Twin Peaks we'd fallen in love with. It was to someplace entirely new, populated by strangers with different dreams. But, as Daniel J. Cecil points out in his recap of the finale, Laura/Carrie's scream represents the fact that "Dale can’t change the fact that trauma has happened and will happen again. He cannot change the fact that no matter how woke or transcendent he might become, evil still lives in the world." This new place is Twin Peaks—the same darkness (or "Judy") still lingers there—but it's also not.

That's exactly how Lynch should leave it. We don't need to know what happens to the imperiled Audrey or the shit-shoveling Dr. Jacoby. The finale's complete inversion of everything and everyone we'd come to know and love somehow made for the perfect ending. The absurdity of it all felt painfully real.

In Twin Peaks: The Return, David Lynch has Created a Fiction with Consequences
The Finale of Twin Peaks: The Return Is This Sunday, and We've Got Some Questions
The Twin Peaks Revival Is a Reminder of How the Original Impacted My Life.
Counterpoint: I Watched the New Twin Peaks And I Guess I Just Won't Be Sleeping on Sunday Nights Anymore
Point: Am I The Only One Who Didn't Like the Twin Peaks Revival?