While the rest of the world (or so we’re told) was busy soaking in the profound cultural rot that is Game Of Thrones this evening, I was busily thinking about a theory I’ve seen bandied about in recent days — we’ll call it the “Grand Unifying Theory Of David Lynch.”

I’m not at all certain who the originator of it was, mind you, but I first saw it advanced, and argued for reasonably convincingly, by my friend Jeff Wells (he of Rigorous Intuition renown), and it goes something like this : Twin Peaks and Mulholland Drive actually take place in the same ficitional “universe” and Naomi Watts’ Janey-E character is Diane/Betty Selwyn from Lynch’s 2001 masterpeice film. Somehow. Some way.

I’m not saying I wasn’t sold on it from the outset. Nor that I was. But I definitely found it intriguing. I wasn’t ready to dismiss it out of hand any more than I was necessarily ready to accept it. And then who turns up on part ten of Lynch and Mark Frost’s Twin Peaks 2017/Twin Peaks : The Return/Twin Peaks season three tonight, but —

 

Wow, Bob, wow! The “Weeping Lady Of Los Angeles” herself, Ms. Rebekah Del Rio! Now, I’ll grant you, she wasn’t singing “Llorando” at her gig at The Roadhouse, but what the hell? She may as well have been. I’m sold, Mr. Wells (and everyone else) — I think.

Other than that, Mrs. Lincoln, how was the play? Well, we saw a whole lotta the Horne clan tonight — scumbag Richard (played with with a permanent sneer by Eamon Farren) needs to get the fuck outta Dodge fast and beats up his grandmother, Sylvia (Jan Da’Arcy) for her safe combination while a newly-restrained Johnny (Robert Bauer) watches on, helpless to interv —-wait just a second!

I really do hate to say “I told you so,” but I called this one several weeks back — Richard is the offspring of Evil Coop and Audrey Horne. They all but admitted as much tonight. I might be samrt enough to keep up with this show after all. Now back to our regularly scheduled review —-

—ene as his toy companion intones “Hello Johnny, how are you today?” over and over again is ultra-creepy fashion. Ben (Richard Beymer) is still a bastard, though, and won’t send his long-suffering former wife an extra dime, while Jerry (David Patrick Kelly), for his part, remains lost in the woods, stoned off his gourd. The Hornes are all present and accounted for, then, with one increasingly-noticeable exception.

The double-cross is a big theme in part tens, as well : Gordon Cole (Lynch) and Albert Rosenfield (Miguel Ferrer) are onto Diane (and each getting friendly with their female colleagues, Cole with Chrysta Bell’s Tammy Preston and Rosenfield with Jane Adams’ Constance Talbot); the aforementioned Richard Horne is in league with greaseball Deputy Chad Broxford (John Pirruccello), who’s about as good at covering the tracks of his malfeasance as the Trump family and is already caught red-handed by none other than Lucy (Kimmy Robertson); Anthony Sinclair (Tom Sizemore) is busy trying to pin his insurance company double-dealings on Dougie (Kyle MacLachlan), but while Mitchum brothers Bradley (Jim Belushi) and Rodney (Robert Knepper) think they’re pumping the former for dirt on the latter, they’re really both being played by Duncan Todd (Patrick Fischler).

It’s a damn tangled web everyone’s weaving, to be sure, but somewhere in the middle of all this we get to learn that number-one superfan of Dr. Jacoby (Russ Tamblyn), Norma Hurley (Wendy Robie) has finally realized her dream of opening a store to sell her silent drape-runners; Dougie’s not only healthier than an ox, but a non-stop love machine, to boot, and Janey-E couldn’t be happier about it; Becky Burnett (Amanda Seyfried) is not only financially supporting her loser boyfriend, but getting beaten by him, too (lots of domestic violence in this one, much of it taking place in — shock of all shocks — trailers); The Log Lady (the late Catherine E. Coulson making a surprise and very welcome return appearance) has another series of cryptic clues for Deputy Hawk (Michael Horse) that seem to coincide with, if not outright trigger, a vision of Laura Palmer in Cole’s mind — and there’s just enough time for Amy Shiels to flat-out steal the show in her role as Candy.

None of which, I suppose, offers much by way of evidence one way or another for “The Grand Unifying Theory Of David Lynch.” So maybe I still don’t know about that one, after all. But I do know that we got to see 91-year-old Harry Dean Stanton strumming his guitar and singing “Red River Valley” tonight. And I’m not sure anything else matters.

Comments
  1. Ryan C. (trashfilmguru) says:

    Reblogged this on Through the Shattered Lens.

  2. It’s interesting to note that Mulholland Drive was originally envisioned as being a spin-off of Twin Peaks, with Audrey going to Hollywood and pursuing a career as an actress. So, the idea of the two of them taking place in the same universe (and I would toss the universe of Lost Highway in there as well) is not far fetched at all.

    • Ryan C. (trashfilmguru) says:

      It’s possible, although it’s worth noting that “Mulholland Drive,” to the best of my understanding, was not precisely the show that Audrey’spin-off would have been. Yes, Lynch and Frost were putting together an Audrey spin-off, about herng to Hollywood, but that got shelved when rating on “Twin Peaks” went down the tubes. Lynch kept the basic idea pf “young actress trying to make it in HOllywood,” though, and tried to revive that as a TV pilot. How much of the Audrey material was still in there? It’s a good question, one we’ll probably never know the answer to, but the fact that when Lynch originally tried to get “MUlholland Drive” going as a TV pilot he was doing so without Frost tells me that it was probably a significantly different concept, at that point, than what the two of them had envisioned fofr Audrey. Still — who knows? Maybe it was the same old script treatment just dusted off and featuring different characters, and if that’s teh case, then yeah, the “interconnected universe” thing would have even more evidence in its favorr. Not sure where, how, and when we’d get “Lost Highway” in there, though — unless Balthazar Getty is the same guy he played in that film.

      • Harrison Fowler says:

        David Lynch apparently said that Mystery Man from Lost Highway is from the same place as Bob, but that could just be his mental place. It could also indeed be the Black Lodge (or White Sands, New Mexico?), but who knows? It would be interesting to know more about the Vomiting Celestial Figure, if Bob was its only offspring, etc. Anyways, no confirmation, but it seems Lost Highway is connected at the very least. Not sold on Mulholland Drive though.

      • Ryan C. (trashfilmguru) says:

        I dunno, there are no accidents in Lynch films, and the inclusion of Rebekah Del Rio on “Twin Peaks” the other night seems the most plausible connection between it and “Mulholland Drive” yet. I’m not ready to make up my mind either way.

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