I joined Richard Hanania for a deep dive into the strange and surreal films of the late David Lynch, one of the most unique filmmakers of recent times. We talk about “Mulholland Drive” (2001) and “Inland Empire” (2006) and why one is mesmerizing while the other feels like cinematic torture. If you enjoy dissecting films that refuse to give easy answers, this conversation is for you. Many spoilers throughout.

Some topics we cover:

* “Mulholland Drive” came out in 2001. Richard and I speak about how Hollywood's portrayal of lesbians in the early 2000s reflects a very different cultural moment compared to today.

* Some tangents on “Brokeback Mountain” (2005) and other gay portrayals of that era

* Why “Mulholland Drive” works despite its bizarre dream logic, and why “Inland Empire” is just a mess.

* The cowboy test in “Mulholland Drive.” If you see him once, you did good. Twice, you did bad. What does it mean?

* Richard shares his experience driving down Mulholland Drive and how the geography of Los Angeles shapes its mystique.

* We break down the Harvey Weinstein subtext in Hollywood movies, including a wild meme about Quentin Tarantino that’s very on the nose.

* Was “Mulholland Drive” all just a dream? Did Diane really kill Camilla, or is there another way to interpret the movie? We debate different theories.

* We get into Justin Theroux’s character in Mulholland Drive—what does his arc mean, and is he actually a part of Diane’s psyche?

* David Lynch loves mystery, but did he even have a concrete answer to what happens in Mulholland Drive? Or is it all just meant to be ambiguous?

* That bizarre audition scene—is it a critique of Hollywood’s predatory culture or something even darker?

* Silencio! The club scene is unsettling, mesmerizing, and somehow central to the movie’s dream logic. We discuss what it might mean.

* The symbolism of the dumpster monster behind the diner—one of the most terrifying moments in the film.

* We debate whether Diane and Betty’s identities blur because of subconscious guilt, or if there’s another explanation.

* Betty's world is more "real" than Diane's—why does the dream feel coherent while the supposed reality is surreal and chaotic?

* We then shift over to “Inland Empire” which was just about unwatchable, in my view. I share my very speculative opinion that the whole movie might be a woman’s fantasy of stardom and infidelity, and how it unravels.

* The Lost Girl’s storyline mirrors Nikki’s, suggesting a cycle of despair and entrapment—is she another version of Nikki, or a past self?

* “Inland Empire” is described as "willfully abstruse" and "blandly inscrutable" by the New York Times so Richard and I were not alone in our thoughts on the film

* The moment where Nikki "dies" in the street, then the camera pulls back to reveal it was all a movie scene. We talk about whether this is Lynch questioning our ability to separate fiction from reality.

* The rabbits remain one of the film’s biggest mysteries—are they symbols of the uncanny, domestic monotony, or just Lynch throwing the audience into deeper confusion?

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Mulholland Drive: Down the David Lynch Rabbit Hole

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Mulholland Drive: Down the David Lynch Rabbit Hole