Yesterday, we shared with you our final episode (previously only available to Patrons) charting our way through the third season of TWIN PEAKS (commonly known as The Return). It's now time to assess our broader feelings about its themes and interests.

Nathan and Reed sit by themselves this week for a disarmingly thoughtful and vulnerable conversation about creativity, narrative forms, and the emotional difficulties of trying to understand the story we're living right now. There are many thoughts about the nature of storytelling, the ways we engage creative material as an audience, and the faith we require to hold onto hope amidst extremely confusing and distressing circumstances.

It's an honest and open conversation about how The Return made us feel and we hope you enjoy it!

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For the past few months, as we've both ramped up for and made our way through our series on the work of David Lynch, our Patron subscribers have been hearing us make our way through his landmark series TWIN PEAKS. We covered every episode of the first two seasons before making our way through the revived third season (known as THE RETURN) from 2017.

What we have for you this week is part 1 of a three-part discussion about this third season of Twin Peaks. To start, we submit to you the episode that our Patrons heard last week, in which we dissect our immediate feelings about the final two episodes of the third season. ***Major spoiler warnings if you have not yet watched the end of Twin Peaks: The Return***

We present this to you ahead of our second part tomorrow wherein we dive deeper (and more vulnerably) into the themes of what this particular television season conjured in our hearts and minds. We'll follow that up with a very special roundtable discussion with some friends new and old who share their thoughts with us about The Return as well.

We hope you enjoy this special three-part episode presentation and we'll see you at the curtain call!

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In a somewhat unconventional episode this week, we tackle some of David Lynch's early short films. Specifically, his early works Six Figures Getting Sick (Six Times); The Alphabet; The Grandmother; The Amputee; The Cowboy and the Frenchman; and Lumiere, or Premonitions Following an Evil Deed.

In this brisk, energetic episode, we debate the value of these early works and their influence on things we would see in his later films. Also featuring a Patron-only spot where we discuss James Gunn's latest treatment of SUPERMAN, this is a breezy and laugh-filled episode this week that we really hope you enjoy.

Patron Only Segment: Superman (2025)

4:29 - The Short Films of David Lynch

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We've reached the last of the feature films for our profile of the late David Lynch with one of his earliest works. THE ELEPHANT MAN released in 1980 and followed the wildly experimental and esoteric Eraserhead with a deeply emotional story of humanity and compassion. It focuses on John Merrick (John Hurt), who suffers from severe physical deformities and spends his days as a carnival attraction for a spiteful and abusive owner. When he encounters Dr. Treves (Anthony Hopkins), he is taken into one of the most prestigious hospitals in the country and encounters kindness, generosity, and even friendship for the first time. Under the care of Dr Treves -- and against the continued ridicule and abuse of his bullying enemies -- Merrick exhibits a unique capacity for gentle wisdom, creativity, and thoughtful dignity.

The Elephant Man is a gorgeously realized film, as inspirational as it is sorrowful. We're joined by friends of the show Michael and Jori Felker to discuss the film's textured portrait of humanity and grace. It is a film overflowing with resonance and heart: one which challenges our perceptions of ourselves and our neighbors in powerful ways. We hope you enjoy this heartfelt conversation about it!

5:35 - Two Questions with new friend Jori Felker

18:25 - THE ELEPHANT MAN

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We've had the privilege of speaking with a number of unique voices during our series on the work of David Lynch. Today we have a special conversation with Dr Lindsay Hallam, an educator of film studies and prolific contributor to the broader discussion of horror cinema, about her book about TWIN PEAKS: FIRE WALK WITH ME for the publication imprint Devil's Advocates.

In Lindsay's book, she breaks down the numerous levels on which Lynch's once divisive film operates: as a Twin Peaks film, as a trauma film, as a David Lynch film, and -- primarily -- as a horror film. We have the chance to sit down with Dr Hallam and only barely scratch the surface of this fascinating and often deeply misunderstood film.

If you're curious to read the book, you can find a copy here, or at your online retailer of choice. We hope you enjoy this special bonus conversation!

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We have another special interview for you today for a feature film that's in theaters exclusively as of 7/11/25.

ABRAHAM'S BOYS: A DRACULA STORY tells a tale of the aftermath of the ordeal from Bram Stoker's classic horror tale. It focuses on survivors Abraham Van Helsing (Titus Welliver) and Mina Harker (Jocelin Donahue) as they struggle to move on from the fearful torment they barely survived. The story is mostly seen through the eyes of their two sons, Max and Rudy (Brady Hepner and Judah Mackey) as they begin to question what it was that once plagued their parents and whether or not it is truly gone.

Reed sits down with the writer and director of Abraham's Boys, Natasha Kermani, to discuss the perspective of adapting Joe Hill's short story and the ways in which we must all come to terms with the monsters that won't let us go. We hope you'll check out the film in theaters and we hope you enjoy this special interview!

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We're nearing the end of our series in a couple of weeks about the filmography of the late David Lynch. We turn this week to his final feature film, a wildly experimental and divisive film called INLAND EMPIRE. An exercise in cinematic experimentation to its core, Inland Empire is one of Lynch's most difficult films to figure out. It has a stream of conscience, non-linear narrative structure that often sees the same performers playing multiple roles without clear transitions from one scene to the next. Although clearly exploring some fascinating ideas, it is a film that tests the patience of even the most avid Lynch enthusiast.

We gather this week with friends of the show Jackson Harper and Dave Courtney to try to get to the bottom of what the film is attempting and finding some remarkably profound and even moving discoveries along the way. Whether or not you enjoyed David Lynch's Inland Empire, we really hope you enjoy our honest and thoughtful conversation about it.

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The next installment in our series on David Lynch was made shortly after the booming popularity of the premiere of Twin Peaks. WILD AT HEART, based on a book by Barry Gifford, tells the story of Sailor (Nicolas Cage) and Lula (Laura Dern), two exuberant and impulsive lovers who set out on a cross-country trek fleeing an array of strange characters who are all trying to kill Sailor on behalf of Lula's mother Marrieta (Diane Ladd).

Although carrying some key signature aspects of Lynch's work, Wild at Heart was unconventional as a subject for Lynch. Its merits remain widely debated to this day, even by us this week as we're joined by Lindsey Dunn and new friend of the FoG Steve Barnes. There's a reckless quality to this story, fitting for its main characters, that paints a difficult picture of a world that's "wild at heart and weird on top."

We have a blast talking about this truly unique film and we really hope you enjoy our conversation.

4:07 - Two Questions with Steve Barnes

11:35 - WILD AT HEART

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