The Bee Gees make a fucking fortune once they'd discovered this one neat trick (that the record companies don't want you to know about etc.).

"HELLOO-OOO-OO!"

Glad (and relieved) you guys agree!

Except, hold on — Ben Horne said Richard "didn't have a father" (not "didn't have parents") so there goes my theory.

Respectfully, I don't think there's anything "definite" about it at all.

I don't know whether this is still the case, but in the '80s Lynch kept insisting that The Wizard of Oz was his favorite movie of all time (and Wild At Heart — which in my opinion, uniquely amongst all his work, really doesn't hold up) is filled with ham-handed references to Oz.

Right — on the one hand, I don't know why Lynch etc. didn't edit the complete Fire Walk With Me together into a single cohesive narrative — it's really counter-intuitive they way they present it on the disc. On the other hand, geez, people sure can be dumb, can't they? I mean, it's made perfectly clear.

Right? I'm saying! Something's up with this, damn it.

Or the snow globe scene à la Black Mirror!

Didn't that actually happen at least once? (Someone was saying, here.)

I agree about all of those examples except Fight Club, which is a much more sophisticated, quasi-Marxist social/cultural metaphor and is consequently better than all that other stuff.

That's a really interesting comparison — not just Peaks to Rain Man from a story standpoint, but in terms of the whole idea of audience expectation, and how it connects to the sentimentality with which people employ magical thinking or pattern recognition with mentally impaired people. Emily and others have written…

I agree it's far-fetched. I'm just saying, something's up with that scenario of the two of them; it's just so incredibly strange (even by Lynch standards).

Yeah, but we don't really know how all this bespoke metaphysics works. (And Dark Coop looked in the mirror and said "You're still with me…good" and Jeffries etc. "want something he's got inside him.")

Not to mention Hawk and Frank Truman sitting side by side in that conference room with the hotel key on the bare table in front of them, staring at it for thirty seconds before Frank points at the key and says "Ben Horne was sent this in the mail" and then Hawk says "This was Agent Cooper's room." ("Are you sure?"…

"Relatively faithful for a Stephen King adaptation"? It's completely different! And it sucks!

Yeah, that's what I've been thinking for the last, like, month and a half at least…but as it continues to not happen (and we all keep staring at MacLachlan's face trying to convince ourselves that he's even incrementally different) I'm starting to think it's a bum steer and something else will happen.

That business with Sarah Palmer and the boxing loop was scary brilliant. I was reminded of The Conversation (which, I just remembered, has the "Red red robin" song in there; not saying it's a connection of any kind; just a Lynchian coincidence) where, by the fifth or sixth time I'd heard the boxing announcer's stream…

Anyone ever see an underrated John Cusack movie called Identity?

Gee, that's a great approach.