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The article explores the narrative complexities and temporal disruptions in the Twin Peaks franchise, focusing on Twin Peaks: The Return (2017), in contrast to the original series Twin Peaks (1990–91) and its prequel, the film Twin Peaks: Fire Walk with Me (1992). It examines how The Return reconfigures established knowledge structures within the universe by blurring the boundaries between its different dimensions and the events of its past, present and future. Berys Gaut’s notions of cinematic realism provide a framework for understanding the differences between The Return and its predecessors. Additionally, Jacques Derrida’s concept of the aporia, which refers to the point of the non-passage, is central to grasping the ontological and epistemological crises that arise. The discovery of Laura Palmer’s corpse functions the inciting incident of the early version’s narrative and the whole universe. The late series returns Dale Cooper to the past to save Laura Palmer, as his actions change the course of the Twin Peaks history. This transformative event shatters Twin Peaks and undermines its perception of time, producing another source and a double Twin Peaks history, as it performs a work of visual anamnesis. Therefore, Gilles Deleuze’s ideas of the crystal-image, the crystal-time and false narration, and Anat Zanger’s concept of tangled hierarchies, are employed to reconstruct logic and illustrate the presence of simultaneous temporalities in The Return.