Hello and welcome to the fourth and final part of our director series looking at the life and works of David Lynch.

I'm your host Harry, joined today by Josh and special returning guest friend of the show, Chloe, proper horror show.

And in this episode, we're going to cap off this full discussion from the past three parts by talking about

probably the largest and most well-known bit of work that David Lynch ever did, Twin Peaks.

Now Josh and I have already had a full video about Twin Peaks, but it would be wrong to finish the series without another discussion on it,

even if Josh and I are treading somewhat old ground for

both of us. But we'll try and spin it up for you a bit. And Chloe can add her own thoughts,

her own views and interpretations to add some variety. And also, I will be honest, I've not been

able to rewatch the whole thing in time for this. It's a lot. You don't need to.

It's up here and in here.

I have watched like three or four times the whole way through.

But I did so that I could get a bit of a refresher and play a sort of devil's advocate for a

particular theory that's very infamous among Twin Peaks fans, I did re-watch the entire

four and a half hour, Twin Perfect, Twin Peaks Explained No Really, video, which puts forward a very

comprehensive and very controversial view about Twin Peaks that suggests that it can all be seen through one particular

lens which unlocks the door acts as the key to the answer to everything the show does,

which could be otherwise seen as obtuse, aimless, or confusing. I'm not entirely sure if I fully

buy into it myself, but we'll get into a broader

discussion of that as we go along. As along with Twin Peaks, we'll be talking about some of the

extra work that he did, like his television adverts, his music videos, and some of the extra

paintings and productions that he did, just so that we can have a more broad, rounded view of his entire career.

Thank you again for joining me both of you.

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