That episode was such a shock. Lynch really lulls you into a false sense of security with the slower episodes, threatening to bore people with Dougie and the lack of narrative momentum, and then he changes the entire lore of the show.
i remember when it aired someone tweeted out something like "remember where you were when this aired". what a masterpiece.
That episode and the few following it are all-timers. It just keeps giving, really. I wish I could go back and watch it for the first time again. Ironic because that’s pretty much what the show becomes about in a wonderfully meta way. What a brilliant work of art.
i remember shortly before the season started that they announced all the musical guests playing during the roadhouse bits, and when NIN was included on that list, part of me was like "hmm, i wonder if they'll play She's Gone Away". learning that not only did they write the song for the show but that it felt super connected to the overall TP lore made their performance in Part 8 the cherry on top of everything else happening during the episode.
I found so much new music from those closing acts. Mostly completely disconnected to the plot, just Lynch trying to create an atmosphere and highlight things he enjoys. It was the best collection of music since The Sopranos.
I remember feeling frozen in my body just like Ray when the woodsmen started scavenging Dark Coop’s corpse. Such a strange effect. And then it just didn’t let up that whole episode.
Shadow was also a fitting addition to the soundtrack and i'll never forgive Johnny Jewel for fucking over the rest of the Chromatics
People don’t seem to realize (or they don’t want to admit) just yet how dire it is. One of the last great auteurs who isn’t ready to retire yet and we still may never see another full-length film or tv project from him ever again. It’s a terrible shame and a huge indicator of where the industry is right now.
Very sad news, I hope he keeps his health and gets to complete whatever projects he still wants to do.
going to do so here in a bit. screenshots of the full interview are on r/davidlynch. insightful stuff for the most part.
that sequence is another all-timer. it's stunning to watch the progression. Bobby's personal nightmare, of his daughter following in the same footsteps he took as a teenager, graduates to a more primal, symbolic version of that same exact fear - with the gun-toting child and then the sick "monster-fied" child immediately afterward. the fear of failed parenthood, personified. Lynch's ability to capture the way our own dreams feel is so incredible. Bobby's terror throughout that whole scene is so visceral
Harry Dean Stanton's performance after Richard Horne's hit-and-run earlier in the season is also an incredible dreamlike moment. "God...?" I guess Lynch/Frost have a thing against cars