Personally, I loved it. There are plenty of moments in these last two episodes aimed at fans of the show: like Cooper calling the Twin Peaks police station to ask if the coffee’s on, or Lucy shooting Mr. C (then saying, adorably, “I understand cellular phones now!”), or the return of Julee Cruise to the roadhouse stage or the reprise/reimagining of scenes from the pilot and from “Fire Walk with Me.”

The best moments throughout “Twin Peaks: The Return” though could be enjoyed as pure televisual poetry, regardless of their larger meaning. Watching these two hours felt at times like falling into a trance. Lynch employs a lot of his best techniques and motifs: such as making his actors’ movements look unnatural by running the film backward, and “cracking” the image on the screen to reveal something beneath the surface. The branching reality recalls Lynch’s films “Lost Highway” and “Mulholland Dr.,” where characters’ personalities, circumstances, and even names change from scene to scene.

Mostly though, this finale felt like a recalibration. In the recent documentary “David Lynch: The Art Life,” the director tells the story of how he started smoking, drinking and sneaking out at night after his family moved to Virginia when he was a teenager, and admits, “It was almost like I couldn’t control it.”

I thought about that during these last two episodes of “Twin Peaks: The Return,” and especially when the Arm repeated a question that Audrey asked a few weeks back: “Is it the story of the little girl who lived down the lane?” For Lynch, that’s never really been the story. He’s spent much of his life and career preoccupied by the mysteries of compulsion, and fascinated by how there’s only a few degrees of difference between a good person and a bad one.

Like so many longtime “Twin Peaks” fans, Agent Cooper approaches the end of his adventure with the dogged belief that his mission has always been about avenging Laura Palmer, and preventing young women like her from being hurt in the future. But if “The Return” has made anything plain about Lynch and Frost’s vision for “Twin Peaks,” it’s that they see corruption and tragedy as inevitable, regardless of the time, place or generation. They do see the glow within people too, and the bonds we forge. But in a way that just makes the ends we all come to more heartbreaking.

So “satisfying” would be the wrong word to describe any “Twin Peaks” ending. But it’s not all bleak, either. Anyone looking for comfort should just know that at least there’ll always be another Cooper, in another one of his guises, working to see if this time he can make everything turn out all right. He just can’t help himself.