Catching the Big Fish with David Lynch


*The following piece is by our guest writer Vikram Zutshi

On Jan 20th, David Lynch, unquestionably the foremost surrealist artist of our times, turns 72. It is as good a time as any to take stock of his eclectic and wide-ranging oeuvre, which includes film, music, art, literature, photography and architecture.

His films take us deep beneath the quotidian surface of small town America, a space he knows intimately, where sublime truths and dark fantasies play out, unhindered by the strictures of consensual reality. Early impressions and memories of an all-American childhood in rural Montana in the 50’s inform much of the artist’s work.

Continue reading “Catching the Big Fish with David Lynch”

The Endpoint of Escapism: Twin Peaks (1990-2017)

The following piece includes spoilers.


Twin Peaks has always been about questions. The murder of Laura Palmer was the ground zero for a much bigger examination of evil, one that undermined the seemingly perfect picket fences of the United States. This description might remind you of Lynch’s early masterpiece Blue Velvet, a film that tackled taboos and its consequences in U.S. society. And in some ways, Twin Peaks always has been a continuation of that theme on a different level, but David Lynch couldn’t fully execute his vision in the first two seasons, due to viewing figures that lead to the show’s distortion into a more viewer-friendly soap/crime narrative and finally to its cancellation. With The Return, an audacious work of art, that blurs the borders of television and film, he was finally able to.

It seems strange to explain why the third season makes the show one of the most staggeringly existential works to ever grace any screen, especially facing the huge amount of slapstick humor and uncompromised weirdness it contains. But on second thought, it makes total sense. Continue reading “The Endpoint of Escapism: Twin Peaks (1990-2017)”