has just been inaugurate. He signed 200,000 executive orders, assassinations, arrests, public executions in stadiums, this kind of thing, frying the reaction nerve system of New World Order opponents. And he have fun bantering journalists on TV all while doing it. The year is won. The year is won. I declare war on the world, war on all mankind, on mercy, on pity, and on God, war on all the nations, on all the gods of men. Holy war in the name of the secret god who remains secret but shall arise. It is not with Trump, but Trump prepares a way for his coming. The year is won. Today is David Lynch's birthday. He died a few days ago. And it's a moment both of genuine sadness for me, also a moment of triumph, Trump inauguration, happening as I record this show, a bittersweet moment,

as Lynch himself is avatar of Americana in cinema who identified with and he praised Trump, an international symbol also of American character, even in nations where he's not seen favorably because let's say stupid libtard propaganda in Singapore, but even so, they see him as embodiment of Americana in his spirit, in his aspirations, in his way of acting. It's always what America meant to me as well. I tell you this, the spirit of Trump dynamism, shameless opulence. As a small boy, I imagined a Trump-like life in America. I thought my family would move to California, where I'm sorry to repeat, I think I may have said before, but I imagined myself under palm trees in the sun, holding a gun, joining a gang. I thought that was a good thing when I was 80 years old or so.

Anyway, this episode is about David Lynch. Caribbean Rhythms, episode 182. David Lynch, his life, and especially his achievements in movie, and I feel a genuine loss. Not as in, okay, I will cry like a showy girl and hold candlelight vigil to show off to others and to make it about myself. I feel genuine loss because there are not so many good movies made today, and Lynch was someone who in his last feature film, if you don't count Twin Peaks, The Return, that was Inland Empire, and I think that was 2007 or eight. And every year since then, I've been waiting for his next real movie. If you check IMDb, you can see in the last year or so, it was listed he was working on new project. Again, it was going to be a dark fantasy about woman in trouble, which this is theme of.

his. Maybe all his movies are about a woman in trouble. It's very attractive, I think, to make woman the protagonist of movie. He does well in this. It's aided. I mean, it's easier to do this in movie than in a novel, let's say, as a male author because there is no necessary internal life shown in speech in a movie. Anyway, I will talk about this on this episode, but it's a real sense of loss, I feel, as I think that he will not make movies anymore. By the way, his idea to make a protagonist, a woman protagonist, I toyed for a while to make in the novel that I intend to write, the main character be a woman in tribute to David Lynch, a woman on a quest of investigation. But I think I won't, because it's much harder to do it written than visual.

But I can announce now, I know many of my audience waiting for a second real book, and I think that I slightly postponed my novel, because I am in awe of the task in front of me. I feel that if I do not at least equal Wellerbeck, who is considered the best novelist of our time maybe, but who I don't consider that moving. He has a kind of glossy journalistic quality about him, the same way Tom Wolfe and at a much lower level Saul Bellow does. But if I don't at least equal him, I will not publish this novel, so I've set myself ... It's a daunting task, and so to rile myself up for it, I think I will do a different book that is not fiction, a second book of short essays of the type that I know my audience

enjoy, and I greatly enjoy writing it, and I think you can expect that in the first half of this year. But in any case, I do feel this real sense of loss as I think Mr. Lynch will not make more movies. I have no idea if he progressed enough on his last one for it to come out even as eyes-wide-shut situation where they published Kubrick posthumously. My favorite filmmakers are Kubrick, Polanski, David Lynch, Bergman and Léos Carax. And Léos Carax also, he seemed not to make new movies. I enjoyed his even very highly experimental ones like Pola X. I explain why on this show I like this kind experiment movie that is only about mood and style. What cinema mean to me, why I like these men, what Lynch means.

And I'm aware that on the radio show, it's quite hard to render something visual for the listener. I do my best, but Lynch achievement also include maybe most expert use of sound of any movie maker I know. know, now or in the past. At beginning, you heard saxophone, insane sequence at the beginning of this episode. The scene from Lost Highway where the main character playing in the nightclub. And throughout this episode, I will use clips from favorite Lynch scenes where I think the use of sound and conversation is mixed to special emotional effect. I'm aware of the objections to Lynch. I made them myself on the show when I talked Mulholland Drive in I have very special interpretation on that movie, it's different from others, but the

objection to him, which I will dispense with again at the start, that he is a post-modern cerebral game player. This is Camille Paglia's objection to a lot of so-called post-modern art, and she's right I think. It's bad when art is smirking, when it consists in wink-wink, nod-nod with the audience in supposed shared superiority over what is being shown or when it's even not that, but just engagement with the audience merely cerebral functions. Her objection I think stands even to something like Borges who I enjoy greatly reading Borges, but and his sense of the absurd, the sudden absurd terms of logic were very important to me in my own, I used in my own book, but she prefers very much, Instead of this, she liked the operatic style,

where the audience is engaged in a primal emotional sense. And I agree with her, actually, that real art must be able to do that, or it's a waste. For this reason, I have understanding of Bach, for example. You can call evangelical Bach. I find, in any case, Baroque is dramatic, highly emotional music. I don't really understand people who listen to it just for, they say it's for mathematical this or that, but why don't you go do math instead if you want that? Music is supposed to primarily appeal to your emotions and the motions of the will, and it's similar for movies. As for paintings, I'm very much opposed to the types that are painted or made for the word cell group of people, for literary type journalists, for example, to flatter the pretensions of useless scribbler intellectuals

so then they can write treatise or critique on it. And to the extent that Lynch ever did anything bad, it could be argued by some that he veered in that direction. I think they're wrong. I think actually when Paglia says this about Lynch, I don't know if she says it in public, she told it to me in person, but I don't know that she ever watched a full movie of his from beginning to end. I don't think that's a correct criticism of his, but if you just see a few scenes or hear about him, you could argue that way. Tom Wolfe criticizes that, definitely has the last word in his book, The Painted Word. If you read this where Tom Wolfe documents how much of an abstract painting of 20th century was composed after the fact, meaning it was made not by the painter

because he responded to something in the real world on a visceral level, wanted to render it for the audience. He was writing in response to theoretical gibberish from critics, excuse me, the painter Tom Wolfe criticizes, the kind of painter who was painting in response to this theoretical treatises from critics, for example, like Clement Greenberg and other word cells who had no appreciation of the visual, could not maybe rotate a shape in their head or maybe even had aphantasia. This is a condition where you cannot conceive of imagining a visual image, and there are cases of professors who deal with numbers, for example, who are like this. Although, to me, that's very strange, too, because the sense of mathematics, for me, has always been deeply geometric,

as I hear it is for many great mathematicians of the past. But there are people who cannot conceive of, let's say, seeing an image in your mind. They think that anyone who claims that is making it up. And I think many of these critics who inspired abstract art type movements in mid-century, especially United States, but Europe too, they were probably of this type. And Tom Wolfe reveals kind of the fraud of this kind of painting. You produce a large treatise about supposedly a painting and then the painter comes along and composes in response to that. I'm opposed to that as a perversion of the visual sense and the purity of painting as an art of which if you want to find the best philosophical description of it, it's Schopenhauer's great book, particularly book three

of The World as Will and Representation. If you're interested, you can start with volume two and you look in the corresponding book, three essays, you can see their titles, that some of them are on the visual arts, on architecture and so on, and see what you think. He greatly inspired certain visual artists of 20th century, people who you would actually enjoy looking at, as opposed to a blank canvas in this kind of thing, where the complete absorption in the visual image as an idea with capital I in the platonic sense, or to put it in common sense language, one of the innate cleavages of the world is rendered by the artist in a way that can only be perceived visually and not captured into words. I'm greatly simplifying here, but the immediate conclusion

of everything I've said is that allegorical and historical painting or visual art, moral story or historical literary painting or an interpretation of what you see is dependent on non-visual knowledge actually of any kind, or on making logical connections extraneous to the sense of immediate perception of the world. That is also a misuse of painting, I think. It's not just 20th century visual art. I think also allegorical painting is bad, and it's bad in so far as it remains merely allegorical painting. It could be bad because of that, but also be good in and of itself, you know. So the reason I'm saying this is because while I can see that David Lynch can come off as game-playing and smirk-y in this, at least in the superficial sense, as embodying some of the worst of postmodern art,

which is merely a literary exercise that cannot engage either emotional part of viewer, nor show the viewer anything essentially new about the world, I want to make the case actually for why the opposite is true in the case of Lynch, why this reaction to Lynch is, again, addressing him only on the surface or on a very quick and incomplete viewing, but that, in fact, why I love Lynch, he embraced pure art of cinema, which is cinema liberated, in fact, from everything I've said, from literary associations in particular. Do you like Tarkovsky, Russian-Soviet filmmaker Tarkovsky? I enjoyed very much Solaris, this one everyone watches. I dropped out at Stalker, that was however many years ago, I want to go back and try and enjoy Tarkovsky again, maybe my taste have changed now, excuse.

But Tarkovsky had the opinion, and I agree with this, that cinema is not a novel, cinema is not theater or drama. It must be liberated from the tyranny of the requirements of drama on one hand, of theater, and of the novel on the other. I agree with this very much. I watch a lot of movies, and a tedium of movies that have a novel or literary pretensions in mind, which aren't just art house movies, but in fact, most standard Hollywood entertainment movies are made according to dramatic conventions of the theater world, I mean. I find that very boring. And speaking of Tarkovsky, the Soviet's art establishment basically blacklisted him. It became impossible for him to make as many movies as he would have liked. He had to stop making them for a while, which is very sad.

The world was robbed because that man's creative impulse was not allowed free reign. And the same thing often happens, however, in the West, not only because of political reasons, although that too, but people think that someone like Lynch was very famous, a lot of actors want to work with him and so on, but they think that he must have producers and studios falling over themselves to fund him, to offer him what to make whatever he wants the way that he wants it. It's not so. In fact, Mulholland Drive was supposed to be a miniseries. I think it would have worked better as for example, 10 part HBO series or a two season of 10 parts even, but he had to reassemble the pieces of the pilot into a movie, shoot extra. And I think it ended up working. I think it's one of the best movies ever.

But his project was killed by a retard, maybe who thought a fifth sequel of Marvel Men is good because it gets you seal claps, peanut gallery applause from a Calcutta or Nairobi slum and it sells well wherever, or I don't know. But my point is many great directors, even aside from political reasons, cannot get funding or resources. You think they can't, they can't. And after Inland Empire, maybe Lynch had trouble getting his next project funded. I cannot explain a 15-year pause again. Aside from Twin Peaks return, which is nice, excuse, but he's not the only one. Whit Stillman, who by his trilogy, Metropolitan, The Last Days of Disco, and Barcelona, although he's kind of a conservative in all his sensibilities, even the moral point of these three movies, If you watch it closely,

it's kind of a conservative moral point. A lot of resentment directed at, let's say, European seducers, and in favor of the good boy conservative in the movie. Nevertheless, these three movies are excellent. By these alone, he should have been given a free pass to do whatever he wants for the rest of his life. But I'm told that Whit Stillman cannot get funding because he's a white male director who's somewhat coded as conservative. In the libtard world, he's seen as conservative, which is insane. I actually lost a lot of respect for Stillman when he gratuitously attacked Steve Saylor, who's a fan of Stillman, calls him the wasp Woody Allen. And now I see actually Saylor weirdly says nasty thing about Mia. Who knows, maybe he's joking and I'm being sensitive.

I don't know why these men do this. But regardless, even as a mild, very mild conservative, white director with Stillman cannot get funding to do any more projects, which is absurd. They say wokeness has ended. I don't know about that. Let's see if at least Stillman can get projects now. So you say this is nothing like Soviet censorship. Maybe it's not, maybe it's not the same. It amounts to the same. I'm horribly under attack, I'll tell you in a moment. My health was, yeah, they tried to poison me. But I feel a genuine loss that Lynch did not do his movie. A lesser loss, but still a loss that Whit Stillman is being shut out. What I do watch movies for though, Tarkovsky is right. I watch to be surprised, to search for that drug. Special feelings that have no names.

It's a drug once you have a taste of it. These special feelings that have no precise names that only a special movie can evoke. I don't watch it for the dramatic point, for the point. I suppose if you only occasionally go to watch movie, it's what you expect, you expect the climax and such, but I'm very opposed to the formal expectations of Hollywood screenwriting, which is built on traditional dramatic theater conventions and so on. I get so impatient, I turn off movies lately like this. I walk out of cinema, or I give you an example. I generally like Christopher Nolan, but you take his 2002 movie, Insomnia. I found it extremely tedious. And what I especially dislike, this is a remake of Norwegian movie from 1997, I think. It's about a detective in Nordic far north summer.

There is no night. I've spent two summers in Iceland by now, and I can tell you it does get to you, but to me it's very pleasant. I think Iceland is a blessed land. You feel a blessedness and other worldliness. I only felt similar to that on Bali. But the endless day gets to you. You can't sleep sometimes, you become very wired, or even only a few hours you wake up, you feel ready to go. I've hiked all night. There are open-air baths on Reykjadalur, about an hour outside of Reykjavik. It takes maybe two or three hours to get over a valley. You have to walk to get there. At 1 a.m. in late July, it's still, Even in late July, it never gets dark. The darkness only comes back in the first week of August, at the end of the first week of August. At that time, though, in July is almost empty.

These open-air baths, it's wonderful. You can just bathe on your own, be nude in nature. I don't know why I go on tangent. I must say what comes to mind. This is a relaxed show for me. Listen, I've been quite ill for two weeks. I don't know how because I almost never get sick in the last few years. But now, it seems everyone around the world is getting something. It's very weird. Everyone walking around congested for three weeks, getting horrible fevers. And I spent these two weeks watching movies and shows and I'll talk some on this episode. But anyway, this movie, Insomnia, it's a nice idea from what I've told you. You can make very atmospheric movie about detective insomnia and Nordic winter, the obsession, how wired he is. It can be very nice.

Unfortunately here, as in other cases, Nolan, Christopher Nolan is a slave to dramatic conventions. And the worst part of a detective movie is when the mystery is revealed. It's always a let down and then the killer or target or whatever, he starts to go after the detective or his family. It's very hackney. There is this, the new Montwright, a dramatic supposed climax, except that once you've seen it and you're expecting something like this. It's not really a climax. It's just tedious filling the numbers. You've seen it before and you know that they have requisite stupid physical struggle with music and then there is the grabbing of the leg at the last minute, the cuff of the pant and many such. And it's just, is this why you watch a movie?

It's supposed to entertain you, but I know what's going to happen and it doesn't entertain me. And it's ad lib coloring in. And I think it should stop literally all Hollywood capeshit movies are like this now, the superhero movies. As you say, someone could say, oh, you watch too many movies and maybe so, but I don't care. It isn't just in detective movies. There's something also about every dramatic outburst, of course, the climax, but even aside from the climax, so-called emoting, where the actors are given a chance to engage in the usual emotions, screaming, shows of passion. This kind of thing, it feels to be tedious, you know. And then in art house movies, 90% or more of these misunderstand themselves as well.

They have a bad conscience, so they make themselves expositions of literary or so-called word loving sensibility, because yeah, bad conscience about delighting in the mere visual. As for visual excitement, there are many movie makers like Hitchcock, who I think have similar faults when it comes to plot making. They have even a tedious plot. And when the mystery is revealed in the detective story, again, it becomes banal. But they make up for it, Hitchcock make up for that, with untrammeled apologetic delight in the visual mastery of mise en scene and so on. North by Northwest is example of movie that from point of view of plot, it's even a nothing movie. silly once you know what the mystery is, but it makes for good re-watching because just

a joy in dizzying visual excitement. He climbed Mount Rushmore or the famous scene with airplane I think is in Nebraska wheat field where he's running and I just wish, I sorry to repeat if I say in past episode, but I wish that the movie maker would ever have the courage to delight simply in that and to ignore the plot except as it aids in the expression of of this visual revelation. If I can make an aside here regarding pornography, it's the same sense of impatience you might have if you want to watch pornographic movie, and then you try to have a preamble pretense of a plot. And of course what people watch porn for is not just the biological act of mating, but the psychological triggers, let's say competent porn can touch psychological triggers,

but that's not addressed through traditional plot line and dialogue or dramatic acting or that either. It works on another level of perception. I'm sorry if this is too vulgar for you, for me to mention the mechanics of good porn, but the same analogy, I think, holds to truly artistic movie, that it misunderstands its own medium and psychological roots and paths that are particular to this art, as long as it remains enslaved to this, to traditional emoting, traditional plotline with the climax, showing a woman, excuse me, a woman screaming at a man over her feelings or vice versa because it wants to involve the audience in that it doesn't work that way. I'm sorry, Miss Paglia, it's not the same as opera where there is the music element. And now for Lynch and Tarkovsky and others

who understand what I'm saying, the preferred model for the movie is then the dream state, which is not merely a series of unconnected hypnotic images, But if you've ever had a memorable dream, and I remember dream years later, but it's a deeply emotional experience, right? It's like a profound psychedelic hallucinatory trip. And in fact, it stirs up emotions that sometimes you're not fully familiar with. Some emotions, oh my God, they do this to me. But it stirs some emotions that don't really have names sometimes. And this, I mean, a real dream, a powerful dream does. And this is great achievement of real cinema, to evoke violent and unnamed, arcane emotions through visual, auditory triggers that are pre-rational. You can't render them in metaphorical or literary form.

You can't write an essay about them and explain what they are. So I think this David Lynch achievement that from a superficial quick viewing, and if you don't get into it, and you don't want, you know, it's possible to make the case, he's this kind of post-modern, above-it-all smirker, When I met Paglia, she very nice to me, this was her impression of him, but I tried to convince her that the same could be said about your favorite movie persona, Bergman persona, by someone who just quickly watched some scenes from it, and then they say that this does not conform to my expectations of dramatic act. And I tell her, in Mulholland Drive, Lynch renders scenes from persona for a reason. This is going to keep happening through this episode. Yes, did you enjoy this quick break?

I'm sorry I have to take break from time to time. I'm like unexpected. I hope you like the trumpets. But so I was telling Camille Paglia that in Mulholland Drive, Lynch copies some scene from Persona as that he does this for a reason. You please rewatch this Camille and that is a favorite movie of hers, even though if you watch the very beginning and end of it, It can be interpreted as a meta-commentary on the art of filmmaking and therefore itself some kind of post-modern statement, but of course it transcends that. It very deeply touches your emotions through the confrontation of these two character types that are vampiric on each other. And Lynch does the same in some of his movies, so I don't know if she did watch it, but anyway, Lynch is able to evoke

through use of unusual but not random, through uncanny and primal facial gestures, hand gestures, pauses, through the lighting and unusual visual juxtapositions. And I think underrated in his case is he used surprise, appropriate use of unexpected sounds, evocative and menacing phrases, parts of conversations. He's able to reproduce, I think, the dream feel at its most memorable, the highly emotional dream that tears you up. So at the end of Mulholland Drive, the theater, the audience left torn up and silent because just went through this pure re-experience of the dream of longing and dream loss. And I watched Fire Walk with me for the first time two nights ago. I had been holding it off, it left me very sad. I'll talk about this too. I have this thing where I hold off reading books

or ends of books that I rather like. I don't want the book to end. That's why I don't read it to the end. And I have to get over that. But one time I forced myself to get drunk and finish Forbidden Colors and I regretted that. Not the end of the book, which is a perfect end of that kind of book, but just I regretted that I had finished it and that now it was over. And it makes me sad to think that one day I will not be able to rewatch David Lynch or this, it's just, by the way, Forbidden Colors, just perfect soap opera book about modern city life, Mishima Forbidden Colors. I feel the same way about Lynch. This is why I held off Watch Fire Walk with me. I want to talk about his movies on this episode and to enjoy, to play clips for you of significant sounds and conversations from them

and to remember him on day of Trump apotheosis triumph and to encourage friends, maybe, to follow in these steps. It is up to us now to make movies like this. No more excuses. There is no one coming to make anything, to save anything. It's really up to you and me to make these great movies. I will be right back. Now you will see me one more time if you do good. You'll see me two more times if you do bad. Good night. Fire Walk with me, a frightening movie. It left me sad, feeling of loss because it is about the destruction of beauty. And on its surface, it could be Hackney's story about child abuse. It's prequel to Twin Peaks series. It shows maybe the year of events leading up to the beginning of the famous Twin Peaks, the case of Laura Palmer, the detective trying to investigate murder

of this girl in Twin Peaks in Pacific Northwest of America for an audience that doesn't know Twin Peaks about. And this movie tells story of year before that, where the father rapes the daughter over many years. This hackneyed 1990s, 1980s plot device, every other movie around that time, the mystery revealed to be child abuse, you know. And a movie can be psychologized the way, to some extent in sense of the daughter is imagining the supernatural elements, what appears to audience as supernatural elements, such as the possession of her father by a spirit Bob. She experiences that as a way to delete or edit her own memories of these terrible things. But that, like all the surface explanations of David Lynch movies, which I think all of them deliberately have

hackneyed soap opera-like plot like this with an easy psychodrama explanation, but I think on closer viewing of the movie itself it's impossible just to interpret in that way and of course since then he's had Twin Peaks The Return where the supernatural elements in it are given prominence and then it's impossible to argue away and you know any kind of psychological explanations for the earlier Twin Peaks series become impossible. Beginning of Twin Peaks Return has this wonderful scene in a kind of New York skyscraper without windows where there is a glass box, and a student is hired to watch with sophisticated camera equipment to capture if something appear in glass box. And he sneaks in, you know, his girlfriend and they are watching the glass box. What's this? It's weird.

She doesn't know what this is. And it's very much like a Francis Bacon painting come alive because something does indeed, an entity materializes inside the glass box and then murder and blood everywhere. But you know, I think Twin Peaks got best movie of last 10 years by, well I forget who, at some movie foundation, was it Criterion or, but I think this also support my reading of Mulholland Drive, which is that it cannot be merely or even at all a dream, but in that case, it's a haunted script suffused with supernatural beings and events possessing the actresses that come to be involved with that script. And it's, this also happens to be the theme of Inland Empire that I might mention later on this episode, The Haunted Script. And since Trump is the 47th president,

I will play for you this nice dialogue from Inland Empire about the haunted number 47, which, by the way, is a significant number in esoteric numerology. It is a prime number and has a special significance in, if you are interested in this, There is a man, Steve Lentschner, who wrote about the significance of the number 47 in philosophical tradition in certain authors. I will not say more, but here I play this clip for you. Maybe we should talk. Maybe this is the time. Let's be serious for a moment or something. I'll look at this scene. What? What is it? A sedometer. Oh, it's Freddy who first heard about it. If you have an assistant who can hold his liquor, then Freddy can do that with the best of them. Somebody's got to do it. Gable's dead.

Now, Freddy is purposefully out and about gathering what in this business is the most valuable commodity, information. Information is indispensable. You probably know this from your own lives. We all have people who gather, agents, friends, producers, and sometimes they share, sometimes not. Politics, ego, fear. Kingsley, sometimes one just isn't told the whole story. Kingsley, get to the point. When High and Blue Tomorrows is in a remake. It's a remake. Yeah, I wouldn't do a remake. No, no, no, no, no, I know, of course, but you didn't know. The original was a different name. Started, it was never finished. Now, Freddie's found out that our producers know the history of this film and they have taken it on themselves not to pass on that information to us.

Purposefully, not me, and I assume not the two of you. True? No, absolutely, nobody told me anything. No, me neither. I thought this was an original script. Yeah, well, anyway, the film was never finished. Something happened before the film was finished. I don't understand. Well, wasn't it finished? Well, after the characters had been filming for some time, they discovered something inside the story. Please, Kingsley. The two leads were murdered. It was based on a Polish gypsy folktale. The title in German was Fiercieben 4-7, and it was said to be cursed, though it turned out to be. Yes, do you like this? It is the best kind of cozy mystery moment from old 1960s, 70s movies I enjoy. At beginning of film, to draw you in, I remind me of pensive, cozy moments in movies like

The Conversation with Gene Hackman, if you've seen this. This is Coppola's best movie. Other recent one, like Tinker Tailor Soldier Spy, which is also modelled on space cadet conversation feel. Tinker Tailor Soldier Spy is actually, I think, BBC miniseries and some people consider it the best television ever made. But I'm saying the movie version with Gary Oldman has this very pensive, slow feel with that kind of conversation that you just heard. And I think both are modelled on movie conversation. The movie conversation, by the way, Gene Hackman plays an audiophile or rather an incel bachelor man of extreme professionalism. His job is to capture recordings, spy recordings of anyone in any situation. And so he's hired by both government and private parties as a kind of investigator,

a PI to snoop on many things. The reason I like the movie is that the plot, where he thinks he may be involved in a murder attempt, Gene Hackman in this movie now I'm saying, the plot is secondary. It's really, the movie's about the life of this solitary, eccentric man dedicated to his craft, living on the edge of society, a man of consummate skill. And you may see from my description, it was also the inspiration for a German movie on East German Stasi snooping on people, the lives of others, which is great film. If you ask any of the older East Bloc generations, or not my age, because I left when I was a small boy, but everything for me was actually free and enchanted. I just grew up in incredible freedom. I played pranks, I had a whole city to run in Wild Inn,

everything around me breaking down, it was great fun. No law, there was no law. I was a real pervert, even as a small boy, too. But any of the older generation, let's say, people 10 or more years older than me who I've talked to, they feel that Lives of Others, very accurate movie of what their time there was like, and yet it's also a story about the Stasi agent, the man who's snooping on others, his solitary life as he listens in on all these people, and the conversation is even more so. It's about the life of this spy essentially, signals intelligence spy, and if there's a fault to this Coppola movie, is that it shows the life of this Gene Hackman, it shows him as pathological. It's a mistake to do that, I think. Again, I deep apologize for my repeated coughing in this episode.

I will take frequent breaks and play for you some nice mini musics to enjoy from time to time. But I mean, I wouldn't do a movie that way about an in-cell obsessive. I would show it maybe 10% pathological. But you shouldn't be goaded into feeling sorry. It's not even about the negative or positive aspects. It's that in the Coppola movie or in Nightcrawler also with Gyllenhaal, it's an outsider looking in saying oh look, isn't this guy weird? I think a much more intimate view where audiences actually charmed by the extreme professionalism of incel men like this, that would be stronger movie. I can maybe make that one day, anyway. I like going tangent, one moment. Yes, I'm back. In any case, I like go on tangent about make my own movie about extreme obsessive incel mans,

but I would not do it in this kind of way where, oh, look, isn't that weird? But it's tangent, excuse me. I've told you I watch many movies last two weeks trying to take my mind of extreme zog attack on my health, but this is not unrelated. The mood of this film is a conversation. very lynchian at times, and the sound aspect, the conversation I just played for you from Inland Empire about 47, with its pauses. I'm very fond of the use of that device in the movie, if it can be done well. But the supernatural elements, Fire Walk with Me, is this about a town in Pacific Northwest that, taken over by spirits or demons or gods, call what you will, they live another plane of existence. The red room, or the lodge is called, and they are a midget and an armless man

who work with this midget, and Bob the demon, various retinue, they are able to enter our world and also to possess humans. They feed on pain and sorrow, they cause this pain and sorrow to then feed on it, which it's instantiated as garmonbozia, kind of corn porridge, I suppose a demonic inversion of ambrosia, and I think the depiction of these beings and the way they talk, the garbled backward ways that they behave, the use of sound again both in the original series and the return, Twin Peaks return of last few years where when these gods talk, it sound a particular way, their moral orientation which are never fully evil or good, or they are instead indifferent to man, but most of the way they appear immediately, visually, and in sound is maybe best depiction

of religious experience, or I rephrase that because religion is already a formalized, empty solidification, but I mean religious experience at its most fundamental, the encounter with the divine or unusual supernatural beings. I would claim ancient man experienced gods, spirits, was something very much like this, like what Lynch shows these beings in the Twin Peaks universe. It's a, well, in other movies he make too. It's a Lovecraftian American sensibility. Lovecraft thought New England woods were populated by such beings. And David Lynch, who I think is from Montana, he show Pacific Northwest like this. And then this leads to a lot of nonsense commentary from media literacy-type leftists who claim that he thought the Pacific Northwest was

evil, or that this movie is supposed to show the nuclear family evil. But I think this real misunderstanding of Lynch Wasp's sensibility, which he's not trying to show either in this movie or in Blue Velvet, right, how does Blue Velvet begin? It's a prim and clean suburban scene, but then the camera veers to what is under the grass and it's these ravenous, dark, evil insects, and the whole theme of blue velvet, right, if it can be interpreted in the same way that leftists want to interpret Twin Peaks or Fire Walk with me, is that American clean, jolly suburban life is actually a cover for dark and under-seen type things, that Lynch was supposedly laying bare the evil under white bread optimistic sunny America suburbia. I think this very wrong, as my friend Yama say,

it was David Lynch's thundering from that when he lived in Philadelphia, which is, right, Philadelphia can be truly filthy, evil city with bad feel, OK? It was David Lynch's thundering from his own idyllic childhood. It was his experience of the darkness of this filth, utterly corrupt city life, the existence of this side by side with what he had grown up with. he had to aesthetically work out how his childhood idol could exist in the same reality as industrial nightmare like Philadelphia, full of bums, druggy, criminals, and dirt, and so this, I think Yama is right at this station in David Lynch, in which the light elements are not actually being parodied, they are treasured memories, they're holding back the darkness. It's not anywhere in the same universe

as the resentful, mean-spirited snark like American Beauty. If you've seen that movie, it's a terrible movie. You would need kadihi ordeal of civility to understand the moral, psychological underpinnings of American Beauty, really a mean-spirited film. But in Lynch, I think the opposite is true. I don't get snark or sniping. The depictions of goodness, even if they are exaggerated as in a dream state, but the depictions of darkness are also exaggerated in a caricature way in the same thing. They seem to be genuine depictions of goodness though, as for example in the character Betty in Mulholland Drive, her innocence, her peppy innocence. Even Laura Dern, delusional innocence in Inland Empire. And actually most of all in the character Laura Palmer from the Twin Peaks series,

I sense in her really only goodness and this movie Fire Walk with Me is I think spiritually Even very Christian movie, the story of Laura Palmer is a redemption story of deeply troubled prostitute who finds liberation release at the very end in death. But it's a death that in some way when she puts on, it's a magical ring that the savior spirit throws to her before she's about to be killed. But she puts on this ring and she prevents with it her own possession by evil. She chooses a liberation in a virtuous death And she is dead by freed also from the torments of her life, which is, it's very simple story, but very moving. It's really felt to me like typical medieval redemption story of a fallen woman of a prostitute, or even had feel of the redemption moments in Dostoevsky.

It's a bit of a heavy movie because of this yet. It's not my favorite Lynch. I hope I didn't ruin it for you saying this, but there is no sneer. I will show you there are two David Lynch movies. I'll show you why there is no sneer in Lynch. There are two David Lynch movies that are not so much about suburbia. I mean, where the light-filled positive or good element in the movie is not shown in the innocence of suburbia or white-bred America. It's instead shown in beautiful and intense young love that has not even arguably any superior sneering about it. This is in Wild at Heart, which I'll talk about on later segment of show, and in Lost Highway. And Lost Highway is another movie like Mulholland Drive or Fire Walk with Me where it's tempting, it's easy to construct a psychodrama

to explain away what you're seeing. Superficially, the movie is about a middle-aged musician played by Bill Pullman, who has attractive sexpot young wife. The role of Bill Pullman in this movie remind me of another character. He plays sometimes character, I don't know, was he in Flatliners or this movie? But he plays, Bill Pullman plays the main character in The Rainbow and the Serpent, where he is an ethnobotanist, goes to Haiti, and then is haunted by zombie, including when he comes back to United States. And he plays same type of innocent middle-aged man. I don't know, he's very good in this kind of role. But here he plays a musician, a jazz, experimental jazz musician, and he has attractive, sexpot young wife, and she sexually humiliate him. There's a, but in a subtle way,

but is intense scene early in the movie where she, they just get done having sexual intercourse session, and she patronizingly taps his back in a mock comfort or appreciation, right? is very humiliating for a man and it's not clear if he's imagining that actually or if he's more broadly even imagining that she's cheating on him. There's an encounter in this movie A Lost Highway with a being, again a supernatural entity, where it's easy to interpret it as a delusion of the main character's mind, an externalised projection of his own evil nature that he's suppressing. And here I will play this, it is very famous scene. We've met before, haven't we? I don't think so. Where was it you think we met? At your house, don't you remember? No, I don't. Are you sure? Of course.

As a matter of fact, I'm there right now. What do you mean, you're where? Right now. At your house. Dial your number. Pleasure talking to you. It's all the more hard-hitting scene when you see the actor who plays this demonic entity. In real life, this actor, I mean Robert Blake, actor Robert Blake was arrested in 2002 for the murder of his wife. I mean, this is in real life. The movie was made, I think, in 1997. So just a few years later, the actor who plays that demon you just heard talking was arrested. He was acquitted for the murder of his wife, but I think he actually did it. But so it's easy in movie Lost Highway. Did you enjoy, by the way, the sound quality? See, this is what I mean and why I brought up Gene Hackman Coppola audiophile movie, The Conversation.

Their special David Lynch attention to the voice and the ambiance when characters are having significant conversations like this. Anyway, it's easy to interpret this spiritual creature as not real, as just a projection, an imagination of the main character, Brain, who is externalizing his paranoia and through who he will kill his own wife through oh it's not me it's this demon but after to continue with the plot of movie after Pullman is arrested for the murder of his wife for these reasons the really beautiful part of the movie starts he's in a jail cell and a flashing blue electric spark light which this is a signature visual theme in Lynch movies in the same way that Wagner uses certain melodies to indicate the coming of this or that character. Lynch uses flashing blue light

or at sometimes other cues for other reasons, but the flashing blue light is always signal of a supposedly supernatural happening, a sutureu happening. But this man, who is in a jail cell for murder of his wife, he's transported into the body of a young tough, a James Dean rebel-like character, Lothario Womanizer, and the story of his love affair with a virgin of his dead wife, I mean of this, you know, the story of this young, tough love affair with her, against the will of older mobsters and the like. This is retold in a very innocent Americana fashion. I mean, there's not a trace here of suburbia or what you'd call white bread this, there's no even argument you can make for superior sneering. It's obvious idolization of pure 1950s James Dean style rebellion,

which was also, you know, style in Japan with Hawaiian shirts. It's very attractive, this kind of gang rebel lifestyle. It was celebrated by Shintaro Ishihara in the book Season of the Sun, Season of Violence. Shintaro Ishihara was Mishima's best friend in his youth. He later became mayor of Tokyo for many years, the most prominent nationalist politician in Japan. Unfortunately, the two of them had a falling out. But this book he wrote in 1955, when they were still friends with Mishima, Season of the Sun translated into English as Season of Violence. Excuse me if I repeat myself. When I tried to read this long ago, I was in difficult situation in my life. The longing, the sense of excitement that this kind of life described of young love

in these kind of gang, James Dean, 1950s rebel situation. and also appears in Lost Highway. But in this book, it is so intense, I had to put it down, the longing it inspired was too big a contrast with my life at the time. There's such a thing as a book being just too good to be able to read in some circumstances. So whatever Ishihara, Shintaro Ishihara's later stupidity in attacking his friend Mishima, Mishima thought he had sold out, he had become a face fag, you know. But he is to be praised for this early book, which was also turned into a movie. I've never seen the movie Season of the Sun. Anyway, the point here is that in contrast to the dark elements, the demonic elements in this Lost Highway, the supernatural evil and so on, the contrast to that is not shown

in form of white bread suburbia, as in let's say Blue Velvet or Fire Walk With Me. It's rather this pure vision of young love, which is more thoroughly rendered also in Lynch's other movie, Wild at Heart, from 1990. My side point here is that Lynch did not have a hard-on to sneer at suburbia or at goodness in general. He has a genuine appreciation, I think, for older Americana archetypes of purity. They're shown sometimes in wrenching earnestness and longing, which can come off to someone who, excuse me, to someone who is sneering or whatever, that can come off, that kind of earnestness can come off as ironic. But this episode with the young Tuff in Lost Highway and also the parallel relationship in Wild at Heart also between a kind of James Dean type in that case

played by Nicolas Cage, that movie's also about a young couple on the run from old mobsters, old evil corrupt people, and literally the evil witch mother-in-law. But anyway, look, so I mean superficially, it's easy to construct a story on top of Lost Highway too where this man, he's in a jail cell, facing death penalty for killing his own wife out of sexual jealousy, a middle-aged musician feeling maybe his artistic and sexual powers simultaneously failing, and then he reimagines himself in an escapist wishful film and fantasy hallucination as a younger, better exciting version of himself living idealized love and fighting against the world. It could be interpreted in this psychodrama way. That's an, you know, that's an ultimate male fantasy, right?

And there is visual evidence for this interpretation because at end, when they electrocute him, you start seeing in flashes Bill Pullman's head, his face as he's being electrocuted, I think, and the musician, you know, returns, you know, woken up from his fantasy. And on one hand, I think that's a legitimate interpretation that Lynch leads you to in multiple ways, in some way that in Mulholland Drive, the first part of the movie as a dream, you're led to that in this kind of soap opera, moralistic psychodrama way, again, same way, but I think given everything else Lynch has made, and given the other visual cues in this movie, in the Mulholland Drive episode, I went into some detail to try to show you why the dream explanation is not tenable even internally just to that movie,

and why what appears to you as a dream is actually the characters in the movie are shooting different movies within a movie, but you're not shown the seams of that. You're shown just scenes from the movie that they made in the past, interspersed with current action. And it's hard to disambiguate from the two, and that's kind of the point of the movie, because it is a supernaturally haunted script in which the actress becomes possessed by the character she's playing. But in Lost Highway, I will not go through it. I cannot, I think, do that. I can't show you why internally. It's not explainable as a hallucination psychodrama thing. But I do think an actually supernatural explanation is more likely. And it's really because a supernatural explanation is fully shown, again, for Twin Peaks

and Final Season, The Return, which Lynch openly said also that he believed in supernatural entities and tulpas and such a lifelong practitioner of Tibetan Vajrayana meditation. Strange how Free Tibet still appears in his 1990s sensibility movies, but no longer in celebrity culture. Why do I go through all this to tell you? Because I think ultimately, though, it doesn't matter the explanation. And I'm not saying that in the snide, postmodern sense of, oh, it can mean whatever you like, It doesn't matter the death of the author or this, if you're being shown, it doesn't matter if what you're being shown is supposed to be actually cases of supernatural transport and possession or a wish fulfillment dream. I'm saying it doesn't matter in the sense that what matters ultimately is precisely

what Camille Paglia, with her disdain of postmodern art, what she says she prizes in opera, which is the visceral emotional response. And how do you do that in a movie? I don't think you can do that in the way you do it through opera or in theater, through drama. I think Lynch successfully evokes visceral emotional response every time. It leaves you confused about the rational explanation of what you've seen, but not about the emotional triggers, they which are primal and intense. And they're dependent on pre-rational play on again, unusual phrasing, play on unusual and unexpected gesture, auditory and visual cues. It's the use of timeless archetypes also of good and evil, an image, degeneracy versus youthful vitality and so on, where these are woven into a plausible plot

that your brain then tries to fill in the holes, but the plot doesn't really matter for the purposes of achieving this emotional effect. Excuse the attack. I think it speaks to a sub-rational level, so it's images as music, as dream music, and in his final full film, Inland Empire, Lynch actually does let go of plot almost completely. I will talk maybe this next. This is unusual episode. I hope you don't mind me talking about these things from David Lynch. I truly miss this man's. I will be right back. But it isn't something forgetfulness. It happens to us all. And me? Why, I'm the worst one. Or was I? Yeah. Is there a murder in your film? Now, I think you are wrong about that little fucking murder. Things you've been saying. I think you should go now.

Yes. Me, I can't seem to remember if it's today, two days from now, or yesterday. I suppose if it was 9.45, I think it was after midnight. For instance, if today was tomorrow, you wouldn't even remember that you go on an uphill consequences. And yet, there is the magic. Long as this last week before inauguration, there was huge debate online about work life, the prospects of work and career, especially for young people. But that bores me so much, I don't want to discuss in detail on this episode, except to say, in general's matter, I'm puzzled, because I thought Trump returned, amazing political return, which how many thought he would be able to make it back in 2020? If you listen to my shows from that time, I didn't see this coming. Nobody did.

I think his return, I thought they would throw him and his family in jail. He had been banned everywhere. And what a change also actually from 2015 and 16 when Macy's cancelled Trump. And I remember walking around with my Make America Great Again hat, and I was walking in United States and getting dirty looks, getting, it could have been physical even in 2016, Macy's took his products off shelves because he had said something bad about Mexican immigrants in the primaries. And this is one of history's great tales, I think, one of the great nations in all human history. United States has maybe just had its most amazing political story ever, the return of this larger than life man's Trump when no one thought he could do it.

And he did it together this time with a tech elite, which of all sectors in American society, as a group, I mean, I have the most respect for them because there are very few groups to have respect for, okay? But as a group they are respectable because only ones left representing American innovation, practical capitalist dynamist spirit, the Hoover Dam building spirit, aspiring to something new. Hoover was man's similar geo-engineer and he became president and it's American tycoon archetype and mix technology, capitalism, and political aspiration. And Elon also awakened great things with his call to go to Mars. Others in this world I know have high hopes for artificial intelligence. I do not, but I admire that it's a genuinely new technology, maybe could achieve things.

So I thought this Trump moment, amazing event, they were trying to smother Elon, the retarded leftoids during the last administration, excuse, just gratuitously tried to smother Elon who had been on their side, fully revealed in the persons of Kamabla, Biden, and actually the ghouls surrounding them because they were mere ciphers. It's amazing to hear Biden signed away America's right to export natural gas, which apparently he didn't know he was doing. Normally, people would be executed for treason, for whoever foisted that on him. At the very least, I'd hope they go to jail for that, but this thing about the ghouls surrounding them shows you that Marxism is a regressive, reactionary force that seeks to suffocate progress. I mean, that's what it always was, okay? Marxism.

Aside from its theological, you could call them its theological underpinnings, which you can find adequately explained in Karl Lovitz's book, Meaning in History, where he sees Marx as a form of secularized prophetic Judaism. And, you know, don't call it a Nazi. Lovitz was himself Jewish, although he was the only academic to teach in all three axis countries during the war, Germany, Italy, and Japan. Funny story, he's the one who Leo Strauss wrote the Isle of Fascism letter to in 1933. That's all rather swept under the rug now, But quite aside from that, see naively, Marxism is just the demand to redistribute at the point of a gun the great bounty and material technological progress that had been made under capitalism. And know it, I say capitalism, not liberal democracy

as the story goes now, because I think capitalism under enlightened monarchy, as for example in Germany, would have made faster progress and greater strides than under liberal democracy. You see this amazing technological acceleration and you say, no, because black men's stomachs are empty or parole, proletarian stomachs, whatever, same shit. Bellies are empty while whitey is on the moon. Whitey on the moon and bellies are empty. You know that sign? That is, you know, you're already making airships, but bellies are empty in the factories or whatever. So we're going to retire this growth and technological progress to address matters of social justice and equity. and will do it through a revolution at the point of a gun. And that's what Marxism has always been.

And underlying the egalitarian impulse is a very ancient, very natural, Lindy you could say, but both ancient and natural human drive to reestablish the life of the village, its comfort, the comfortable bosom of the shtetl, the commune, right? Because what is specifically being targeted in the assault on technological modern capitalism is specialization. It is professionalization, specialization, difference of this type, distance. And the distinctions that according to Kadohe and the sociologists that he followed, the distinctions that are inherent to modern Protestant civilization, the distinctions between public and private, between the individual in his privacy, in his various professions, in his home life versus his social life versus his political life.

It is this that is felt as a terrible imposition by Marxism and objected to. And I didn't know this, but during the Paris Commune Revolt in the uprising in 1871, which so horrified Nietzsche because he experienced it as a real shock. He couldn't sleep at night. He was convinced they were going to burn down the Louvre. And they went straight for... They didn't burn down the Louvre, but they went straight for the Van Don column. You see, that was the target of these communist revolutionaries. On orders of Marx, you could claim, that was the target. Napoleon's glory monument in the Place Vendome, I think to commemorate the Battle of Austerlitz, whatever, but it was a monument to the memory of Napoleon. And so it was not the remnants of the Ancien regime.

The Marxist understands his mortal enemy in the form of Napoleon. I'm not saying they liked kings. Of course, they were opposed. But they understood their most vital spiritual opponent, this Napoleon, not the Ancien Regime, the embodiment of modern enlightened progress, Napoleon. And Marxism and leftism are fundamentally regressionary communitarian drive, using modern language only superficially and cynically. It is what Nietzsche called the return of the classical men, Napoleon, that so upset Marxoids and all their ilk. All their propaganda on this point of progress, by the way, is false. My friends, Russians with attitude, point out that Russia, Tsarist Russia, prior to the 1917 revolution, it was industrializing and modernizing at a much faster rate than it did after the revolution.

So I'm telling you it's this way in every case. You can extend this principle also by analogy, this example I mean, to explain modernity in general in the sense that what is attributed not only to socialism but to its cousin, liberal democracy, in other words, the rapid technological progress since 1800, That was actually due to prior trends and energies, and actually the political side of those changes, the liberalism, the socialism, the democracy, that retarded that progress. And probably mankind would have colonized the solar system at least by now, not to speak of Europe's mastery over the earth, assured for centuries, were it not for the liberal and socialist revolutions of the last 200 years. Anyway, I go on tangents, you see, I like to go on tangents.

I mean to say, not that Trump is in any way a reversal of all that or a return in full of Napoleonic spirit, but it is a reestablishment on a somewhat better path than America has been for maybe since the end of the Cold War, for sure. There's more hope now. Again, Mars, hopes of Mars, hopes for robotics and artificial intelligence for new technologies. I think also basically for a reform of the economy on a basis that rewards actual merit and energy. At the moment, American economy is still so heavily regulated, especially if you're a young man, really of any race, but especially white men have been negatively targeted by regulations and government action, and specifically them. Let's not fudge this, but in general, the job market is so restrictive and credentialized

for decades now, and this credentialization helps only women and some minorities, right? This whole fake officialization, officialize of the hiring process is a huge retardation of energy. It used to be you can find job immediately, you can incorporate immediately. Now you need a masters of library science to stack books in the library to start just as menial jobs, for example. But I can spend hours giving stupid examples like this, a nation economically caponised, its liberties caponised to cater to the fake predilections, I don't even want to call them abilities, the predilections of women who are a huge drain on the economy in many of the fake jobs that have been invented. The whole human resources industry, for example, functioning as a matter of exclusively government

regulatory compliance, but functioning as a welfare drain on behalf of women. And many other examples I can give of make-work jobs that have been invented that are a drain on the economy. And none of this would have to be addressed rudely. In other words, you can get rid of this leeching merely by emphasizing freedom, merit, a lot Allowing employers to hire based on merit and so on, again, allowing them to administer real IQ tests. So I mean, damn it, they attack. Oh, baby, god damn, yes, this David Bowie's phrase from Fire Walk with Me. But so many opportunities for salutary reforms now to seize this momentous mandate. And this is what's puzzling, I'm saying. I don't want to get into the details, but just to address that debate about work in

this general matter, among all this techno-futurist optimism of this moment, the possibilities for fair reform, what does the conservative Inc. and populist Inc. pundit focus on? The pundits and paid talking heads of the conservative and the impersonation populist movement. They focus on H1B, that's their primary focus, flooding the country with cheap labor so some tech employers can man their sweatshops, producing substandard spaghetti code, bringing in these people's relatives to, I suppose, make a million more dingy 7-Eleven sprout. And they're recommending to intelligent young men online after they have provided energy to the Trump campaign and, you know, the youth went for Trump due to the hopelessness and

the imprisonment of the Biden years, and instead recommending to them snidely dead-end jobs at Panda Express in Chipotle. It's amazing to me this is the message of conservative and populist pundits in this of all moments. I have to guess it's either stupidity, emotional incontinence, or that they feel some misplaced duty to their donors and think maybe they wrongly think that their donors want them to stomp for this kind of slave driver economy of hopelessness because they might be worried that Trump and Vance will address the terrible work life, terrible career life, and working conditions that have been established, especially for the intelligent young over the last five, 20, 30 years. I mean, I thought Biden was a bad president, one of the worst.

But now, according to conservative and populist talking heads, he was a great president. This is the best economy, according to them, in decades. Or this, it's absurd. And young people went for Obama first, then they went for Trump and Bernie Sanders, and then Trump again, because things are very bad, OK? And it's not that they are communist. I already gave you some examples, although it's never said that way, but the economy is gunked up and retarded by all kinds of fake jobs that exist due to regulations, credentialism, there's no feeling of freedom. And then working conditions within any job, which I have a show, an episode I did some episodes back, employers have been encouraged to be arrogant and abusive. And this didn't happen as a result of natural market forces.

It's because of government regulations that employers have been given unfair advantage in the labor market, and that needs to be corrected. That isn't communism, you see. It's not communism when the labor market becomes naturally balanced in favor of the employees. Normal economies go through cycles, but not this one anymore. It's purely government lobbying on behalf of employers and fucking over employees. That's not natural either. It's a perversion of the word capitalism to confuse it with corporatism of this kind. And by the way, it's selective corporatism. It's the same as the conservative pundits I knew some time ago who were propagandists against organic foods. For example, the people who work at Capital Research Center in Washington DC and other smear machines.

Organic food company is still capitalist. It's not communist just because you want to try to code it as hippie or whatever. That's not, it's not, they're addressing a market segment that wants organic food. It's not, but in the conservative movement, an organic food company, you are allowed to ask for government regulations against it because that's supposedly capitalist. You see how it works? So Monsanto can forbid, can force farmers to accept their seeds. You know, judges can rule that if the wind blows Monsanto seeds on your own land, you have to pay Monsanto. That's obviously unjust. But a conservative pundit will say, well, that's capitalist because Monsanto is a corporation and a small farmer is a communist. You see how it works?

I've given this example before, excuse me, but if you are a producer of milk without bovine growth hormone, the law lobbied by conservative pundits of this kind is that you have to list on your own product, studies have been shown that recombinant bovine whatever hormone is not harmful. And so even though I'm advertising that I produce to my own expense without that, I I have to put this disclaimer on my own product as a thanks to Conservative Inc. force, you know, usurp my free speech rights and my economic liberty rights, I have to put that on my own product. Well, Europe and I think Japan ban bovine growth hormone for a reason and many other such things. But it's not even a question of banning here.

It's a complete perversion of what understood by name capitalism by these, really they are not thinkers, they are PR men for certain corporations. It's not the free market to bail out some banks as in 2008, when other banks like Santander had not made the same mistakes and were there to pick up the pieces and become the most important banks in the world, and they were denied that. And instead, people who made mistakes were rewarded. That's not free market, but I never hear the Libertardians complain about that example at all. The banks, of course, should have been allowed to fail. It's absurd to claim that it's an employee's market right now when you have to go through a battery of 10 interviews for a decent job. That's not normal. It was never the case in the past.

In the 1980s, for example, hardly a communist time, but it's abuse to put an employee through not to speak of what happens after you're employed, the exploitation and so on, that never went on before. But look, regardless, what a way to misread this moment. These men, Rufo even, not to speak of the others, they're not in government, right? They're not in business either. They're in the communications business, you can say. And I'd say they misunderstand even that. We are all fundamentally in the entertainment business. I'm under no self-important delusions about what I do. But why, as a conservative pundit, do you choose this moment to signal a message of hopelessness and to pretend that Trump's turn is now a promotion of a bleak, dead-end economy of cheap things and cheap jobs?

It's supposed to be a return to American dynamism and freedom. Trump just sat down and signed on Inauguration Day, what was it, 200 executive actions and murders, I mean orders. Some of them are excellent, ending birthright citizenship. We'll see if that holds up in court. but others that severely limit the scope of H on B and many other such things. Sorry, Vivek. Vivek is out, by the way, since last episode when I discussed his royal mistake where he crashed headfirst into lockers, top hat flying off, and now he's been let go. So I hear. We'll see what happens. But it was... He could have just kept silent, but they are so arrogant, these... Some of these, and really, to call him tech is an insult to tech.

I don't know what Vivek actually did economically in his life other than run, I hear, a scam regarding Alzheimer's medication for which he should probably be investigated. But others declare, others of, I mean, Trump executive order declare a war on the cartels of Mexico, deem them to be terrorist organizations. significant. I think also one executive order takes the security clearances away from the 51 rats from the so-called intelligence community who abused their positions in the last election. They lied about the Hunter Biden laptop before the 2020 election to get that story censored as a Russian plot. I've repeated a number of times on Caribbean Calypso show. They've used this, they've milked the Russian conspiracy thing since before Trump. At one point, me and my

friends were all being called Russian spies. But anyway, taking these people's top secret clearances away is a big thing. They use these clearances in all kinds of ways. It's their bread and butter for media contacts, they appeared on a podcast to talk this, private industry contacts where they are assumed to have access to classified information and and so on, and if you take that away, it does affect their lives in a significant way. I see it as a good start. They should be, I think, more severe punishments are necessary. A total purge also, not only of General Miley, but of types like him from the military, the kind of faggot yes-men toadies who all the military top brass now is in some of the lowest rats they got put in after the tail hook scandal in the early 1990s.

The scandal was used by the Clinton, commie pinko White House to purge the top brass of military, to purge it of alpha males. And now with hexes, there seems to be an awareness that you can't run a military based on hostility to healthy male impulses. Yes, military men will hoard, they will carouse, they will horse whatever horse around, which after all this foundation, I don't want to get into this tedious debate now. Everyone and their dog has opinion on what is woke. But woke is fundamentally, if it's anything else, deeper, I don't know. But it is hostility to white males as a supposedly hegemonic exploitative element that needs to be critiqued and removed from power and wealth and the access or paths to these. So the feminist angle, the racial angle,

various other all converge on this one end and really not to something else. It appears as simply as if you watch the show Succession In later season, the daughter of the tycoon on that show starts talking about white people this and white people that. I mean, it's hardly unique. It's on every show during that time, since the 2020, 2021 too. It's fundamentally, that is what woke is. Everyone knows it. There is no woke animus as such against IQ or other things like that, except as ancillary to the attempt to attack white male as a supposedly hegemonic force of oppression and past historical exploitation and of course they realize that when 80% of your combat troops are white males and you don't win actually any conflict since Gulf War I because of stupid

decisions made by politicians but also by retired top brass like Petraeus and these kinds of yes-men eunuchs that they've promoted in the military since then, there may be a dawning realization. I mean it look mr. Trump and mr. Vance and even mr. Rufo even even if you're just a publicist You say you're against DEI. Of course the AI is much older It's called affirmative action since the late 1970s if you're really against it and you want to pretend it's a free economy Remove all the existing legal measures that the United States government Currently takes against white males and then we will talk You don't actually have a merit or free economy or anything like that until then. I'll give one example. This past week, I gave an example of foreign service exam. It's a quite difficult exam.

I know a number of frogs, though, who are very smart. They test very well. They could easily join the Foreign Service of America. But unfortunately, the admissions are no longer purely meritocratic. If you read Angelo Codevilla's old essays, he was explaining how it used to be purely meritocratic admissions to the Foreign Service, unlike, for example, the CIA. It used to be based entirely on your results of this exam, but now you pass it and then they appoint actually based on racial, gender, and even political litmus tests. And if you don't get appointed, and I think in two years after taking this exam, it goes back to zero, you need to retake it, and some people do for years, they never get a job, and

despite being supremely qualified in all other ways and so the Foreign Service of America has turned through this fake admissions process into a communist nest of hysterical libtards. So how about you make that, a section of the government to begin with, actually meritocratic. Then we will talk about meritocracy. It's not that way now enough, but it's not that way in the tech world either, not yet. Well, I guess I'm talking politics and light things on this segment, why not? I was resting these past two weeks. At times I had high fever and I did not want to watch serious movies. So to zone out, if you like, to get the zone blank out. I watched this show Call My Agent. I've seen Fools recommend Emily in Paris. It's not a good show. Call My Agent is about the same things, but much better.

I recommend it. It's a light-fluff sitcom, several seasons. It's a French show, but it's nice to watch while you eat and this kind of thing. It's about a country girl in France. I mean, she's from southern France, so I don't know if that counts as a country girl in America. She'd be considered sophisticated. But in France, it does. A girl from the provinces, typical French bildungsroman story, where she moves to Paris and ends up working in one of the premier talent agencies there. So, you know, this element very important to French movies and books, story of the promising country boy moving to Paris and so on. It's at the center of plot of Red and the Black. Such a great book also on seduction on game, on the romantic cat and mouse game played with rich mistresses.

Plot also of Maupassant Bellamy and many other book. But in this, I don't mean to say it's on that level, of course, but it plays on that traditional literary French trope. She moved to Paris and she has this very innocent look, dull eyes, always wide open eyes. In the first two seasons, I find her, I don't know, it's quite, she's plain, someone even says on the show, she's very ordinary, but she's also sexy in a way. She pushes your buttons. So anyway, the show isn't just about her and her adventures, but the other people who work in this talent agency, their intrigues and affairs. It's, I think, also opportunity to see many current famous French actors and celebrities who are, they are recruited for episodes, they make cameos on this show as supposedly represented by this agency.

So you get a good slice of contemporary French life in the show, of course, but there are funny episodes involving Monica Bellucci, Isabelle Huppert, and other actors you might have heard of. I didn't know this, but Christopher Lampert is apparently a French actor, I didn't know that, or lives in the French actor world, is represented by French agencies and so on. This is the guy who play Tarzan and then Highlander. I did not know he was French, French Michelin apparently. But anyway, by the third season, actually I don't like the main character, what she becomes by the main season. The southern French girl, I mean Camille. They redo her hair to something more fashionable but it doesn't suit her face. She's better with longer, more elven hair.

And then there's also kind of weird like asexual, like she does not have any affairs or sex in this show. It's bizarre, except in the beginning where she almost hooks up with her half brother. They don't know they're siblings at that point, but there's hot brother-sister action almost. Sorry, can I say that on family show? He's a handsome French youth. They should have gone with that. But aside from that, this character can be weirdly asexual, which combined with everything else about her makes unpleasant, I think, as a, she's a pure engine of ambition, like she become really obnoxious by season three, the kind of busybody, ambitious, sexless girl you may have known at school or work, I find quite unpleasant. I'll wait and see if anything changes. The most sympathetic character

is actually her natural father, the most important agent at this firm, and he comes off as unpleasant, snobbish, arrogant French men at first, but grows on you. But, oh, since I talk about this show, that is incredibly beautiful in one or two episodes, French supermodel girl, blonde French, I don't know her name, but she appears, the lesbian agent on the show is trying to recruit her to represent her. And for something about this French model, I'll try to find her name and post her, just really pushes your buttons. Quite aside from the fact she's very beautiful, when she's being interviewed in the office, she shows up and is like, yeah, what do you want from me? And this agent is trying to woo her, and she starts smoking aggressively, like cheekily smoking in this woman's office.

And that is my actually career advice to young people. If you're a beautiful girl, You go to interview, you just unapologetically take out a cigarette, and you start just cheekily smoking in front of them. But you have to be beautiful and pull that off with attitude. And if you're a handsome man of that age, I would recommend what I said in the tweet, that you go either to your professor or even in job interview after a workout in, let's say a gray T-shirt that shows off your physique. It is wet with your sweat after a workout and you cheekily sit down in the interview room. You lie back, you splay back, you spread your legs and you act nonchalant as if everything is normal. This my career advice to you. Aside from what I'm left watching from a show,

call my agent. I assume it's a fairly accurate representation of current day professional French work life at its highest, you know, top-of-the-line agency, but what I'm left with is a bad taste in mouth about Paris, I'm sorry to say. I was in Paris twice this year. The first time was about for ten days. I really enjoyed it. I talked about it on this show. I talked about it in a thread that became very popular because I, damn it, the attack, sweet baby goddamn. Listen, I talked about it in the thread in which I was trying to show you that these dissident on X and such who are insulting Paris are off base. It's usually someone like Lauren Southern and they recycle videos that have been taken in, let's say, communities, suburbs, that have been migrant suburbs since the 1960s,

and they take video of that and pretend that's what Paris is like, and, oh, Paris is over and everyone applauds, and that's very popular content in United States. It's this kind of doomerism about the European Union has been common in the United States since the early 2000s. it used to be actually a neo-con talking point. You know, Victoria Nuland and Bill Kristol and so on. This is the attitude of people like that about Europe. And I wanted to counter that, it's complete bullshit. I found Paris very charming in my first 10 days. I did not see 10 cities, there is some diversity, but it's much better off as a city than let's say almost all American cities. I don't know, maybe Miami is better than Paris, but I'm not sure that it is. But, excuse me, so look, first time I enjoyed it,

second time I stayed a month or so, I enjoyed it quite a bit less. I'm still considering if to live in Paris longer term. The main problem is not the old and traditional unpleasantness, the edginess of the French, the fact that they are kind of short-tempered with a sarcastic sense and look down on foreigners, the fact that they're even dour at times, which many people are not aware of the French dourness and austerity. I've lived in France before when I was 20-something. I lived there for a year and I can get used to that. The problem is something more recent. Paris is the most beautiful city in the world, not the most beautiful natural setting, but there's a magic and a romance in the air, ideally, And there actually is, there actually is, it's not made up, it's not from a story.

You can feel that, or at least you could feel that before. But in certain parts of life that it's become Americanized in a very unpleasant direction. So you go to the hall market, what used to be the hall market. And it's this kind of modern mall now and it feels horrible, like the worst aspects of an airport terminal. It's not what you're shown online. It's not rape gangs. It's not tent cities. It's not, I didn't see so many homeless. It's not unsafe and actually in Paris, if you do see a homeless, you can call the police and they'll remove them. That doesn't happen in New York or many other cities. It's not unsafe. I could walk around, but it has feel of cheap airport terminal, cheap impersonal, you know, and the Champs-Élysées is that way now too.

It's like a drab international airport terminal with the usual bug man luxury brands, but the same kind of people walking around, just this ugly, indistinct international crowd, fat Chinese grandmothers, whatever, and you go to, look, I don't remember if I've said on this show, but you go to famous cafes, and it's like a fat Pakistani sitting next to you at the Two Maggots Cafe, you know, and it ruins, the minority thing fits into this, but not in the straightforward way you might think. Minorities as such don't take away from the charm of life necessarily. I don't think they should be in Paris, but I live in the third world, and I'm used to living in a mastized population center and going forward, I think I will, even more so because European, American, Japanese life,

too antiseptic for me. But in the third world, there is a gentle charm to life often. The people, the beige people too, they have their own culture, and they have their own calmness, and they feel their place there. Whereas in France now, it's this Americanized antiseptic depersonalization that's been introduced to where it actually, again, feels like airport terminal and this weird corporatese at times. And that's the feel I get strongly in this show as the seasons go on, that there's an unrelenting bleakness to French life, the sweetness and magic of older French life dissipating away. And the role of minorities is in it as agents of this, very prominent agents, let's say, of this feel in the sense that, for example, let me give you an example.

There's a mulatta girl at this talent agency, this show called my agent. She's the receptionist, okay? Excuse the attack. Now look, I do not mind mulattas. There's a long tradition of French appreciation of mulattas, Gobineau even, and so on. Some Russian girls I know who are my friends, they got upset when I posted Gobineau attacking Slavic girls. I'm not saying I agree with Gobineau's judgment. I was posting that to Troll. It's just that Gobineau has the typical French hostility to Russians at that time, and they like blacks or whatever. And also, I do think that the beautiful Russian woman, that is a more recent phenomenon. It was actually not around in the 19th century. Some people have explained it as all the men dying off in the war and selection, I don't know if selection effects

for beauty can happen that fast, but I think the beautiful Russian woman, and they are the most beautiful women today, but I think that is a recent thing. But the thing is that this mulatta girl in the show, she's self-decontextualized in a way. She's not there as part of her own charming culture or life, let's say if she's from the Antille or whatever. She's not there with the calm repose that belongs to someone from an older culture. She's also not there as a transcultural human exemplar of higher human expirations. I actually don't like, personally, I don't like ethnic self-identification. I consider it parochial and a superstition. I like cosmopolitanism, but at a high level. But she, for example, and other minorities, are simply there as decontextualized human ciphers

of pure ambition, pure desire. In particular, pure demand for rights, demand for respect. It's how other minorities are depicted in this show also. And I think that's because it's an accurate view of their place in French, and for that matter, American life, where a minority is, again, neither an exemplar of a charming culture nor of again humanity in its universal higher aspects like you could meet someone devoid of any cultural whatever in a scientific setting. I enjoy that or in a philosophical discussion but this is not that it's mankind in its universal lower aspects as a pure black box a beige vague demand for rights. Yes I hope you enjoyed the brief absurd music break, but yes, it interrupted my point. I was saying these minorities, they are shown

as a nest of demand for recognition. They are empty vessels, devoid of any human charm. And this is not the show makers, the movie makers, whatever, representing them in a negative light. I mean, it is negative, but they think it's legitimate. They think it's the people People making the show are showing this accurately as if it's a good thing to them, you know? But what it actually is, the feel of being bullied by a beige person in a TSA line at the airport. You see what I'm getting at? Look, I don't know if I told you this story. The second time I get to Paris, I went and I used handicapped bathroom because main bathroom in airport was totally filthy, like the latrines in a Romanian provincial train station populated by gypsies.

So I go to this private handicapped bathroom, and while I'm doing that, I'd never seen anything like this. A black security guard opens the door, he had a special key, okay, and thankfully I was just washing my hands. But I'd never seen anything like this, I reported him, right, but it's actually legal, you can't, but he understood those rules as his job, his duty to do this weird brutal thing, barge in on a bathroom that's being used instead of, you know, maybe waiting and finding me after, if that's the law. But it is this antiseptic harsh rule-following tyranny of human ciphers, which I discussed also on the very first episode of Caribbean Rhythms, where Anglo-Saxon efficiency is misinterpreted by shibun DNV-type functionaries in a completely unreasonable and self-serving way.

Not even self-serving, just malicious, in which minorities are the primary agents, but really they're only a symptom, it affects the French too. They learn to inhabit this extremely kind of unpleasant world of corporatist rules and to be its actors. And I think this is a weird import from the United States. I left the United States because all lives there seemed like this. Brutal and antiseptic, hostile, lacking in any charm or reasonableness. humans basically reduced, especially the minorities, self-reduced, understanding themselves as legitimate, pure engines of desire for recognition and rights. Utter hostility everywhere. And I sense that in the background of this show, Call My Agent, it's looming in the background

and I'm thinking, I'm not sure I want to go live in Paris. I miss Spain. And you know, it's not the traditional character of the people that's in question. You are taught, maybe you have some stereotypes that the French are nasty and that the Spanish are a warm Mediterranean race. I did not get that sense. In France, even on a short week trip, one week trip, I was able, easy and nice to talk to nice young French people. And it is almost 100% French young people, by the way, in the Marais, the hipster neighborhood or the 7th district. That was great fun. People will talk to you. If you go out in Spain, it's much colder, in fact, and anyone will tell you it's really very hard to make friends with the Spanish they keep to themselves, maybe even more than the Portuguese.

I know students in Spain, foreign students, they have not one Spanish friend after three or four years. The Spanish can be just so cold to outsiders, but the French know, and yet it's this other element in the culture, right, this new element, this system of American corporate hostility to everything and everyone, the corporatist coldness. A common experience in France is not to be allowed to go into a shitty bar by a hostile doorman. While I didn't even want to attend this bar, I was just walking on the street, I wanted to look inside, and there were beige, smelly, literal fat girls. It wasn't like this was some glamorous, exclusive club, but it's an inversion of, you know, okay, I'm not making this up. I mean, many people have told me they've had this experience in Paris specifically.

The nightclubs in Madrid, for example, are a lot more exclusive than the ones in Paris, but they don't have this bizarre inversion where it feels and acts like an international airport terminal, and it's actually a place that's for fat beige girls with glasses, I don't know, it's bizarre what France has become in some ways. I get on many tangents. David Lynch loved Paris, I think. I still do, I just wish they try to recapture the sweetness and charm of their own life. Whatever you want to call what I described, the corporatism or whatever, it's a reduction of life to its bareness, it's public emergency room, waiting room in a hospital. I don't have a name for it, but it wrecks life, it just feels shitty. So anyway, I'll be right back to continue talking David Lynch.

I knew I had an important lesson to learn that day when she got almost to the top step I stuck my hand between her legs from behind What a bad boy you are Baby, what a bad boy you are Well, that's just what she said man. I had a boner with a capital O Anyway, I found her lying in a room filled with assault weapons and spank house magazines so I slid my hand between her legs again and she closed her thighs on it her face was half pushed into the pillow and I remember she she looked back over her shoulder at me and said I won't suck you don't ask me to suck you poor baby she don't know what she missed what color hair she had jet black but gentlemen for blunts. Anyway, dig this. She turns over, peels off them orange pants, spreads her legs

real wide, and says to me, take a bite of peach. You've got more and sort of got what you come for. Oh, baby, you better run me back to the hotel. You got me hotter than Georgia asphalt. Say no more, but go easy on the sweetheart. Tomorrow we got a lot of driving to do. Hotter than Georgia asphalt. Do you like these sounds that is seen from Wild at Heart, where a fat black woman sings. There's a close up of her fat lips and her thick voice. You know that it takes you, it's great. We need to talk some more about nightclub scenes in David Lynch, because it's some of best part of his movies and of any movies at all. It's at center of Blue Velvet, the villain Frank Boots inhabits this nightclub world, obsessed with lounge singer Isabella Rossellini, played by, and kidnaps her.

Kidnaps, I think, at first kidnaps her and then kidnaps her family, but the obsession he has is justified, shown by you in full in scenes. Lynch shows you in scenes where she sings, and there's an otherworldly, very seductive quality about Isabella Rossellini character, and the setting she's in, and all of David Lynch nightclub settings you know he paid supreme attention to interior design all his movies he personally chose a furniture and everything to create dark brooding stylish ambient mood the best scene by far in fire walk with me is also the nightclub scene where Laura Palmer and her friend they are in this it's funny it's a rural Canadian nightclub okay on the Canadian border it's very funny that Canada is depicted in the world of Twin Peaks as

the, you know, of the Pacific Northwest, but the crossing of the border into the forest in Canada is depicted as this smugglers, this descent into the underworld, into crime and corruption and evil. Is Canada really this way? But it's only true in sense, I've been in some provincial and rural nightclubs and they are often the most grimy, dark places and, and this is shown, this place is shown in the full beauty of its evil. It's a long scene in Fire Walk with me with... It's maybe Angelo Badalamenti's, this is the composer that Lynch uses in all his movies who unfortunately also recently died. But this nightclub grimy scene, which should not be seductive at all, it's a disgusting fat pimp dealer and some hicks filling up these high school girls in a God-forsaken

basement in Canadian wilderness. But the way it's used, the music, the lighting, the long scene is just so perfect, consummately seductive. Also, a very important part of movie, because at once it's revealed main character, Laura Palmer, her character, her femme fatale persona that she hides from her family and everyone. At the same time, it's revealed this and her angelic good nature, where she rushes at the the last moment to wake her friend up, save her from the situation and from this kind of life. But this is all the more reason to appreciate David Lynch because like Mishima in his own stories about urban decadence, they are not just engaging in moralistic germiads against modernity. They're showing you in full why evil is seductive and attractive, making it that way for you.

And all of Lynch's nightclub scenes are like this, just perfect. Lost Highway begins basically in nightclubs that Bill Pullman is a musician in. There's a strange burlesque theatre night show also in Mulholland Drive, Club Silencio, which I understand is also now a real club in Paris. Lynch opened this nightclub based on Mulholland Drive-like ambiance. I have not been to it though. It's funny whether it's him or John Malkovich also is nightclub owner now in Lisbon. Luke's nightclub. It's interesting that he should have chosen that of all places. I remember I was living with friend in Lisbon in the early 2000s. I went there once. It's one of the most amazing clubs I'd ever seen. Just professional done and some of the

most attractive people I'd seen and it's interesting that of all places Malkovich would buy that one that I had visited. There were so many other options but Lisbon seems rather random for someone like Malkovich to choose. I don't, I think Madonna is actually his partner in that club. Maybe I'm confusing it. I know she lives part-time in Lisbon. I cannot recommend Lisbon to you now. It's had a couple of good years before the pandemic, but by now it's been flooded with tech and crypto bros, and it has a very Disney-fied touristic feel again. It feels unreal. Anyway, it's interesting these men's buy and run nightclubs. If anyone has been to Club Silencio in Paris, tell me, I don't know. It sounds interesting. So the fat black lounge singer in Wild at Heart

made me laugh, you see her fat lips. And then the change, the sudden change in sound at the end of that scene, you know, where Nicolas Cage is talking to Laura Dern, such a beautiful sequence of erotic free adventure. That's typical lynch use of sound, jerking your emotions immediate from absurd humor to dark foreboding to erotic freedom, very much like in Mulholland Drive. There is hilarious wrestling scene, wrestling fat woman and incompetent assassin shooting a few people in abandoned building after he wrestled with fat hog woman. And then immediate, there's a cut to dark foreboding dream sequence. This what I watch for, ultimate rewatchable entertainment. But the theme of Wild at Heart, what I'm getting at, which is, this is Lynch most exuberantly Americanist movie,

I think, Wild at Heart, a celebration of youth, young love as escaping the stricture of corrupt and tyrannical old age. The villains of this movie are old mobster, old assassin, older decrepit man of Bobby Peru, which is a famous scene, and actually brutal depiction of game. Let me play it for you now, this is famous funny scene, Maybe not funny, I play it for you. That's what I do around here, that's for sure. You know, I sure do like a woman with nice tits like yours who talks tough and looks like she can fuck like a bunny. And you fuck like that, huh? You like it like a bunny? You do, baby. I'll fuck you good. Like a big old jackrabbit bunny. Jump all around that hole. Bobby Peru don't come up for air. Am I scaring you? Pussy wet? Is it wet? Don't jump back so slow.

I thought you was a bunny. You bunny jump fast! You jump back slow. Mean something, don't mean something to me. It means you want Bobby Faroo. You want Bobby Faroo to fuck you hard, baby. Open your lock. A Christmas present. You want me to do it? Just a simple yes or no. Just feel me breathing on you. And you know I mean business when it comes to fucking get out. Get through, grab tight, and everything inside, yeah? Oh! She f***ing like it! She! Someday, honey, I will! But I gotta get going! Sing. Don't cry. Right, and this man who is approaching Laura Dern in this, uh, what you've just heard, he get hired to hunt down her character and Nicolas Cage. Their youth and love hunted down by the ultimate villain, the mother-in-law, Laura Dern's mother, who is literally a wicked witch.

There's a scene where she smears lipstick on her face. It's obvious allusion to Sunset Boulevard's scene that is same. But when Lynch does these movie allusions, I think they're much better than someone like Tarantino. See, this is what I mean. When Tarantino does an allusion to a classic movie, it is usually smirky. It's kind of a post-modernist in-joke, a conspiratorial joke between the director and the audience in which you're invited to be above it all, to look down on the characters, to see a movie as a reference to something non-movie. non-movie, you are presented with the opportunity to feel superior by virtue of your historical illusion knowledge. Lynch doesn't do that. When he makes a visual reference like this to another movie, you don't need to actually

know anything about that other movie. It makes internal sense to his own film. He's assimilated it, and in this case, the decrepit psychotic vanity of an older woman who feels snubbed by her child, BPD older ho witch, same deal as in Sunset Boulevard, which Lynch also referenced in multiple ways in Mulholland Drive, and the reason he did this is because all these movies address a theme of the vampiric preying on the young by the old. And the old are in league with the forces of chaotic, demonic, corrupt evil. And whether this is a psychological or supernatural interpretation is irrelevant because again, movie does not work on the basis of rational interpretation, but on imagistic dream archetypes, complexes of visions, emotions that pull at you and affect you in some rational sense.

So the surface explanation isn't really the point, but you see, this theme repeated on his movie, the horrid homeless creature in Mulholland Drive with the suited up face, right? The second appearance of this creature at the end of the movie where he put the blue box in a paper bag, red light flashing, ambient evil, choking blue smoke. My friend Yama say this is, as per Bataille, heterogeneous matter. It's almost unbelievable, in other words, that image exists side by side with the other things in the movie. And it is this malicious, demonic, old people from the beginning of the film and of the innocent Betty's journey, it is these who are reappear, they released as torments for her in her moment of suicide by this monstrous creature. And then there's the older father

and older disgusting fat man in league with demons and fire walk with me. There's the old mother again trying to extirpate love in Wild at Heart to extirpate young love in league with her own crew of demonic decrepit assassins. And replaying the lipstick scene from Sunset Boulevard, which is itself a movie about older jealous vampiric woman who's trying to draw in her last moments the lifeblood out of a younger actor. It's a similar theme that runs again through Lost Highway. It's a middle-aged man who inhabits as his redemption the body of a younger vital man in the throes of young love and are being pursued and frustrated by older mobsters, gangsters and the like in legal demonic power, seeking again possession and vampirism. It's a recurrent theme in lynch movies

that make them attractive, I think, in primal transhistorical sense. And I think it speaks to also what is pure in American spirit. If America is anything, it's a land of youth, promise, and freedom. It's always been that, it's always been seen that way at its best by outsiders too, which is why the, I'm sorry to say the conservative will never fully understand America. Don't confuse what I'm saying here. There's a big difference between what the conservative thinker is and what he points to. What he tries to inhabit or pretend to represent and what he actually is, there's a big difference between the two. It may very well be that, let's say, the American type at its best has conservative-like elements in it. That, for example, even has a genuine and innocent religiosity about him,

innocent family life and so on. That's not the same as the conservative movement thinker pundit, okay, these are people who don't get it, who don't get the spirit of America use in this sense, who can't speak to it. They are generally kind of awkward people. They are alienated and have a very fraught relationship with American ideas of freedom of views. They are people generally who desire authority, who respect age and the trappings of tradition, and they end up wearing bow ties and role playing a kind of middle Atlantic caricature of what they imagine old patrician habits to be. and the William F. Buckley pretentiousness. They tend toward the type of the constipated and the stuffed shirts. Many of the stereotypes of the left about them are true. I talked this with Mollbug,

not on the last appearance on Caribbean rhythms, but when he came, the one before that, the delusions of the hobbit pundit, right, who doesn't understand what he is and who thinks that middle American life needs him as a kind of spiritual cheerleader, that he is the rhetorical pillar without which American life and the middle class disappears. And the thing is that around that pretense is erected nothing actually good. Around this is Tartuffery and hypocrisy and the whole biome of the useless conservative movement of delusional people. I mean really a pundit, of all things a pundit, a writer giving advice to people on leading a middle-class life and entrepreneurship, this ridiculous spectacle, and then the wearing

of religion as a totem in public to protect himself and to get into this gay thing about, oh, I'm this denomination and this is my spiritual journey. When you look at the world that Stendhal and Flaubert satirized, they show the 19th century France after the Bourbon restoration, and the unnatural suffocation of the Napoleonic spirit of youth, and then there's this stolid bourgeois self-righteous and bigoted world that they show. And this is actually the ideal of the reactionary, of the conservative, the dissident poster even of our own time. I think it's a kind of hell, and I came up with longhouse idea as a criticism of this traditionalist, for traditionalist hell world. But I think it's a fake copy of what American life actually is.

And I repeat what I said on the last episode, that it's for these reasons that the conservative, despite decades of institutional backing and foundations and all of that, has never been able to infiltrate popular culture, youth culture, to see really any kind of artistic or memes into the unconscious current of America. The unconscious current of America is all about Trump, but they exist mostly on a different as a kind of extraneous ornament, at best recreating a secondary image of American life, but denuded of all its popular, youthful vitality. Hence, the Yellowstone meme, right? See, it's actually a liberal, conservative trope, but it's the cowboy. It's an American archetype of freedom, rebelliousness, self-rule, and self-reliance.

But in the Yellowstone meme, he's spouting a kind of self-castrating moralistic bromides about duty and this. And of course, there is the Ned Flanders that is a real character in American life, and a very popular one. He may even be the social base of the conservative movement, broadly speaking. But he's not actually supposed to be its spirit. He's really supposed to be the butt of the joke. He's a remaking of the hand-pecked husband who was the butt of joke from ages past. But the conservative type actually confuses this for the all-American type of goodness. It explains the hostility of many such conservatives to David Lynch. Don't get me wrong, plenty of right-wing people love Lynch, but among conservatives appreciation of Lynch is much rarer, they don't. They don't.

The kinds of archetypes that David Lynch triggers do not appeal to the conservative carrot-up-the-ass type. It's interesting that Mel Brooks discovered David Lynch, promoted him in the beginning. I think this speaks both to Lynch's appeal to the irreverent comedian type, but also it's a good sign of Mel Brooks' ability to look beyond caustic shtetl humor and to appreciate the pure spirit of Americana in its, I do think lynch is one of its purest forms. It's a rebirth, a kind of James Dean type, and it's shown without any irony or sneer or apology. It's a side of America, I think, again, that the conservative brown-noser is alienated from. And all they can do in response to this, or to frogs who are also really just anonymous people who inhabit or try to inhabit the same spirit,

The conservative response to that, you know, is Bobby Jindal, or is to promote various college Republican types and spent rappers, or, you know, the here's your third Hispanic college Republican with the Santorum haircut pretending to be a dissident, and you can smell it from, it smells of the gay conservative pundit coven from some distance. I'm saying all of this today for a reason, because it speaks to me to what Trump is also. It's something the conservative will never understand, and I fear, I fear what will happen after Trump, because there are many buzzing and hovering around him, but they all come out of the conservative movement in some form. I wait to see if Mr. Vance can break free of that, but see, he's not a billionaire. Trump is a billionaire.

He can afford to be his own man. If you're not a billionaire, I think it should be requirement maybe for politician going forward. You have to be a billionaire to prove you're nobody else's man. It doesn't matter how good of a guy you are. the scientists had to pander, and he's not a good guy, I think, by the way. But the relationship to wealth is a small example of what I'm talking about, because in this scheme, David Lynch in his movie sides with youth and its vitality even in poverty over vampiric olds and their type of stolid wealth that is often attractive to the conservative. By contrast, Trump's type of showy opulent wealth, that is deeply offensive to ... When When I say conservative, I mean very broadly, even liberal establishment men are conservative

by temperament in that sense, and Trump's opulence is very offensive to them, but it's very attractive to someone like David Lynch or to the appreciators of American spirit abroad as this kind of rambunctious popular youth culture. Trump carnival of hot young wives is especially offensive to the conservative, by the way, I've long maintained that it was a major cause of the animus against Trump from those quarters, the fact that Trump shamelessly paraded model, courtesan, beautiful wives, Slavic wives. Let me give a different example. I remember reading this somewhere, and then it was confirmed by multiple people independently, this kind of story, things they've witnessed in their own lives. A couple shows up to a Trump rally in Nevada. They are both maybe in the early 30s, mid-30s.

They wear leather jackets, they have tattoos. The wife is maybe a tattoo artist. The husband works as a singer or a part-time whatever. They're probably swingers. They've never voted before. They were never politically engaged. They vote Trump. And I'm saying this is actually a significant demographic of new voters that Trump and Trump only could have brought over, okay? And it's only by chance that it's in the Republican Party because the Democrats, being the dominant party, have been themselves co-opted by the spirit of senility, vampiric craven donors and so on. But that type that I just mentioned, it's likely to be distasteful even to many of my friends. Maybe you do not focus on the swingers remark. It's not like I'm recommending that.

I'm just saying this kind of person is part of the new voters Trump thing. It's a rock and roll type. It's a very gritty American type, and I mean not just what I described specifically, but the whole biome of, let's say, types like that. It's part of the American frontier characteristic existence, this kind of demi-mon that Lynch renders also for audience, which is distillation, I think, of American spirit of freedom and youth. Nicholas Cage character in Wild at Harp, perfect example of this and his relationship with Laura Dern. And I think that I must necessarily speak only to a very small audience here, but as right-wing artists, and really, forget the right-wing part, really meaning just as an

artist if you have aspirations in that direction, because art cannot really be political art. That's just homily crap. But it just happens that the realities, the permanent realities of life are for whatever reason classified as right-wing now, okay? In general, the left, quite aside from its politically correct or whatever you want to to call them hang-ups, but in general, they could only ever speak to the material and the status recognition needs of man, which their needs too low to erect any kind of spiritual or artistic structure on. But I am firmly in idea that, as artist, if you hope to speak to any real audience to have a lasting effect today in authentic way, you have to inhabit the spirit of youth and of decadence in this sense yourself. And it's not possible to do that

as long as you're in what currently passes for the conservative frame. That includes the fake religiosity that I hear is popular in New York art circles now, which, you know, I would never be one to go to a genuinely religious artist like Haydn or Bach and to go to Haydn and to try to take his religion away, which is obviously a source of genuine inspiration for him, but that's not happening in these New York circles. They're not, these people are not actually making anything. It's a form of meme religion to show to outsiders. And it's actually a copy, not of anything I say, it's a copy, a replaying of what the conservative movement has always been. I say you have to go in the other direction. You have to own decadence. The only way out is through.

Make murderous pornographic Sami's Dart if you have to. David Lynch showed it in his own distinctive manner. He showed that way. Now he's dead, and we honor his memory if we do the same thing in our way. If you pursue this path and not feel shy for it, you can leave the activism and the conservative lifestyle role-playing to others. Trump has given us a reprieve. We don't have to think about politics so much. Let us make good movies and books and videos, and I hope this basic encouragement inspire you. I will talk more on this next, and until next time, yes sir, bap out.