Building on the insight that elements of self-referentiality and self-reflexivity in Twin Peaks are often situated at the interfaces between reality and fiction and thus generally correspond with the fantastic ‘outside’ of the series’ reality, comparable phenomena in Twin Peaks: The Return are to be examined and contextualized. Like the first two seasons, the third season of the series frequently communicates its own constructedness through the thematic use of audiovisual elements, mise-en-abyme structures, and the disclosure of media structures, thereby making poetological statements about its peculiarities and its mediality. In the present analysis, the self-observation of media as well as medial preconditions—among other things present in the dominant motif of electricity—is the focus, in order to explain to what extent the idea of self-reference is related to the central structural principles of the series.