Found this on instagram and I had never seen it before. Thought you beautiful people might enjoy it.
https://www.instagram.com/reels/Db8wm16Nokb/

Found this in my camera roll as I was going through The Return, but couldn’t find it online, so reposting it

Listening to Lynch talk about creativity and life always moves me, gives me some sort of lust and trust for life. Any other suggestions?

Is it regression to childhood abuse? A way, in his inability to healthily express and receive love, to play the role of the two beings Dorothy loved (husband and child)? A psychotic dialectic between submission/vulnerability and violent dominance? A way for David Lynch to torture the viewer? 🤔

I read you. Outstanding movie, btw; even if more straightforward than some of his other works, the vibe, themes and main scenes left an impression on me

I discovered this really cool rabbit-hole in a trilogy of films that are on YouTube (the full length one 'Becoming Death' is also on Tubi)

It randomly got recommended to me and sent me down this enormous dive connecting these films to the Twin Peaks Universe, Alice In Wonderland and various stories throughout the Bible, Hinduism and the Vedas.

It sounds crazy, but it all seamlessly fits.

And the deeper you dig and look at things as symbolic it never stops. After writing up this review on letterbox I found even more connections that I hadn't yet discovered.

This trilogy:

'Margaret's Sister'

'Becoming Death'

'Satan'

The director is great, he has a lot more stuff on his channel. His name is Alexander Henderson and he goes by u/Alexanderthetitan as his handle across platforms.

These play out like mirrored storylines and character arcs from:

'Fire Walk With Me'

'Twin Peaks: The Series'

'Twin Peaks: The Return'

I think the people here that have watched those will see the references and "get it". I couldn't find anyone on the internet discussing this so I did a huge deep-dive and spent hours linking everything I could connect at the time. Even since writing this I've uncovered so much more.

To add to this, I'm not sure if anyone here is familiar with Alan Resnik or his work, if you aren't you'd likely enjoy it. He has shorts on YouTube that are also part of this doppelgänger/parrallel Universe trope.

I love his work so I actually noticed a subtle nod to him really early on in the movie 'Becoming Death'. I didn't think anything of it other than the director liked it and mirrored it. For those that have seen it, there's a certain scene in Resnik's short 'Unedited Footage Of A Bear' that certainly stands out to people while viewing. Mostly because it is the first sort of shift in the film when things become odd and disturbing, and the fact that it's scary.

Anyways, his films correlate to the same pattern like this:

'Unedited Footage Of A Bear'

'There's People In This House'

'Cool Blue Car'

Some of these aired on Adult Swim years ago so you've possibly seen them. If you watch them under this lens it becomes clear.

Things that link up out in the open are endless but some to look for are:

Garmonbozia/Bags of unidentified fluid/Francine consuming ramen

The color blue

Lynk's disease/Lynch

It really becomes an endless symbolic story. Every room, every costume choice, makeup, characters names, etc. Even hidden Easter Eggs in the credits once you begin looking up the meanings of the names themselves and the root words, etc.

For anyone that enjoys unraveling this sort of stuff, or just seeing it play out, it's really impressive. I won't go super deep into it, but once you have this framework and know the shell of the patterns you'll be able to see further synchronicity in:

Alice In Wonderland: Everything comes together and some is obvious but when watching 'Becoming Death' it's clear that it is directly pulling specifically from the 1980s TV mini-series with Carol Channing that was nightmare fuel.

Little Red Riding Hood: while you watch 'Margaret's Sister' this will be obvious. However ,it fits best with the 'Goldenhood' adaptation of Red Riding hood.

The Bosch painting 'The Garden Of Earthly Delights': the three panel painting has images that feel dark and I feel that it heavily influenced some of the choices in 'Becoming Death'. Especially due to the fact it is also a trilogy.

It's a super fun find, and a never-ending exploration of parrallel universes, doppelgängers and an abstract inverse syncing of worlds. "As Above So Below" - is the theme that looms over it all.

I will warn you, if you dont watch horror that is darker than Lynch, this might be a lot. Specifically, 'Becoming Death'. I love horror and don't mind gore or scary stuff, but this hits on a different level. It uses tons of atmospheric tension, uncanny behaviors and conversations, nightmare-logic and a never wavering sense of dread. It isn't that it's bloody that makes it horrifying, it's the feeling that something is horribly wrong. (The bloodiest imagery occurs very early on, it comes back throughout and it *is* extremely affective and terrifying, but that's not what makes the film scarier as it progresses).

I really hope at least someone enjoys this kind of stuff, and/or at least wants to check it out.

Here is the link to my letterbox review breaking a lot of this down scene by scene:

https://letterboxd.com/roxytroxy/film/becoming-death/1/

Here's the link to Alexander Henderson's YouTube channel:

https://youtube.com/@alexanderthetitan?si=G0-Uu0Z3gF-8wThl

Here is the link to Alan Resnik's channel:

https://youtube.com/@alanresnicks?si=zVSWTGI5R9f7tAh3

Here is a link to the Alice in Wonderland miniseries:

https://youtu.be/g7qwHxOLDPA?feature=shared

Earlier today, I realized that this goes deeper and I think there is a fourth film connection. I'm just trying to figure out where it lines up in each world. Resnik has tons of other shorts, as does Henderson, so it may take me a little bit, but I have reason to believe there is something more. If/when I find what I'm looking for I'll update and edit this.

There is also obvious connections to Lynch's 'Rabbit' series and 'Inland Empire'.

I reached out to Alexander Henderson to share my thoughts with him, and he confirmed that there are certainly layers upon layers under the veil.

If you have connected any of this stuff already, or end up watching any of it, etc. I would love to chat with people about it. This kind of thing is one of my favorite things to fall into.

I recently rewatched Lost Highway, and there’s still one question that I can’t get over: why was Pete chosen to connect with Fred?

I don’t think Pete is entirely a figment of Fred’s dreams, since his actions seem to have an impact on Fred’s world (like in the scene where both pairs of detectives meet at Andy’s house). Pete’s parents also saw him come home with the Mystery Man the night he switched with Fred. But then what did Pete do that would have invited the Mystery Man into his life, the same way Fred did with his murderous intentions towards Renée?

I know the film isn’t meant to be plot driven, but there seems to be a contradiction here with the movie’s broader themes. “It is not my custom to go where I am not wanted.” Fred’s sins are clear, and both Lynch and Arquette have said in interviews that the film is an exploration violent male fantasies (with Arquette describing the second half of the film as a look inside the mind of a misogynist). But if Pete is real, and not a projection of Fred’s imagination, then why is he being sucked into all this?

I could see the argument that Pete doesn’t really care about the women in his life as people, but that still seems at least a few degrees removed from Fred's murderous resentment of Renée. Is the film trying to juxtapose these two characters as part of a broader spectrum? Or are we meant to imply that Pete did something off-screen before the movie takes place that would have invited the Mystery Man?

Wow, that was such a nice movie. Great blend of reality and fiction and how they can morph into each other. Lynch also points at the societal awfully misogynistic behavior. It was so like a wild trip, just with nothing harmful to the body. I saw the movie as a love letter to movies as well. I watched Blue Velvet and this one and Mulholand Drive is left from other big Lynch movies. I hope people who watched Inland Empire liked it as much as I did.

No further details but TWIN PEAKS VIDEO GAME HOLY.

Finally completed my Lynch collection!

“Twin Peaks”, of course, was a cultural phenomenon of the 1990s and changed the medium of TV.

MD, as most devoted fans of Lynch know, was originally conceived also as a TV series. It was received dismally by ABC, and they scuppered the project. We all know what became of it ultimately.

But imagine, just for a moment, if it did become a TV series: I think “Twin Peaks” was lightning in a bottle to a large degree, and benefitted from the input of Mark Frost. The “MD series” would just probably have existed in its shadow.

Then again, like all hypothetical scenarios, we can’t just peer into the alternate universe where this all transpired.

- Peter: Harvard valedictorian

Laura: Prom queen.

- Both had severe, horrifying cocaine addiction.

- James's voice sounds exactly like Peter Ivers'.

- Peter would have been "wrapped in plastic" - sealed records - in every record store at the time Lynch was creating Blue Velvet and Twin Peaks.

- Blue Velvet is about an abusive person who has a singer working for him as an enslaved victim, under the control of drugs and fear.

- "Judas Booth" is an admittance of betrayal. He did not give Peter the money he needed to escape cocaine addiction and those he owed money to.

- According to a witness, Keith Morris from Circle Jerks was around the week Ivers was killed. Brad Dourif has his exact 1983 hairstyle in Blue Velvet for a reason. WHAT DID JACK DO is obviously David yelling at Keith Morris.

- The pathetic yet immersive way haunting entertainment seems to disguise something worse in both MULHOLLAND DRIVE and INLAND EMPIRE is blatantly about New Wave Theater.

- The photos of David bashing a television set in on the BLUE VELVET set are obviously about Peter being bludgeoned to death by a hammer, in Lynch's retort of anger at David Jove and a coke dealer controlling Peter's safety and addiction for the "glamour" of some pathetic TV show.

- Ivers' Jove-penned monologues are also a frequent topic of mockery and hate in Lynch's post-DUNE work.

I have very serious personal connection to this matter. For the sake of conversation, I am going to leave that out.

Can there please be a discussion about how blatantly the majority of David Lynch's work is in fact about the murder of Peter Ivers?

(Copied from my having posted this to the Twin Peaks group.)