ABSTRACT
On December 18, 2015, the Showtime network released its first teaser trailer for a long-awaited series: the revival of genre-defying 1990s hit show Twin Peaks. The trailer showed strikingly little of the show, its actors, or its eventual plot. As fans took apart the teaser trailer and listened to its sounds, it became clear that the aural world of Twin Peaks would retain its mysterious importance. In 2015, as in 1990, the sound of Twin Peaks announced its singularity in the televisual landscape. Fan engagement and advertising play an important role in the dissemination of a televisual product. Television commercials, soundtrack production, and fandom contributions all allow for the fans to participate in the world of a television show in ways that they otherwise might not. James Deaville examines the television advertising campaign for the first two seasons of Twin Peaks. He considers the ways in which these commercials’ use of Badalamenti’s score functions in the context of promotional media.
