Twin Peaks the Return: Boy, did it look good

Let's take a break from analyzing Twin Peaks the Return and marvel how it looked. It was shot with an Arri Amira, a lightweight digital documentary camera, not like the original show that was shot on film, by cinematographer Peter Deming, who worked with Lynch on Lost Highway and Mulholland Drive before. As beautiful as those movies looked, especially Mulholland Drive the DP has outdone himself here.
Here are my favorite scenes of the Return. What are some of yours?

My absolute favorite is the shot traveling through the trees when Bobby takes Hawk, Andy and Frank to Jack Rabbit's palace. The moss covered trunks, vibrant and green, contrasted with the locales we have seen those gentlemen before, indicating that we are going somewhere beautiful, strange and wild.

A longer sequence that delighted me, was Dougie's long drive out of Las Vegas to the desert. Again, it clashes with Dougie's usual surroundings, that are quite claustrophobic, a small house, an office where there are windows everywhere, no privacy. We observe the car from above, seeing the Strip dissolving into the Vegas desert. Having two gangsters wait for you, a grave already dug, spells disaster, but the way these shots are composed and edited gives an exhilarating feeling that will be reflected in the good outcome for Dougie and the Mitchum brothers.

Couldn't find the scene, but the culmination is pretty cool too. Love the composition, with Dougie and the box out of focus while the brothers discuss the cherry pie dream.

Much has been said about the sequence with Steven and Gersten huddled up against the tree. It was difficult to understand what he was saying, and we are not sure what happened, although it was pretty obvious. But these two, both in cherry red, enveloped by the deep green forest, was a gorgeous shot, that made what Steven was mumbling, about a Rhinoceros and turquoise, irrelevant.

Talking about colors, everything about Diane is stark, in primal colors, very costum-y, vibrant and strong. The shot of her sitting in the chair in the Black Lodge, with her (yes!) turquoise top, her white hair, her red shoes, giving us a last Fuck you, from a low angle was masterful in composition, and packed the same punch as her comebacks.

Twin Peaks the Return best scenes Diane

Speaking about Steven, we don't really know what happened to Becky either. Well, nothing good that is for sure. But even if we never will get an answer about her fate, this shot encapsulates all of her story, reminding us of Laura. From ecstasy of drug addiction to the ecstasy of Laura when she sees the angel in the lodge at the end of Fire walk with me. The shot of Becky's face after having taken a hit, driving in Steven's car, looking up to the sky, feels almost invasive. We share this internal moment, she looks so happy, still this a moment that is as dark as they come. Sealing her fate. Made beautiful as the sustained closeup of her face is.

Episode eight was a cinematographic marvel, where silent movies, blended with choppy and very elaborate special effects, all gorgeous deep black and white tones, culminating in that shot of the girl falling asleep, while the frogmoth entered her room and her mouth. Horrifying, but boy did it look good.

And last one, there are many more of course ( Every shot of with Candy in it!). In one of the most controversial scenes of the run, when Coop and Diane are having sex in the motel, the camera holds Coop's face, framed behind Diane's shoulder for a long time. Shadows fall on Kyle's face. He was never lit like this before. His face immobile, but his eyes are not expressionless. It was an uncomfortable moment for a lot of people, but I was mesmerized by the noirish lighting, and the mystery in Coop's face.
I couldn't find the clip, but let me leave you on a lighter note...