Episode 1 (Twin Peaks)

Director Duwayne Dunham felt that the interaction between cast members such as Kyle MacLachlan (left, 2011) and Sherilyn Fenn (right, 2012) was the true focus of the series.

"Episode 1" was written by the series creators David Lynch and Mark Frost. The pair had co-written "Pilot", and would also write "Episode 2" together. Frost would pen a further eight scripts for the series after that,[4] while Lynch would write just one episode—the second season opening installment, "Episode 8".[5] The episode was the first in the series to be directed by Duwayne Dunham, who would return to helm two further installments in the series' second season.[6] The episode features the first appearance of Frank Silva as Killer Bob, though the character is not yet identified at this point. Silva was the art director for the series, and had accidentally been caught on camera during a shot. Lynch was pleased with the result and decided to include Silva in the cast from then on.[7]

Dunham had first met Lynch when he worked as the film editor for Lynch's 1986 film Blue Velvet.[8] Dunham then edited "Pilot", and was about to look for another editing job elsewhere when he asked Lynch if the director had another film planned; a week later Lynch decided to film Wild at Heart and asked Dunham to edit that as well.[9] However, Dunham had committed to another project and felt uncomfortable leaving one editing job for another; Lynch then offered him a directing position on Twin Peaks in the interim to justify cancelling his other project.[10] Dunham finished principal photography on "Episode 1" the same day that Lynch finished filming "Wild at Heart".[11]

The introduction of a sexual rapport between the characters of Audrey Horne and Dale Cooper was a suggestion of Dunham's, who felt it would benefit both characters. Dunham felt that the central mystery in the series—the murder of schoolgirl Laura Palmer—was simply a "MacGuffin" to compel what he saw as the real focus, the interaction of the large ensemble cast. As such, he took care to introduce meaningful interactions between characters wherever possible.[12] Dunham also spent time with each of the cast to help them develop their characters, having studied the scripts involved and basing his take on the characters on his experience with "Pilot".[13]

Dunham retained the frequent use of static cameras seen in "Pilot", something he saw as a hallmark of Lynch's directing style;[14] describing the result as "like framed pictures".[15] He also continued the use of a "warm" reddish tint to the footage, using soft coral filters and carefully selected props and costumes to obtain this coloring.[16] This tint was considered important enough that Lynch sent a representative to the network to ensure they understood it was deliberate and not a mistake, for fear that they might correct the saturation to be more "realistic" before broadcasting it.[17]

"Episode 1" was first broadcast on American Broadcasting Company (ABC) on April 12, 1990. Upon its initial airing, it was seen by 14.9 million households, or 27 percent of the available audience.[19] It placed second in its timeslot after Cheers.[20] This marked a decline from "Pilot", which attracted 33 percent of the available audience.[21] The following episode would be viewed by 21 percent of the available audience, representing a further drop in numbers.[22]

Writing for The A.V. Club, Keith Phipps awarded the episode an "A−" rating. He felt that the scene showing Leo Johnson domestically abusing his wife was "among the show's most disturbing moments", comparing it to a scene from the 1990 film The Grifters. Phipps also felt the sound design in the episode was impressive, commenting positively on the blurred distinction between diegetic and non-diegetic music.[23] Writing for Allrovi, Andrea LeVasseur rated the episode four stars out of five.[24] Television Without Pity's Daniel J. Blau felt that the episode showed series composer Angelo Badalamenti to have limited range, repeating several similar musical cues throughout. He also considered Eric Da Re's performance as Leo Johnson to be unconvincing, finding it difficult to believe that the character was as feared and menacing as was implied. However, Blau described the introduction of Killer Bob as still seeming powerful and frightening even several years after first being seen, considering it a potent and disturbing scene.[18]

• "Traces to Nowhere" at Showtime
• "Episode 1" at IMDb
• "Episode 1" at TV.com