And the potato chips!

Right; no, I get it. I'm just reminded of a long, long history of people unnecessarily concerning themselves with this sort of question with regard to Lynch.

How about don't worry what category to put it in?

It suddenly occurred to me that this episode's plotline — the absurdly high demand for money; Erlich's maneuvering; how he ends up screwed and out in the cold (literally) — could be a thinly-veiled writers' commentary on T. J. Miller's maneuverings and departure.

It's too bad you're not digging it, man. Maybe try again, from the beginning? In a better mood or something? 'Cause it's really good.

"What about Naomi?"

Respectfully, you don't "get it" — at all. It's insulting the way you're reducing everyone's reactions to "nostalgia" and wishful thinking…like it never enters your head that there's something here we legitimately are enjoying, that you might be missing (or that just might not be your taste, although if you have any…

The clips of Belson doing product demos gave me a pang, because (along with his being ousted from the company he founded) it's playing up the portion of the characterization that's a Steve Jobs homage…and I miss those days when Jobs would give those amazing demos…back when all those iDevices were new and the tech…

That's too bad, because how could it possibly be?

See The Ring. (And make sure you watch it after dark.)

Lietmotif's a little different — drawn from opera, I think.

No way—from a symbolic standpoint she didn't "survive"

Oh, sure, it makes "internal" story sense. But it's just so absurd! I love it. "Get me that guy who runs around screaming."

She's also yet another in a long series of extremely beautiful people whom Lynch (or, Johanna Ray) has an uncanny talent for discovering.

It's similar — sort of — to Johnny Favorite's gambit in Angel Heart (albeit in the Lynch/Frost spiritual reality, rather than the straight-up Christian mythos of that movie).

I can't even begin to imagine what that must have been like. So sad; so moving.

Some have speculated that Naomi Watts' character being named "Janie-y Jones" is a direct nod to Mad Men and that the whole Jones storyline is a parody or homage to that kind of retrograde marriage and that Lynch is doing his version of the same kind of Cheever-esque existential commentary on those kinds of lives.

Absolutely!

Or it's just 911 backwards? (I know you knew this)

Oh, me too! But it's one of those Lynchian things where you have to get past a "What the hell?" moment and realize, "Oh, we're doing this. Okay."