Hello and welcome to our special directors series continuing our journey into David Lynch's work.

This is part three. If you've not watched part one and two, I'd recommend that you do that now

because we are going to be carrying on from where we left off when we had just talked about Lost Highway.

Now we're going to be talking about his works, The Straight Story, Mulholland

Drive and the Inland Empire. I'm your host, Harry, joined today by Josh and special guest

and returning friend of the show, Chloe, Proper Horror Show. Thank you for joining us again today.

Thank you for having me back.

Yeah, so I think this will be a very interesting episode because we've got a real mix of stories right here.

Even more so than in the very first one when we were talking about his work on Eraserhead,

you know, the daring art house debut surrealist film,

suddenly going into something much more normal and mainstream with the Elephant Man

and then going to the high-budget mainstream commercial and critical failure that was

Dune.

Now we have what I would consider to be his masterpiece, or at least what's commonly known

as his masterpiece in Mulholland Drive, kind of bookended by his simplest story, I would say

even simpler than Elephant Man, and what many consider to be the truly impenetrable, most difficult,

and abstract inland empire, which is obviously, it's a three-hour labyrinth of a film. Many people

see it as impenetrable. I'm going to be making kind of a hot take with it. And I'm interested to

see how you both have responded to that one in terms of how critically you assess it and whether

you enjoyed it or not. I have a feeling from discussions we've been having beforehand that

Josh was probably not a big fan of it. I don't know if Chloe would have been either. But I think

it's got its merits. I can understand why people hate it. It's not my favourite, but still,

...