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#593 - On High in Blue Tomorrows (Part 1) (Patreon)

Published:
2025-01-29 17:36:55
Imported:
2026-06
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Content

We pay tribute to the late, great David Lynch with a two-part discussion of his strangest, most abrasive, and arguably most innovative feature. We discuss how INLAND EMPIRE (2006) confounded expectations with its low-budget production, free-associative style, and startling use of digital video, and begin to unpacked its multilayered story.

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Comments

Blank

Oh fuck yes

Shane

I'm ready.

Jeremy Hawkins

I had just watched fire walk with me the morning he died and I felt like he was just beginning to open up to me. I think that the scene at the beginning with Lil the dancing girl was an extremely funny critique of his critics obessed with decoding his movies. To a certain extent I feel like Matt Farley and Charles Roxburgh's movies have helped me appreciate surrealism more. Like, in Don't let the riverbeast get you, Matt has a close relationship with his goddaughter, but he doesn't realize that that's weird, but also it's not really weird, its not wrong, you just notice it and it gets you going. And even in the worst interpretation of Pryor's scene in lost highway, I think that's the field that he's playing in. I think this also works into my theory that Ebert is above all else an idealist. He rejects Lynch because surrealism is in direct conflict with idealism and if Ebert were to soften on Lynch it's not because he is growing to appreciate thinking outside the box, it's because he's fabricated an idol of Lynch and found a place where it fits in his idea of what a movie is. Talking backwards is surreal, but so is a guy who tries to bring Tibet into a conversation for no clear reason other than the fact that it's on his mind.

Blank

Wow he seems to have been into stabbing with screwdriver type things—inland empire, Ike the spike in s3 of twin peaks

Oliver Crane

Just curious, have you guys read any of Tim Kreider’s writing on Lynch? I often go back to this - http://quarterly.politicsslashletters.org/dreamer-twin-peaks-return/ Which is mostly about Twin Peaks The Return and where it sits in relation to Lynch’s later work, but also includes this interpretation of The Straight Story: The Straight Story, which at first looks like a departure from this pattern, conceals a darker story beneath its golden-hour surface: kindly Alvin Strait was once a mean drunk who started a fire that burned one of his grandchildren, causing his daughter’s children to be taken from her. His interstate journey by lawnmower is a pilgrimage not just of reconciliation but penance.

Jane

Proud hater of this movie, though I love Laura Dern. I can't handle the way it looks, or any of it. Maybe I have a David Lynch allergy.

giant gorilla

There's a fake ear prop from Blue Velvet at Movie Madness here in Portland. Lynch made it himself and glued strands of his own hair on it. I intend on stealing it and cloning him Boys From Brazil style

Kainien Morel

I....don't have a particularly strong impression of David Lynch, but on the other hand, my points of reference consist entirely of Dune (1984) which...despite a number of strong performances, isn't actually good (and I don't think a director's cut would fix its issues, though it would be interesting as an example of what went wrong), and that time I gradually worked my way through the entirety of the two seasons of Twin Peaks, the subsequent film, and some of the TV revival before I reached the point of losing interest (though it's not as though the earlier seasons didn't have a few real moments). With that in mind, I will say the episode did convince me to actually sit down and watch Eraserhead or even Inland Empire at some point. It was probably Will's beautiful prose, "It was like Shemps crossing in the night." I'm assuming that's what he said.

Michael and Us
>>163109243

If it hasn't been part of your rotation yet, I will say I think Blue Velvet is maybe the best and most immediately engrossing showcase of many of the things Lynch does best. - Luke