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Mourning David Lynch in a City on Fire | The New Yorker

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{"channel":"news","content":{"copyCount":2938,"imageCount":0,"embedCount":5,"ratio":587.6,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["679917822f3a6598dd85cc1f"],"platform":["verso"],"tags":["hero-options","background-color-000000","david-lynch","films","movies","los-angeles-california","california-wildfires","news","letter-from-los-angeles"]},"server":"production","slug":"mourning-david-lynch-in-a-city-on-fire","subChannel":"letter-from-los-angeles","subSubChannel":"","templateType":"mt_article_two_column"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"For weeks, Lynch’s film had haunted me like nothing else. It was dark and funny and sexy and intoxicating—a dream that followed me out of the theatre and into my waking reality, and a picture that obliterated, and then thrillingly restored, my understanding of what movies could do. For a nineteen-year-old burgeoning cinephile whose idea of nonlinear storytelling had been shaped by Quentin Tarantino, it was astonishing to see a filmmaker so fluent in the poetry of the irrational. I was least prepared of all for just how shattered “Mulholland Drive” would leave me: how could a movie so arrestingly strange, with so many layers of deadpan absurdity and film-noir pastiche, also be tender and moving beyond words?\nI couldn’t answer that question, any more than I could puzzle out what was in the little blue box at the center of the story. But for a few delirious months, “Mulholland Drive” became an obsession, the dream movie of my dreams, even a precocious early declaration of critical identity. I urged friends to see the movie and screened it for many of them with a cinevangelist’s zeal. “I’ve Told Ev’ry Little Star,” a 1961 Linda Scott golden oldie that appears in the film, wound up greeting callers on my answering machine. At U.S.C., where seemingly every film student had a “Shawshank Redemption” poster on his dorm-room wall, taping up a gorgeous Italian one-sheet of “Mulholland Drive” felt like a peculiarly rebellious point of pride. I became convinced—and then remain convinced—that Naomi Watts, the film’s incandescent star, had given one of the greatest performances of the still young twenty-first century.\nAnd so, perhaps channelling the spirit of Betty (Watts) and Rita (Laura Elena Harring), the movie’s amateur-sleuth protagonists, my friend and I embarked on our nocturnal pilgrimage. Visiting during the day might have made more sense, but making sense felt antithetical to the spirit of “Mulholland Drive,” and I had no interest in shattering its spell. I just wanted to linger in its atmosphere a while longer, to clutch at Peter Deming’s seedily lustrous images and Angelo Badalamenti’s mournful caress of a score. I wondered what we might see: a black limousine, winding its way toward a roadside conflagration? A woman tottering downhill in a daze, the glittering magic-carpet expanse of Hollywood sloping off into the distance? We saw nothing of the sort, of course; the real Mulholland Drive seemed as reluctant to surrender its secrets as Lynch’s film was. All I remember seeing, by the light of the car’s high beams, was a grocery-store shopping cart abandoned on the side of the road. I decided—with a little overreach, admittedly—that this was an exquisitely Lynchian oddity: something banal that, by popping up where it didn’t belong, became ineluctably sinister.\nIn the years that followed, I ventured out in search of more “Mulholland Drive” hot spots. The farthest-flung of these was in Paris, where, in 2013, some friends and I half-heartedly tried to get into Club Silencio, a night club modelled on one of the film’s most electrifying sequences. Most of my excursions were closer to home. A year or so after that Mulholland drive, I wound up outside a Silver Lake apartment complex, charming in mock-Tudor brown and beige, that had somehow led Lynch to think, Ah, yes, what a perfect place to discover a corpse. If I had ventured about fifteen miles south, to Gardena, I could have enjoyed a cup of coffee at Caesar’s Restaurant—a now shuttered diner that, thanks to “Mulholland Drive,” will live forever as Winkie’s on Sunset Boulevard. Here, Lynch reminded us that the most chilling nightmares unfold in broad daylight.\nLynch’s movies are often described as surreal and unnerving, an entirely accurate assessment that doesn’t fully capture the violent havoc they can wreak on a newcomer’s expectations. I can only imagine the initial impact of “Eraserhead,” Lynch’s hallucinatory début feature, when it first emerged, in 1977, and became a midnight-movie sensation. But I still remember seeing it for the first time and thinking that nothing I’d read about it, in squeamish preparation, could have possibly blunted the pustular glory of its images, the otherworldly drone of its sound design, or its air of lysergic rot. “Eraserhead” was a movie that made you feel as though you’d truly seen everything, but Lynch had far more to show us. His flair for the grotesque found an affecting, unexpectedly classical framework in “The Elephant Man” (1980), which earned him the first of three richly deserved, unsurprisingly fruitless Oscar nominations for Best Director. Next came the critical and commercial disaster of “Dune” (1984), a rare foray into studio filmmaking that Lynch ultimately disavowed; even now, though, the unfettered intricacy and imagination of his visual design could hardly be ascribed to any other filmmaker.\nAn astonishing resurgence followed with “Blue Velvet” (1986), a masterwork of psychosexual terror that outraged as many as it captivated. Lynch dared us to watch, through our fingers, as a disturbingly off-kilter comedy of small-town mores became increasingly subsumed in an erotic miasma of fairy-tale dread. The movie is built around an Oedipal triangle whose transgressive power hasn’t dissipated in the slightest, resting, as it does, on the unshakable foundations of its actors: a boyishly corruptible Kyle MacLachlan, a bewitchingly vulnerable Isabella Rossellini, and a primally terrifying Dennis Hopper. But what lingers just as persistently is a certain slipperiness of intent—a sense that Lynch himself, so aware of the complex, symbiotic play of light and darkness in human nature, was content to flit eternally, and with a mosquito’s fickle curiosity, between two moral poles. Did “Blue Velvet” offer a straight-faced spoof, an enraged evisceration, or a half-hearted affirmation of Reagan’s America and its discontents? The question can still divide people, and I suspect that great puritanical swaths of today’s audience—those who demand clear thematic signposts, abhor frank treatments of sexuality, and find moral ambiguity repellent—are less equipped to grapple intelligently with “Blue Velvet” than even their fuming 1986 counterparts were.\nEven among Lynch’s more thoughtful admirers, the need to decisively pin him down continues apace. Arguments still rage about the precise ratio of sincerity to irony in the director’s work—a debate that, for me, ultimately says less about Lynch than it does about the limitations of critical language, especially when such language is applied to an artist whose work is this unfiltered and instinctual. Even so, I’d venture that there is both sincerity and irony aplenty in Lynch, and the two aren’t necessarily in tension; each one illuminates and nourishes the other. Think of them as sweatily companionable bedfellows—or, if you prefer, transmigratory souls.\nLynch moved to Los Angeles in the early nineteen-seventies to study at the American Film Institute; there, he began working on “Eraserhead,” much of which was shot on A.F.I.-owned locations. His later films, such as “Lost Highway” (1997) and “Mulholland Drive,” would reveal more of the city’s seamy beauty, finding menace in the sunshine and wandering down perilous roads to nowhere. His films delighted in collapsing the city’s past and its present together, in discovering cultural and architectural vestiges of an older Los Angeles tucked in among the city’s newer façades. It’s significant, I think, that all three of Lynch’s L.A.-set movies are so rooted in convulsive games of identity: think of Fred the saxophonist (Bill Pullman) morphing inexplicably into Pete the auto mechanic (Balthazar Getty) in “Lost Highway,” or Laura Dern shape-shifting at will in every other scene of “Inland Empire” (2006). It’s as if Lynch were remarking on not just the inherent plasticity of the motion-picture medium but also on a city known for its endless self-reinvention—and often derided, wrongly, as a cesspool of inauthenticity.\nLynch’s love for Los Angeles, and the inimitable, unfakeable reality of his presence around the city, gave the lie to that charge. In December, 2006, Lynch exposed the gussied-up absurdity of Oscar season with his own wonderfully absurd gesture, by launching a memorable one-man awards campaign for Dern in “Inland Empire.” He parked himself at the corner of Hollywood Boulevard and La Brea Avenue, sitting next to an enormous “For Your Consideration” poster with Dern’s face, a live cow, and a sign that read “without cheese there wouldn’t be an inland empire.” (It was one of the few times that he came even close to providing a rationale for his work.)\nElsewhere, Lynch was an insistent creature of habit, and his habits—always wearing top-buttoned white shirts, forever espousing the virtues of Transcendental Meditation—often became the stuff of local legend. For years, he could be found eating lunch at Bob’s Big Boy in Burbank, an establishment whose nineteen-fifties stylings fit right in with his love of diners, jukeboxes, and other scraps of vintage Americana. Later in his career, Lynch captivated his fans—and doubtless made some new ones—with a series of daily weather reports, delivered from his perch in the Hollywood Hills. If you didn’t know better, you might have suspected that his oddball geniality was some sort of cultivated affectation—a knowingly bold counterpoint to his attraction to the outrageous and the grotesque. But it never would have occurred to Lynch that there was any contradiction to begin with. He drew no tidy, self-flattering distinctions between normalcy and perversity, humor and seriousness. His unawareness that he was doing anything particularly subversive may have been the most subversive thing about him.\nLynch stopped doing weather reports in 2022. A lifelong smoker, he announced in August that he was suffering from emphysema so severe that he had been effectively housebound since the COVID-19 pandemic. I can’t help but wonder what meteorological forecasts he might have delivered this January, in light of the disastrous wildfires that have devastated Los Angeles. A Deadline report quoted anonymous sources claiming that one of the fires, the Sunset Fire, forced Lynch to relocate from his home, and that, after the evacuation, the director’s precarious health had taken a turn for the worse. (No cause of death was given.)\nFor me, it was “Mulholland Drive,” a movie that may have been too much for television (it was famously salvaged from the ruins of a rejected ABC pilot), but proved to be the best kind of too much for cinema. This was the film that finally made a four-star believer out of Roger Ebert, until then a longtime critical holdout on Lynch’s work. (“There is something inside of me that resists the films of David Lynch,” began Ebert’s pan of the director’s 1990 film, “Wild at Heart.”) In the years since, “Mulholland Drive” has become Lynch’s consensus masterpiece; it landed at No. 8 in the 2022 Sight & Sound critics’ poll of the greatest films of all time. I’m sympathetic to the idea, as some have grumbled, that all this canonization is a bit premature, and that the sheer seductiveness of “Mulholland Drive” has made it a little too hip and easy to love: the most basic bitch of Surrealist classics. But I’ve never come close to falling out of love with it. To do so would feel a little like falling out of love with Los Angeles itself.\n“Mulholland Drive” was the second film in Lynch’s unofficial L.A. trilogy; the other two left their own marks on the landscape. Even now, I can’t walk down Hollywood Boulevard without briefly reflecting back on “Inland Empire,” in which a tormented film actress, Nikki Grace (Laura Dern), is gutted with a screwdriver and pukes blood all over the Walk of Fame: “You dyin’, lady,” a homeless onlooker mutters. Another Lynch landmark was his three-house compound in the Hollywood Hills, part of which became a set in “Lost Highway”—transformed, in what felt like an act of almost confessional intimacy, into a distended labyrinth of domestic horror, where even a darkened corridor can open up a portal to the unknown. To speculate about what that unknown might be part of the fun; it may also be beside the point in a movie that never once departs the maelstrom of Lynch’s subconscious.\n\nI love the light there. I live there. And I love the feel of it. And\nI’m always saying, when you’re there in L.A., on some nights in\nsummer, maybe the spring, this night jasmine smell comes, and\nsometimes there’s a wind, and you can feel the golden age of Hollywood\nin the air, and it’s pretty magical. And there’s big studios, big\nsound stages. I love these big sound stages, factories for making\ncinema. So there’s—and then there’s the star system, and all this\ngoing on. It’s all kind of part of this dream. There’s a lot wrong\nwith it, but that part is a big lure to people.\n\n“Inland Empire” was, among other things, a furiously detailed exploration of that “a lot wrong with it.” When the movie was first released, it was rightly greeted as a darker, uglier, even more violently destabilizing companion piece to “Mulholland Drive”—another dreamlike dismantling of the dream factory, only this time, the dream had been entirely shorn of its seductive verve. For three hours, Nikki, played by Dern with an often terrifying magnificence, navigated a shifting labyrinth of chambers and antechambers, run-down homes and cavernous sound stages, shedding and accruing identities at every turn. She was stalked and menaced, drowned in identities but robbed of selfhood, and—just to underscore the movie’s view of Hollywood as a pimp’s game—thrust into a roomful of leering, dancing sex workers. “Inland Empire” was a tragedy and a prophecy: it was Lynch’s first (and last) feature film shot on digital video, a medium that, in its thrift and ease of use, encouraged his will to experiment. It also seemed to capture, in the grubbiness of its textures, the vibe of a Hollywood swiftly fading and degrading beyond recognition. The movie made no sense; it made all the sense in the world.\nAnd if it makes no sense now that David Lynch is gone, there is consolation in knowing that his presence among us was, to begin with, the most irrational and undeserved of gifts. Certainly, there was solace in the gathering that Saturday night, where the reverence of diehard Lynch obsessives seemed to commingle, excitingly, with a newbie’s sense of bafflement and discovery. Exiting through the lobby, you couldn’t miss a familiar, heartening post-screening buzz: sounds of laughter and exasperation; hesitant, hazardous attempts at analysis; confused variations on “What was that all about?” We could have just seen “Eraserhead” or “Blue Velvet,” or stumbled out of “Mulholland Drive,” as some friends and I did, not too far away, more than two decades earlier. And then we did what we did back then—wandered out, lost in thought and in cinema, into the dark shimmer of another L.A. night. ♦","isBasedOn":"","articleSection":"letter from los angeles","author":[{"@type":"Person","name":"Justin Chang","sameAs":"https://www.newyorker.com/contributors/justin-chang"}],"dateModified":"2025-02-04T06:00:00.000-05:00","datePublished":"2025-02-04T06:00:00.000-05:00","headline":"Mourning David Lynch in a City on Fire","image":["https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/16:9/w_2560,h_1440,c_limit/Chang-Lynch.jpg","https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_2560,h_1920,c_limit/Chang-Lynch.jpg","https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/1:1/w_2560,h_2560,c_limit/Chang-Lynch.jpg"],"keywords":["letter from los angeles","david lynch","films","movies","los angeles, california","california 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SplitScreenContentHeaderDek-emptdL iUEiRd ijAEVA dJrDEb">In L.A., the death of the director of “Mulholland Drive” and “Inland Empire” leaves an unfillable void.</div><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines SplitScreenContentHeaderByline-kvEhqE iuIrnr"><span class="BylineWrapper-jWHrLH iBybbt byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn eJwCwq byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ uhfVi byline__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN brYZgj byline__name-link button" href="/contributors/justin-chang">Justin Chang</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2025-02-04T06:00:00-05:00" 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd kboznU caption__credit">Photograph by Luc Roux / Sygma / Getty</span></div></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN bIesAh article-body__content"><div class="ActionBarWrapperContent-lasBkU jrRtuw"><div class="ActionBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh hDHofQ viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU hNBMHq bookmark large-screen"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh dupdPP viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU jbWTJi bookmark mobile"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><figure class="CneAudioEmbedFigure-bRoyFa cjLQOE"><div><div id="js-audioembed-layro"></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">One night in January, 2002, during the initial theatrical run of David Lynch’s “<a href="https://www.newyorker.com/magazine/1999/09/06/creative-differences">Mulholland Drive</a>,” a friend and I, students at the University of Southern California, drove up toward the Hollywood Hills to seek out the road itself. Mulholland Drive runs a curvy twenty-one miles from end to end, and we didn’t drive nearly the whole way. We entered off the 101 Freeway, just north of the Hollywood Bowl, and headed slowly west, relying heavily on our headlights to find our way through the darkness. From time to time, we pulled over to search for a good view, but mainly just to sit there in the dark, soak up the silence, and talk a bit more about the most fascinating film we’d seen in ages—a beautiful and confounding thriller about a car accident, a bubbly blond actress, a dark-eyed amnesiac, a sulky director, a shitty espresso, a po-faced cowboy, a hobo behind a dumpster, Roy Orbison, Rita Hayworth, “Persona,” “Vertigo,” and more besides.</p><p class="paywall">For weeks, Lynch’s film had haunted me like nothing else. It was dark and funny and sexy and intoxicating—a dream that followed me out of the theatre and into my waking reality, and a picture that obliterated, and then thrillingly restored, my understanding of what movies could do. For a nineteen-year-old burgeoning cinephile whose idea of nonlinear storytelling had been shaped by <a href="https://www.newyorker.com/magazine/2003/10/20/the-movie-lover">Quentin Tarantino</a>, it was astonishing to see a filmmaker so fluent in the poetry of the irrational. I was least prepared of all for just how shattered “Mulholland Drive” would leave me: how could a movie so arrestingly strange, with so many layers of deadpan absurdity and film-noir pastiche, also be tender and moving beyond words?</p><p class="paywall">I couldn’t answer that question, any more than I could puzzle out what was in the little blue box at the center of the story. But for a few delirious months, “Mulholland Drive” became an obsession, the dream movie of my dreams, even a precocious early declaration of critical identity. I urged friends to see the movie and screened it for many of them with a cinevangelist’s zeal. “I’ve Told Ev’ry Little Star,” a 1961 Linda Scott golden oldie that appears in the film, wound up greeting callers on my answering machine. At U.S.C., where seemingly every film student had a “Shawshank Redemption” poster on his dorm-room wall, taping up a gorgeous Italian one-sheet of “Mulholland Drive” felt like a peculiarly rebellious point of pride. I became convinced—and then remain convinced—that Naomi Watts, the film’s incandescent star, had given one of the greatest performances of the still young twenty-first century.</p><div></div><div></div><p class="paywall">And so, perhaps channelling the spirit of Betty (Watts) and Rita (Laura Elena Harring), the movie’s amateur-sleuth protagonists, my friend and I embarked on our nocturnal pilgrimage. Visiting during the day might have made more sense, but making sense felt antithetical to the spirit of “Mulholland Drive,” and I had no interest in shattering its spell. I just wanted to linger in its atmosphere a while longer, to clutch at Peter Deming’s seedily lustrous images and Angelo Badalamenti’s mournful caress of a score. I wondered what we might see: a black limousine, winding its way toward a roadside conflagration? A woman tottering downhill in a daze, the glittering magic-carpet expanse of Hollywood sloping off into the distance? We saw nothing of the sort, of course; the real Mulholland Drive seemed as reluctant to surrender its secrets as Lynch’s film was. All I remember seeing, by the light of the car’s high beams, was a grocery-store shopping cart abandoned on the side of the road. I decided—with a little overreach, admittedly—that this was an exquisitely Lynchian oddity: something banal that, by popping up where it didn’t belong, became ineluctably sinister.</p><p class="paywall">In the years that followed, I ventured out in search of more “Mulholland Drive” hot spots. The farthest-flung of these was in Paris, where, in 2013, some friends and I half-heartedly tried to get into Club Silencio, a night club modelled on one of the film’s most electrifying sequences. Most of my excursions were closer to home. A year or so after that Mulholland drive, I wound up outside a Silver Lake apartment complex, charming in mock-Tudor brown and beige, that had somehow led Lynch to think, Ah, yes, what a perfect place to discover a corpse. If I had ventured about fifteen miles south, to Gardena, I could have enjoyed a cup of coffee at Caesar’s Restaurant—a now shuttered diner that, thanks to “Mulholland Drive,” will live forever as Winkie’s on Sunset Boulevard. Here, Lynch reminded us that the most chilling nightmares unfold in broad daylight.</p><p class="paywall">Lynch’s movies are often described as surreal and unnerving, an entirely accurate assessment that doesn’t fully capture the violent havoc they can wreak on a newcomer’s expectations. I can only imagine the initial impact of “Eraserhead,” Lynch’s hallucinatory début feature, when it first emerged, in 1977, and became a midnight-movie sensation. But I still remember seeing it for the first time and thinking that nothing I’d read about it, in squeamish preparation, could have possibly blunted the pustular glory of its images, the otherworldly drone of its sound design, or its air of lysergic rot. “Eraserhead” was a movie that made you feel as though you’d truly seen everything, but Lynch had far more to show us. His flair for the grotesque found an affecting, unexpectedly classical framework in “The Elephant Man” (1980), which earned him the first of three richly deserved, unsurprisingly fruitless Oscar nominations for Best Director. Next came the critical and commercial disaster of “Dune” (1984), a rare foray into studio filmmaking that Lynch ultimately disavowed; even now, though, the unfettered intricacy and imagination of his visual design could hardly be ascribed to any other filmmaker.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall">An astonishing resurgence followed with “Blue Velvet” (1986), a masterwork of psychosexual terror that outraged as many as it captivated. Lynch dared us to watch, through our fingers, as a disturbingly off-kilter comedy of small-town mores became increasingly subsumed in an erotic miasma of fairy-tale dread. The movie is built around an Oedipal triangle whose transgressive power hasn’t dissipated in the slightest, resting, as it does, on the unshakable foundations of its actors: a boyishly corruptible Kyle MacLachlan, a bewitchingly vulnerable Isabella Rossellini, and a primally terrifying Dennis Hopper. But what lingers just as persistently is a certain slipperiness of intent—a sense that Lynch himself, so aware of the complex, symbiotic play of light and darkness in human nature, was content to flit eternally, and with a mosquito’s fickle curiosity, between two moral poles. Did “Blue Velvet” offer a straight-faced spoof, an enraged evisceration, or a half-hearted affirmation of Reagan’s America and its discontents? The question can still divide people, and I suspect that great puritanical swaths of today’s audience—those who demand clear thematic signposts, abhor frank treatments of sexuality, and find moral ambiguity repellent—are less equipped to grapple intelligently with “Blue Velvet” than even their fuming 1986 counterparts were.</p><p class="paywall">Even among Lynch’s more thoughtful admirers, the need to decisively pin him down continues apace. Arguments still rage about the precise ratio of sincerity to irony in the director’s work—a debate that, for me, ultimately says less about Lynch than it does about the limitations of critical language, especially when such language is applied to an artist whose work is this unfiltered and instinctual. Even so, I’d venture that there is both sincerity and irony aplenty in Lynch, and the two aren’t necessarily in tension; each one illuminates and nourishes the other. Think of them as sweatily companionable bedfellows—or, if you prefer, transmigratory souls.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In the days and weeks since <a href="https://www.newyorker.com/culture/the-front-row/how-david-lynch-became-an-icon-of-cinema">Lynch’s death</a>, at the age of seventy-eight, I’ve found myself thinking a lot about the Los Angeles that he left behind. He was, to be sure, a pan-American artist, with a sensibility steeped in many a regional cauldron. Missoula, Montana, where he was born, bequeathed him a folksy Eagle Scout congeniality, all nasal delivery and gee-whiz enthusiasm. He spent much of his childhood in Spokane, Washington, a period that would be enshrined in the lushly menacing Pacific Northwest landscapes of “Twin Peaks.” He studied painting at the Pennsylvania Academy of Fine Arts, in Philadelphia, a city that he later described, in interviews, as a place of unrivalled foulness: “I saw horrible things, horrible, <em>horrible</em> things while I lived there,” he told the Philadelphia <em>Inquirer,</em> in 1986. “It was truly inspiring.”</p><p class="paywall">Lynch moved to Los Angeles in the early nineteen-seventies to study at the American Film Institute; there, he began working on “Eraserhead,” much of which was shot on A.F.I.-owned locations. His later films, such as “Lost Highway” (1997) and “Mulholland Drive,” would reveal more of the city’s seamy beauty, finding menace in the sunshine and wandering down perilous roads to nowhere. His films delighted in collapsing the city’s past and its present together, in discovering cultural and architectural vestiges of an older Los Angeles tucked in among the city’s newer façades. It’s significant, I think, that all three of Lynch’s L.A.-set movies are so rooted in convulsive games of identity: think of Fred the saxophonist (Bill Pullman) morphing inexplicably into Pete the auto mechanic (Balthazar Getty) in “Lost Highway,” or Laura Dern shape-shifting at will in every other scene of “Inland Empire” (2006). It’s as if Lynch were remarking on not just the inherent plasticity of the motion-picture medium but also on a city known for its endless self-reinvention—and often derided, wrongly, as a cesspool of inauthenticity.</p><div class="Container-hnJNtl gxMaIG"></div><p class="paywall">Lynch’s love for Los Angeles, and the inimitable, unfakeable reality of his presence around the city, gave the lie to that charge. In December, 2006, Lynch exposed the gussied-up absurdity of Oscar season with his own wonderfully absurd gesture, by launching a memorable one-man awards campaign for Dern in “Inland Empire.” He parked himself at the corner of Hollywood Boulevard and La Brea Avenue, sitting next to an enormous “<em class="small">For Your Consideration</em>” poster with Dern’s face, a live cow, and a sign that read “<em class="small">without cheese there wouldn’t be an inland empire</em>.” (It was one of the few times that he came even close to providing a rationale for his work.)</p><p class="paywall">Elsewhere, Lynch was an insistent creature of habit, and his habits—always wearing top-buttoned white shirts, forever espousing the virtues of Transcendental Meditation—often became the stuff of local legend. For years, he could be found eating lunch at Bob’s Big Boy in Burbank, an establishment whose nineteen-fifties stylings fit right in with his love of diners, jukeboxes, and other scraps of vintage Americana. Later in his career, Lynch captivated his fans—and doubtless made some new ones—with a series of daily weather reports, delivered from his perch in the Hollywood Hills. If you didn’t know better, you might have suspected that his oddball geniality was some sort of cultivated affectation—a knowingly bold counterpoint to his attraction to the outrageous and the grotesque. But it never would have occurred to Lynch that there was any contradiction to begin with. He drew no tidy, self-flattering distinctions between normalcy and perversity, humor and seriousness. His unawareness that he was doing anything particularly subversive may have been the most subversive thing about him.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="cta4ca"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">Lynch stopped doing weather reports in 2022. A lifelong smoker, he announced in August that he was suffering from emphysema so severe that he had been effectively housebound since the <em class="small">COVID</em>-19 pandemic. I can’t help but wonder what meteorological forecasts he might have delivered this January, in light of <a href="https://www.newyorker.com/magazine/2025/01/20/on-the-ground-during-las-wildfire-emergency">the disastrous wildfires</a> that have devastated Los Angeles. A <em>Deadline</em> report quoted anonymous sources claiming that one of the fires, the Sunset Fire, forced Lynch to relocate from his home, and that, after the evacuation, the director’s precarious health had taken a turn for the worse. (No cause of death was given.)</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Before his death, it was possible to declare, or at least hope, that every generation would get the Lynch masterwork it deserves. For his earliest admirers, it was surely “Blue Velvet”; for a more recent wave of converts, it may have been “Twin Peaks: The Return” (2017), the magnificently uncompromised third season of his landmark 1990-91 TV series, “Twin Peaks.” Still others would make the case—and I wouldn’t disagree—for “Twin Peaks: Fire Walk with Me” (1992), a devastating feature-length spinoff that, received at the time with scorn and bewilderment, has since been reclaimed as one of Lynch’s supreme achievements.</p><p class="paywall">For me, it was “Mulholland Drive,” a movie that may have been too much for television (it was famously salvaged from the ruins of a rejected ABC pilot), but proved to be the best kind of too much for cinema. This was the film that finally made a four-star believer out of Roger Ebert, until then a longtime critical holdout on Lynch’s work. (“There is something inside of me that resists the films of David Lynch,” began Ebert’s pan of the director’s 1990 film, “Wild at Heart.”) In the years since, “Mulholland Drive” has become Lynch’s consensus masterpiece; it landed at No. 8 in the 2022 <em>Sight &amp; Sound</em> critics’ poll of the greatest films of all time. I’m sympathetic to the idea, as some have grumbled, that all this canonization is a bit premature, and that the sheer seductiveness of “Mulholland Drive” has made it a little too hip and easy to love: the most basic bitch of Surrealist classics. But I’ve never come close to falling out of love with it. To do so would feel a little like falling out of love with Los Angeles itself.</p><p class="paywall">“Mulholland Drive” was the second film in Lynch’s unofficial L.A. trilogy; the other two left their own marks on the landscape. Even now, I can’t walk down Hollywood Boulevard without briefly reflecting back on “Inland Empire,” in which a tormented film actress, Nikki Grace (Laura Dern), is gutted with a screwdriver and pukes blood all over the Walk of Fame: “You dyin’, lady,” a homeless onlooker mutters. Another Lynch landmark was his three-house compound in the Hollywood Hills, part of which became a set in “Lost Highway”—transformed, in what felt like an act of almost confessional intimacy, into a distended labyrinth of domestic horror, where even a darkened corridor can open up a portal to the unknown. To speculate about what that unknown might be part of the fun; it may also be beside the point in a movie that never once departs the maelstrom of Lynch’s subconscious.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">The weekend after Lynch died, “Inland Empire” happened to be showing in an American Cinematheque retrospective, and the event became a kind of impromptu memorial. The screening was at the Egyptian Theatre in Hollywood, mere steps away from the spot where Dern’s Nikki staggered, fell, and vomited all that blood, and the place was packed with Lynch buffs. Before the main feature, the Cinematheque screened a short excerpt from a video interview, in which the director talked about his specific love for Los Angeles:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed" data-testid="blockquote-wrapper"><div class="BlockquoteEmbedContent-esRbGs jaQqnT blockquote-embed__content"><p>I love the light there. I live there. And I love the feel of it. And I’m always saying, when you’re there in L.A., on some nights in summer, maybe the spring, this night jasmine smell comes, and sometimes there’s a wind, and you can feel the golden age of Hollywood in the air, and it’s pretty magical. And there’s big studios, big sound stages. I love these big sound stages, factories for making cinema. So there’s—and then there’s the star system, and all this going on. It’s all kind of part of this dream. There’s a lot wrong with it, but that part is a big lure to people.</p></div></blockquote><p class="paywall">“Inland Empire” was, among other things, a furiously detailed exploration of that “a lot wrong with it.” When the movie was first released, it was rightly greeted as a darker, uglier, even more violently destabilizing companion piece to “Mulholland Drive”—another dreamlike dismantling of the dream factory, only this time, the dream had been entirely shorn of its seductive verve. For three hours, Nikki, played by Dern with an often terrifying magnificence, navigated a shifting labyrinth of chambers and antechambers, run-down homes and cavernous sound stages, shedding and accruing identities at every turn. She was stalked and menaced, drowned in identities but robbed of selfhood, and—just to underscore the movie’s view of Hollywood as a pimp’s game—thrust into a roomful of leering, dancing sex workers. “Inland Empire” was a tragedy and a prophecy: it was Lynch’s first (and last) feature film shot on digital video, a medium that, in its thrift and ease of use, encouraged his will to experiment. It also seemed to capture, in the grubbiness of its textures, the vibe of a Hollywood swiftly fading and degrading beyond recognition. The movie made no sense; it made all the sense in the world.</p><p class="paywall">And if it makes no sense now that David Lynch is gone, there is consolation in knowing that his presence among us was, to begin with, the most irrational and undeserved of gifts. Certainly, there was solace in the gathering that Saturday night, where the reverence of diehard Lynch obsessives seemed to commingle, excitingly, with a newbie’s sense of bafflement and discovery. Exiting through the lobby, you couldn’t miss a familiar, heartening post-screening buzz: sounds of laughter and exasperation; hesitant, hazardous attempts at analysis; confused variations on “What was <em>that</em> all about?” We could have just seen “Eraserhead” or “Blue Velvet,” or stumbled out of “Mulholland Drive,” as some friends and I did, not too far away, more than two decades earlier. And then we did what we did back then—wandered out, lost in thought and in cinema, into the dark shimmer of another L.A. night. ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 PaywallInlineBarrierWithWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__inline-barrier article__body"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-inline-barrier"></div><div class="journey-unit"></div></div></aside></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__container"><div class="container container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="LinkStackWrapper-NFLYw kgtXXB linkstack" data-testid="LinkStack"><div class="SectionTitleRoot-dBGvdq dObkxA LinkStackHeader-lKjbE eOIsXc link-stack--heading" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">New Yorker Favorites</h2></div><div class="LinkStackContent-jyKicS gAUAiC"><ul class="LinkStackList-gGcjdZ dnMwpz"><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>A photographer’s college classmates, <a href="/culture/photo-booth/a-photographers-old-college-classmates-back-then-and-now" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">then and now</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The repressive, authoritarian soul of “<a href="/culture/rabbit-holes/the-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">Thomas the Tank Engine</a>.” </p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Why the last snow on Earth <a href="/tech/annals-of-technology/why-the-last-snow-on-earth-may-be-red" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">may be red</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Harper Lee’s <a href="/books/page-turner/harper-lees-forgotten-true-crime-project" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">abandoned true-crime novel</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>How the super-rich are <a href="/magazine/2017/01/30/doomsday-prep-for-the-super-rich" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">preparing for doomsday</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>What if a pill could give you <a href="/magazine/2017/11/06/a-pill-to-make-exercise-obsolete" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">all the benefits of a workout</a>?</p></div></li></ul><div class="LinkStackFooter-KfRyO ebnmps link-stack--footer"><div><p><a href="https://www.newyorker.com/newsletter/daily">Sign up</a> for our daily newsletter to receive the best stories from <em>The New Yorker</em>.</p></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="ContributorsWrapper-eNpWFu gcgHaa contributors" data-testid="Contributors"><div data-testid="contributor-bio-wrapper" class="ContributorBioWrapper-bnVHbt gukMon"><div class="ContributorBioAvatar-bIGTqf eMWbvj"><a href="/contributors/justin-chang"><span class="SpanWrapper-umhxW jvZaPI responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65a6d356c84a90f018b40c2f/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65a6d356c84a90f018b40c2f/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65a6d356c84a90f018b40c2f/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65a6d356c84a90f018b40c2f/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><img alt="" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65a6d356c84a90f018b40c2f/1:1/w_270%2Cc_limit/undefined"/></picture></span></a></div><div class="ContributorBioContent-ubQdr jZTSSi"><div class="ContributorBioHeader-ledood XOIEx"></div><div class="ContributorBioBio-fBolsO giFhKz"><a href="/contributors/justin-chang">Justin Chang</a> is a film critic at <em>The New Yorker</em>. He won the 2024 Pulitzer Prize for criticism.</div><div class="ContributorBioFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div data-testid="TagCloudWrapper" class="TagCloudWrapper-gGgndx guyhEV ContentFooterTagCloud-krQmRG esZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectionHeader-cOforY iUEiRd jEHmrR kQQRmu">More:</span><a href="/tag/david-lynch" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">David Lynch</span></a><a href="/tag/films" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Films</span></a><a href="/tag/movies" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Movies</span></a><a href="/tag/los-angeles-california" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Los Angeles, California</span></a><a href="/tag/california-wildfires" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">California Wildfires</span></a></div></div></div></div><div data-testid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC diNfJW"><div 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class="SectionTitleRoot-dBGvdq ggxHzE SummaryCollectionGridSectionTitle-fCmYwG KhyPp" data-testid="SectionTitle"><header class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">Read More</header></div><div class="SummaryCollectionGridItems-DZShR jkeUpe hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Theatrical Release of “Compensation” Is Cause for Celebration&quot;,&quot;index&quot;:0,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, 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data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Theatrical Release of “Compensation” Is Cause for Celebration</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Theatrical Release of “Compensation” Is Cause for Celebration" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Zeinabu irene Davis’s 1999 feature, a century-spanning vision of two deaf Black women in Chicago, is among the greatest independent films but has rarely been screened.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" 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target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Manic Brilliance of “Breakfast of Champions”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Manic Brilliance of “Breakfast of Champions”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Manic Brilliance of “Breakfast of Champions”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Scorned by critics on its release, in 1999, Alan Rudolph’s Kurt Vonnegut adaptation now emerges as an inspired comic extravaganza, whose very originality was its undoing.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Brief and Brilliant Career of Sara Gómez&quot;,&quot;index&quot;:2,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Brief and Brilliant Career of Sara Gómez</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Gómez, the first woman to direct movies in Cuba, created a body of work that’s revolutionary in form and politics alike.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Catherine Breillat’s Unsettling Cinema of Desire&quot;,&quot;index&quot;:3,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Catherine Breillat’s Unsettling Cinema of Desire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Persons of Interest</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Catherine Breillat’s Unsettling Cinema of Desire</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Catherine Breillat’s Unsettling Cinema of Desire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The French director has built her decades-long career on transgression. She sees herself as a romantic.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Victoria Uren</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="iae45a"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Political Drama of “I’m Still Here” Is Moving but Airbrushed&quot;,&quot;index&quot;:4,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Political Drama of “I’m Still Here” Is Moving but Airbrushed" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Current Cinema</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Political Drama of “I’m Still Here” Is Moving but Airbrushed</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Political Drama of “I’m Still Here” Is Moving but Airbrushed" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In Walter Salles’s Oscar-nominated film, Fernanda Torres plays a woman whose family is torn apart by Brazil’s military dictatorship.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Justin Chang</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;L.A.’s New-Music Bastion&quot;,&quot;index&quot;:5,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/magazine/2025/02/03/monday-evening-concerts-music-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/monday-evening-concerts-music-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="L.A.’s New-Music Bastion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Musical Events</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/03/monday-evening-concerts-music-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">L.A.’s New-Music Bastion</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/monday-evening-concerts-music-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="L.A.’s New-Music Bastion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Monday Evening Concerts has showcased living composers for eight decades.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Alex Ross</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Hidden Histories Lost in the Los Angeles Fires&quot;,&quot;index&quot;:6,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_240,c_limit/undefined 240w, 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rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Weekend Essay</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Hidden Histories Lost in the Los Angeles Fires</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Hidden Histories Lost in the Los Angeles Fires" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Many great modernist houses were burned, but a monument of German culture in exile survived.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Alex Ross</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;“This Woman” and Her Tangled World&quot;,&quot;index&quot;:7,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/this-woman-and-her-tangled-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/this-woman-and-her-tangled-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="“This Woman” and Her Tangled World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/this-woman-and-her-tangled-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“This Woman” and Her Tangled World</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/this-woman-and-her-tangled-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="“This Woman” and Her Tangled World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679924146caf7ba4248a0ed7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Chinese artist and filmmaker Alan Zhang, in her first feature, dramatizes a married woman’s struggle for freedom amid financial and emotional obstacles.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Frederick Wiseman’s Real-Life Epics&quot;,&quot;index&quot;:8,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/goings-on/frederick-wisemans-real-life-epics#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/goings-on/frederick-wisemans-real-life-epics#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Frederick Wiseman’s Real-Life Epics" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Goings On</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/goings-on/frederick-wisemans-real-life-epics#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Frederick Wiseman’s Real-Life Epics</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/goings-on/frederick-wisemans-real-life-epics#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Frederick Wiseman’s Real-Life Epics" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67995d1c6caf7ba4248a0f92/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Also: Michael Schulman’s culture picks, the N.Y. Phil’s Lunar New Year celebration, the spellbinding music of Dua Saleh, and more.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Lessons for the End of the World&quot;,&quot;index&quot;:9,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Essay</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Lessons for the End of the World</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">On Octavia Butler, the L.A. fires, and the uses and misuses of the things that cannot be recovered.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Hanif Abdurraqib</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;What We Learn About Our World by Imagining Its End&quot;,&quot;index&quot;:10,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" 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data-testid="SummaryItemHed">What We Learn About Our World by Imagining Its End</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image 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But is there comfort to be found in our apocalyptic visions?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Arthur Krystal</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;FKA Twigs Leaves It All on the Dance Floor&quot;,&quot;index&quot;:11,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/persons-of-interest/fka-twigs-leaves-it-all-on-the-dance-floor#intcid=_the-new-yorker-article-bottom-recirc_30b899e5-f411-4ae8-af1f-7a31032cb8d4_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" 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https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="FKA Twigs Leaves It All on the Dance Floor" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679922e86caf7ba4248a0ed4/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The avant-garde artist cemented her fame with the achingly personal “Magdalene.” Her new club album, “Eusexua,” looks outward instead of inward.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Puja Patel</span></span></span></div></div></div></div></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd 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Empire” leaves an unfillable void.","head.promo.dek":"In L.A., the death of the director of “Mulholland Drive” and “Inland Empire” leaves an unfillable void.","head.social.opinion":"false","head.jsonld":[{"@context":"http:\u002F\u002Fschema.org","@type":"NewsArticle","articleBody":"For weeks, Lynch’s film had haunted me like nothing else. It was dark and funny and sexy and intoxicating—a dream that followed me out of the theatre and into my waking reality, and a picture that obliterated, and then thrillingly restored, my understanding of what movies could do. For a nineteen-year-old burgeoning cinephile whose idea of nonlinear storytelling had been shaped by Quentin Tarantino, it was astonishing to see a filmmaker so fluent in the poetry of the irrational. I was least prepared of all for just how shattered “Mulholland Drive” would leave me: how could a movie so arrestingly strange, with so many layers of deadpan absurdity and film-noir pastiche, also be tender and moving beyond words?\nI couldn’t answer that question, any more than I could puzzle out what was in the little blue box at the center of the story. But for a few delirious months, “Mulholland Drive” became an obsession, the dream movie of my dreams, even a precocious early declaration of critical identity. I urged friends to see the movie and screened it for many of them with a cinevangelist’s zeal. “I’ve Told Ev’ry Little Star,” a 1961 Linda Scott golden oldie that appears in the film, wound up greeting callers on my answering machine. At U.S.C., where seemingly every film student had a “Shawshank Redemption” poster on his dorm-room wall, taping up a gorgeous Italian one-sheet of “Mulholland Drive” felt like a peculiarly rebellious point of pride. I became convinced—and then remain convinced—that Naomi Watts, the film’s incandescent star, had given one of the greatest performances of the still young twenty-first century.\nAnd so, perhaps channelling the spirit of Betty (Watts) and Rita (Laura Elena Harring), the movie’s amateur-sleuth protagonists, my friend and I embarked on our nocturnal pilgrimage. Visiting during the day might have made more sense, but making sense felt antithetical to the spirit of “Mulholland Drive,” and I had no interest in shattering its spell. I just wanted to linger in its atmosphere a while longer, to clutch at Peter Deming’s seedily lustrous images and Angelo Badalamenti’s mournful caress of a score. I wondered what we might see: a black limousine, winding its way toward a roadside conflagration? A woman tottering downhill in a daze, the glittering magic-carpet expanse of Hollywood sloping off into the distance? We saw nothing of the sort, of course; the real Mulholland Drive seemed as reluctant to surrender its secrets as Lynch’s film was. All I remember seeing, by the light of the car’s high beams, was a grocery-store shopping cart abandoned on the side of the road. I decided—with a little overreach, admittedly—that this was an exquisitely Lynchian oddity: something banal that, by popping up where it didn’t belong, became ineluctably sinister.\nIn the years that followed, I ventured out in search of more “Mulholland Drive” hot spots. The farthest-flung of these was in Paris, where, in 2013, some friends and I half-heartedly tried to get into Club Silencio, a night club modelled on one of the film’s most electrifying sequences. Most of my excursions were closer to home. A year or so after that Mulholland drive, I wound up outside a Silver Lake apartment complex, charming in mock-Tudor brown and beige, that had somehow led Lynch to think, Ah, yes, what a perfect place to discover a corpse. If I had ventured about fifteen miles south, to Gardena, I could have enjoyed a cup of coffee at Caesar’s Restaurant—a now shuttered diner that, thanks to “Mulholland Drive,” will live forever as Winkie’s on Sunset Boulevard. Here, Lynch reminded us that the most chilling nightmares unfold in broad daylight.\nLynch’s movies are often described as surreal and unnerving, an entirely accurate assessment that doesn’t fully capture the violent havoc they can wreak on a newcomer’s expectations. I can only imagine the initial impact of “Eraserhead,” Lynch’s hallucinatory début feature, when it first emerged, in 1977, and became a midnight-movie sensation. But I still remember seeing it for the first time and thinking that nothing I’d read about it, in squeamish preparation, could have possibly blunted the pustular glory of its images, the otherworldly drone of its sound design, or its air of lysergic rot. “Eraserhead” was a movie that made you feel as though you’d truly seen everything, but Lynch had far more to show us. His flair for the grotesque found an affecting, unexpectedly classical framework in “The Elephant Man” (1980), which earned him the first of three richly deserved, unsurprisingly fruitless Oscar nominations for Best Director. Next came the critical and commercial disaster of “Dune” (1984), a rare foray into studio filmmaking that Lynch ultimately disavowed; even now, though, the unfettered intricacy and imagination of his visual design could hardly be ascribed to any other filmmaker.\nAn astonishing resurgence followed with “Blue Velvet” (1986), a masterwork of psychosexual terror that outraged as many as it captivated. Lynch dared us to watch, through our fingers, as a disturbingly off-kilter comedy of small-town mores became increasingly subsumed in an erotic miasma of fairy-tale dread. The movie is built around an Oedipal triangle whose transgressive power hasn’t dissipated in the slightest, resting, as it does, on the unshakable foundations of its actors: a boyishly corruptible Kyle MacLachlan, a bewitchingly vulnerable Isabella Rossellini, and a primally terrifying Dennis Hopper. But what lingers just as persistently is a certain slipperiness of intent—a sense that Lynch himself, so aware of the complex, symbiotic play of light and darkness in human nature, was content to flit eternally, and with a mosquito’s fickle curiosity, between two moral poles. Did “Blue Velvet” offer a straight-faced spoof, an enraged evisceration, or a half-hearted affirmation of Reagan’s America and its discontents? The question can still divide people, and I suspect that great puritanical swaths of today’s audience—those who demand clear thematic signposts, abhor frank treatments of sexuality, and find moral ambiguity repellent—are less equipped to grapple intelligently with “Blue Velvet” than even their fuming 1986 counterparts were.\nEven among Lynch’s more thoughtful admirers, the need to decisively pin him down continues apace. Arguments still rage about the precise ratio of sincerity to irony in the director’s work—a debate that, for me, ultimately says less about Lynch than it does about the limitations of critical language, especially when such language is applied to an artist whose work is this unfiltered and instinctual. Even so, I’d venture that there is both sincerity and irony aplenty in Lynch, and the two aren’t necessarily in tension; each one illuminates and nourishes the other. Think of them as sweatily companionable bedfellows—or, if you prefer, transmigratory souls.\nLynch moved to Los Angeles in the early nineteen-seventies to study at the American Film Institute; there, he began working on “Eraserhead,” much of which was shot on A.F.I.-owned locations. His later films, such as “Lost Highway” (1997) and “Mulholland Drive,” would reveal more of the city’s seamy beauty, finding menace in the sunshine and wandering down perilous roads to nowhere. His films delighted in collapsing the city’s past and its present together, in discovering cultural and architectural vestiges of an older Los Angeles tucked in among the city’s newer façades. It’s significant, I think, that all three of Lynch’s L.A.-set movies are so rooted in convulsive games of identity: think of Fred the saxophonist (Bill Pullman) morphing inexplicably into Pete the auto mechanic (Balthazar Getty) in “Lost Highway,” or Laura Dern shape-shifting at will in every other scene of “Inland Empire” (2006). It’s as if Lynch were remarking on not just the inherent plasticity of the motion-picture medium but also on a city known for its endless self-reinvention—and often derided, wrongly, as a cesspool of inauthenticity.\nLynch’s love for Los Angeles, and the inimitable, unfakeable reality of his presence around the city, gave the lie to that charge. In December, 2006, Lynch exposed the gussied-up absurdity of Oscar season with his own wonderfully absurd gesture, by launching a memorable one-man awards campaign for Dern in “Inland Empire.” He parked himself at the corner of Hollywood Boulevard and La Brea Avenue, sitting next to an enormous “For Your Consideration” poster with Dern’s face, a live cow, and a sign that read “without cheese there wouldn’t be an inland empire.” (It was one of the few times that he came even close to providing a rationale for his work.)\nElsewhere, Lynch was an insistent creature of habit, and his habits—always wearing top-buttoned white shirts, forever espousing the virtues of Transcendental Meditation—often became the stuff of local legend. For years, he could be found eating lunch at Bob’s Big Boy in Burbank, an establishment whose nineteen-fifties stylings fit right in with his love of diners, jukeboxes, and other scraps of vintage Americana. Later in his career, Lynch captivated his fans—and doubtless made some new ones—with a series of daily weather reports, delivered from his perch in the Hollywood Hills. If you didn’t know better, you might have suspected that his oddball geniality was some sort of cultivated affectation—a knowingly bold counterpoint to his attraction to the outrageous and the grotesque. But it never would have occurred to Lynch that there was any contradiction to begin with. He drew no tidy, self-flattering distinctions between normalcy and perversity, humor and seriousness. His unawareness that he was doing anything particularly subversive may have been the most subversive thing about him.\nLynch stopped doing weather reports in 2022. A lifelong smoker, he announced in August that he was suffering from emphysema so severe that he had been effectively housebound since the COVID-19 pandemic. I can’t help but wonder what meteorological forecasts he might have delivered this January, in light of the disastrous wildfires that have devastated Los Angeles. A Deadline report quoted anonymous sources claiming that one of the fires, the Sunset Fire, forced Lynch to relocate from his home, and that, after the evacuation, the director’s precarious health had taken a turn for the worse. (No cause of death was given.)\nFor me, it was “Mulholland Drive,” a movie that may have been too much for television (it was famously salvaged from the ruins of a rejected ABC pilot), but proved to be the best kind of too much for cinema. This was the film that finally made a four-star believer out of Roger Ebert, until then a longtime critical holdout on Lynch’s work. (“There is something inside of me that resists the films of David Lynch,” began Ebert’s pan of the director’s 1990 film, “Wild at Heart.”) In the years since, “Mulholland Drive” has become Lynch’s consensus masterpiece; it landed at No. 8 in the 2022 Sight & Sound critics’ poll of the greatest films of all time. I’m sympathetic to the idea, as some have grumbled, that all this canonization is a bit premature, and that the sheer seductiveness of “Mulholland Drive” has made it a little too hip and easy to love: the most basic bitch of Surrealist classics. But I’ve never come close to falling out of love with it. To do so would feel a little like falling out of love with Los Angeles itself.\n“Mulholland Drive” was the second film in Lynch’s unofficial L.A. trilogy; the other two left their own marks on the landscape. Even now, I can’t walk down Hollywood Boulevard without briefly reflecting back on “Inland Empire,” in which a tormented film actress, Nikki Grace (Laura Dern), is gutted with a screwdriver and pukes blood all over the Walk of Fame: “You dyin’, lady,” a homeless onlooker mutters. Another Lynch landmark was his three-house compound in the Hollywood Hills, part of which became a set in “Lost Highway”—transformed, in what felt like an act of almost confessional intimacy, into a distended labyrinth of domestic horror, where even a darkened corridor can open up a portal to the unknown. To speculate about what that unknown might be part of the fun; it may also be beside the point in a movie that never once departs the maelstrom of Lynch’s subconscious.\n\nI love the light there. I live there. And I love the feel of it. And\nI’m always saying, when you’re there in L.A., on some nights in\nsummer, maybe the spring, this night jasmine smell comes, and\nsometimes there’s a wind, and you can feel the golden age of Hollywood\nin the air, and it’s pretty magical. And there’s big studios, big\nsound stages. I love these big sound stages, factories for making\ncinema. So there’s—and then there’s the star system, and all this\ngoing on. It’s all kind of part of this dream. There’s a lot wrong\nwith it, but that part is a big lure to people.\n\n“Inland Empire” was, among other things, a furiously detailed exploration of that “a lot wrong with it.” When the movie was first released, it was rightly greeted as a darker, uglier, even more violently destabilizing companion piece to “Mulholland Drive”—another dreamlike dismantling of the dream factory, only this time, the dream had been entirely shorn of its seductive verve. For three hours, Nikki, played by Dern with an often terrifying magnificence, navigated a shifting labyrinth of chambers and antechambers, run-down homes and cavernous sound stages, shedding and accruing identities at every turn. She was stalked and menaced, drowned in identities but robbed of selfhood, and—just to underscore the movie’s view of Hollywood as a pimp’s game—thrust into a roomful of leering, dancing sex workers. “Inland Empire” was a tragedy and a prophecy: it was Lynch’s first (and last) feature film shot on digital video, a medium that, in its thrift and ease of use, encouraged his will to experiment. It also seemed to capture, in the grubbiness of its textures, the vibe of a Hollywood swiftly fading and degrading beyond recognition. The movie made no sense; it made all the sense in the world.\nAnd if it makes no sense now that David Lynch is gone, there is consolation in knowing that his presence among us was, to begin with, the most irrational and undeserved of gifts. Certainly, there was solace in the gathering that Saturday night, where the reverence of diehard Lynch obsessives seemed to commingle, excitingly, with a newbie’s sense of bafflement and discovery. Exiting through the lobby, you couldn’t miss a familiar, heartening post-screening buzz: sounds of laughter and exasperation; hesitant, hazardous attempts at analysis; confused variations on “What was that all about?” We could have just seen “Eraserhead” or “Blue Velvet,” or stumbled out of “Mulholland Drive,” as some friends and I did, not too far away, more than two decades earlier. And then we did what we did back then—wandered out, lost in thought and in cinema, into the dark shimmer of another L.A. night. ♦","isBasedOn":"","articleSection":"letter from los angeles","author":[{"@type":"Person","name":"Justin Chang","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fjustin-chang"}],"dateModified":"2025-02-04T06:00:00.000-05:00","datePublished":"2025-02-04T06:00:00.000-05:00","headline":"Mourning David Lynch in a City on Fire","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F16:9\u002Fw_2560,h_1440,c_limit\u002FChang-Lynch.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F4:3\u002Fw_2560,h_1920,c_limit\u002FChang-Lynch.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F1:1\u002Fw_2560,h_2560,c_limit\u002FChang-Lynch.jpg"],"keywords":["letter from los angeles","david lynch","films","movies","los angeles, california","california wildfires","audio","splitscreenimageleftfullbleed","web"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F2:3\u002Fw_1706,h_2559,c_limit\u002FChang-Lynch.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fletter-from-los-angeles\u002Fmourning-david-lynch-in-a-city-on-fire","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Justin Chang on David Lynch, who died at seventy-eight, and how his movies—such as “Mulholland Drive” and “Inland Empire”—influenced the Los Angeles filmgoing community.","description":"Justin Chang on David Lynch, who died at seventy-eight, and how his movies—such as “Mulholland Drive” and “Inland Empire”—influenced the Los Angeles filmgoing community.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fletter-from-los-angeles\u002Fmourning-david-lynch-in-a-city-on-fire"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"News","item":"https:\u002F\u002Fwww.newyorker.com\u002Fnews"},{"@type":"ListItem","position":2,"name":"David Lynch","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Fdavid-lynch"},{"@type":"ListItem","position":3,"name":"Mourning David Lynch in a City on Fire"}]}],"head.contentID":"679917822f3a6598dd85cc1f","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F16:9\u002Fw_1000,c_limit\u002FChang-Lynch.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F679b9b63f98109afc9f13bf3\u002F1:1\u002Fw_1000,c_limit\u002FChang-Lynch.jpg"},"head.firstPublishDate":"2025-02-04T11:00:00.000Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2025-02-04T11:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Self-Delusion-Jia-Tolentino\u002Fdp\u002F000829495X),” was published in 2019.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b79ebe912338a37865e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b79ebe912338a37865d_tolentino-jia-1.png"}],"metadata":{"contentType":"photo"}},"bio":"Jia Tolentino has been a staff writer at *The New Yorker* since 2016, covering a range of topics in news and culture, including the age of [Instagram face](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fdecade-in-review\u002Fthe-age-of-instagram-face) and, with Ronan Farrow, [Britney Spears’s conservatorship nightmare](https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Famerican-chronicles\u002Fbritney-spears-conservatorship-nightmare). Previously, she was the deputy editor of Jezebel and a contributing editor at the Hairpin. In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Jia-Tolentino\u002Fdp\u002F0525510540),” was published in 2019.","socialMedia":[{"handle":"jiatolentino","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"rabbit-holes","name":"Rabbit Holes"},"channels":[{"name":"Rabbit Holes"}],"hed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","dek":"","promoHed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","promoDek":"","url":"culture\u002Frabbit-holes\u002Fthe-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"59c41bf7c6b56222ba223aa6","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590b95026c4c222f03a822b4","url":"contributors\u002Falan-burdick","name":"Alan Burdick","title":"Alan Burdick is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"Alan Burdick, a former staff writer, joined _The New Yorker_ in 2012, first as a senior editor and then also as the editor of Elements, newyorker.com’s science-and-tech blog. He worked previously as an editor at the _Times Magazine_, _Discover_, and _OnEarth_, and as a writer and producer at the American Museum of Natural History. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. His first book, “[Age of Ambition: Chasing Fortune, Truth, and Faith in the New China](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374535272\u002F?ots=1&slotNum=0&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20),” based on his experience of living in Beijing for eight years, won the 2014 National Book Award and was a finalist for the Pulitzer Prize. In 2020, Osnos published “[Joe Biden: The Life, the Run, and What Matters Now](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1982174021\u002F?ots=1&slotNum=1&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20).” His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374286671\u002F?ots=1&slotNum=2&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20).”\n\nPreviously, Osnos worked as the Beijing bureau chief for the Chicago *Tribune*, where he was part of a team that won the 2008 Pulitzer Prize for investigative reporting. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. 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has-dropcap__lead-standard-heading paywall"},"One night in January, 2002, during the initial theatrical run of David Lynch’s “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F1999\u002F09\u002F06\u002Fcreative-differences","isExternal":false},"Mulholland Drive"],",” a friend and I, students at the University of Southern California, drove up toward the Hollywood Hills to seek out the road itself. Mulholland Drive runs a curvy twenty-one miles from end to end, and we didn’t drive nearly the whole way. We entered off the 101 Freeway, just north of the Hollywood Bowl, and headed slowly west, relying heavily on our headlights to find our way through the darkness. From time to time, we pulled over to search for a good view, but mainly just to sit there in the dark, soak up the silence, and talk a bit more about the most fascinating film we’d seen in ages—a beautiful and confounding thriller about a car accident, a bubbly blond actress, a dark-eyed amnesiac, a sulky director, a shitty espresso, a po-faced cowboy, a hobo behind a dumpster, Roy Orbison, Rita Hayworth, “Persona,” “Vertigo,” and more besides."]],["p",{"class":"paywall"},"For weeks, Lynch’s film had haunted me like nothing else. It was dark and funny and sexy and intoxicating—a dream that followed me out of the theatre and into my waking reality, and a picture that obliterated, and then thrillingly restored, my understanding of what movies could do. For a nineteen-year-old burgeoning cinephile whose idea of nonlinear storytelling had been shaped by ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F20\u002Fthe-movie-lover","isExternal":false},"Quentin Tarantino"],", it was astonishing to see a filmmaker so fluent in the poetry of the irrational. I was least prepared of all for just how shattered “Mulholland Drive” would leave me: how could a movie so arrestingly strange, with so many layers of deadpan absurdity and film-noir pastiche, also be tender and moving beyond words?"],["p",{"class":"paywall"},"I couldn’t answer that question, any more than I could puzzle out what was in the little blue box at the center of the story. But for a few delirious months, “Mulholland Drive” became an obsession, the dream movie of my dreams, even a precocious early declaration of critical identity. I urged friends to see the movie and screened it for many of them with a cinevangelist’s zeal. “I’ve Told Ev’ry Little Star,” a 1961 Linda Scott golden oldie that appears in the film, wound up greeting callers on my answering machine. At U.S.C., where seemingly every film student had a “Shawshank Redemption” poster on his dorm-room wall, taping up a gorgeous Italian one-sheet of “Mulholland Drive” felt like a peculiarly rebellious point of pride. I became convinced—and then remain convinced—that Naomi Watts, the film’s incandescent star, had given one of the greatest performances of the still young twenty-first century."],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"And so, perhaps channelling the spirit of Betty (Watts) and Rita (Laura Elena Harring), the movie’s amateur-sleuth protagonists, my friend and I embarked on our nocturnal pilgrimage. Visiting during the day might have made more sense, but making sense felt antithetical to the spirit of “Mulholland Drive,” and I had no interest in shattering its spell. I just wanted to linger in its atmosphere a while longer, to clutch at Peter Deming’s seedily lustrous images and Angelo Badalamenti’s mournful caress of a score. I wondered what we might see: a black limousine, winding its way toward a roadside conflagration? A woman tottering downhill in a daze, the glittering magic-carpet expanse of Hollywood sloping off into the distance? We saw nothing of the sort, of course; the real Mulholland Drive seemed as reluctant to surrender its secrets as Lynch’s film was. All I remember seeing, by the light of the car’s high beams, was a grocery-store shopping cart abandoned on the side of the road. I decided—with a little overreach, admittedly—that this was an exquisitely Lynchian oddity: something banal that, by popping up where it didn’t belong, became ineluctably sinister."],["p",{"class":"paywall"},"In the years that followed, I ventured out in search of more “Mulholland Drive” hot spots. The farthest-flung of these was in Paris, where, in 2013, some friends and I half-heartedly tried to get into Club Silencio, a night club modelled on one of the film’s most electrifying sequences. Most of my excursions were closer to home. A year or so after that Mulholland drive, I wound up outside a Silver Lake apartment complex, charming in mock-Tudor brown and beige, that had somehow led Lynch to think, Ah, yes, what a perfect place to discover a corpse. If I had ventured about fifteen miles south, to Gardena, I could have enjoyed a cup of coffee at Caesar’s Restaurant—a now shuttered diner that, thanks to “Mulholland Drive,” will live forever as Winkie’s on Sunset Boulevard. Here, Lynch reminded us that the most chilling nightmares unfold in broad daylight."],["p",{"class":"paywall"},"Lynch’s movies are often described as surreal and unnerving, an entirely accurate assessment that doesn’t fully capture the violent havoc they can wreak on a newcomer’s expectations. I can only imagine the initial impact of “Eraserhead,” Lynch’s hallucinatory début feature, when it first emerged, in 1977, and became a midnight-movie sensation. But I still remember seeing it for the first time and thinking that nothing I’d read about it, in squeamish preparation, could have possibly blunted the pustular glory of its images, the otherworldly drone of its sound design, or its air of lysergic rot. “Eraserhead” was a movie that made you feel as though you’d truly seen everything, but Lynch had far more to show us. His flair for the grotesque found an affecting, unexpectedly classical framework in “The Elephant Man” (1980), which earned him the first of three richly deserved, unsurprisingly fruitless Oscar nominations for Best Director. Next came the critical and commercial disaster of “Dune” (1984), a rare foray into studio filmmaking that Lynch ultimately disavowed; even now, though, the unfettered intricacy and imagination of his visual design could hardly be ascribed to any other filmmaker."],["cm-unit"],["p",{"class":"paywall"},"An astonishing resurgence followed with “Blue Velvet” (1986), a masterwork of psychosexual terror that outraged as many as it captivated. Lynch dared us to watch, through our fingers, as a disturbingly off-kilter comedy of small-town mores became increasingly subsumed in an erotic miasma of fairy-tale dread. The movie is built around an Oedipal triangle whose transgressive power hasn’t dissipated in the slightest, resting, as it does, on the unshakable foundations of its actors: a boyishly corruptible Kyle MacLachlan, a bewitchingly vulnerable Isabella Rossellini, and a primally terrifying Dennis Hopper. But what lingers just as persistently is a certain slipperiness of intent—a sense that Lynch himself, so aware of the complex, symbiotic play of light and darkness in human nature, was content to flit eternally, and with a mosquito’s fickle curiosity, between two moral poles. Did “Blue Velvet” offer a straight-faced spoof, an enraged evisceration, or a half-hearted affirmation of Reagan’s America and its discontents? The question can still divide people, and I suspect that great puritanical swaths of today’s audience—those who demand clear thematic signposts, abhor frank treatments of sexuality, and find moral ambiguity repellent—are less equipped to grapple intelligently with “Blue Velvet” than even their fuming 1986 counterparts were."],["p",{"class":"paywall"},"Even among Lynch’s more thoughtful admirers, the need to decisively pin him down continues apace. Arguments still rage about the precise ratio of sincerity to irony in the director’s work—a debate that, for me, ultimately says less about Lynch than it does about the limitations of critical language, especially when such language is applied to an artist whose work is this unfiltered and instinctual. Even so, I’d venture that there is both sincerity and irony aplenty in Lynch, and the two aren’t necessarily in tension; each one illuminates and nourishes the other. Think of them as sweatily companionable bedfellows—or, if you prefer, transmigratory souls."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"In the days and weeks since ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-david-lynch-became-an-icon-of-cinema","isExternal":false},"Lynch’s death"],", at the age of seventy-eight, I’ve found myself thinking a lot about the Los Angeles that he left behind. He was, to be sure, a pan-American artist, with a sensibility steeped in many a regional cauldron. Missoula, Montana, where he was born, bequeathed him a folksy Eagle Scout congeniality, all nasal delivery and gee-whiz enthusiasm. He spent much of his childhood in Spokane, Washington, a period that would be enshrined in the lushly menacing Pacific Northwest landscapes of “Twin Peaks.” He studied painting at the Pennsylvania Academy of Fine Arts, in Philadelphia, a city that he later described, in interviews, as a place of unrivalled foulness: “I saw horrible things, horrible, ",["em","horrible"]," things while I lived there,” he told the Philadelphia ",["em","Inquirer,"]," in 1986. “It was truly inspiring.”"]],["p",{"class":"paywall"},"Lynch moved to Los Angeles in the early nineteen-seventies to study at the American Film Institute; there, he began working on “Eraserhead,” much of which was shot on A.F.I.-owned locations. His later films, such as “Lost Highway” (1997) and “Mulholland Drive,” would reveal more of the city’s seamy beauty, finding menace in the sunshine and wandering down perilous roads to nowhere. His films delighted in collapsing the city’s past and its present together, in discovering cultural and architectural vestiges of an older Los Angeles tucked in among the city’s newer façades. It’s significant, I think, that all three of Lynch’s L.A.-set movies are so rooted in convulsive games of identity: think of Fred the saxophonist (Bill Pullman) morphing inexplicably into Pete the auto mechanic (Balthazar Getty) in “Lost Highway,” or Laura Dern shape-shifting at will in every other scene of “Inland Empire” (2006). It’s as if Lynch were remarking on not just the inherent plasticity of the motion-picture medium but also on a city known for its endless self-reinvention—and often derided, wrongly, as a cesspool of inauthenticity."],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":null,"pageSize":12}}}],["p",{"class":"paywall"},"Lynch’s love for Los Angeles, and the inimitable, unfakeable reality of his presence around the city, gave the lie to that charge. In December, 2006, Lynch exposed the gussied-up absurdity of Oscar season with his own wonderfully absurd gesture, by launching a memorable one-man awards campaign for Dern in “Inland Empire.” He parked himself at the corner of Hollywood Boulevard and La Brea Avenue, sitting next to an enormous “",["em",{"class":"small"},"For Your Consideration"],"” poster with Dern’s face, a live cow, and a sign that read “",["em",{"class":"small"},"without cheese there wouldn’t be an inland empire"],".” (It was one of the few times that he came even close to providing a rationale for his work.)"],["p",{"class":"paywall"},"Elsewhere, Lynch was an insistent creature of habit, and his habits—always wearing top-buttoned white shirts, forever espousing the virtues of Transcendental Meditation—often became the stuff of local legend. For years, he could be found eating lunch at Bob’s Big Boy in Burbank, an establishment whose nineteen-fifties stylings fit right in with his love of diners, jukeboxes, and other scraps of vintage Americana. Later in his career, Lynch captivated his fans—and doubtless made some new ones—with a series of daily weather reports, delivered from his perch in the Hollywood Hills. If you didn’t know better, you might have suspected that his oddball geniality was some sort of cultivated affectation—a knowingly bold counterpoint to his attraction to the outrageous and the grotesque. But it never would have occurred to Lynch that there was any contradiction to begin with. He drew no tidy, self-flattering distinctions between normalcy and perversity, humor and seriousness. His unawareness that he was doing anything particularly subversive may have been the most subversive thing about him."],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"Lynch stopped doing weather reports in 2022. A lifelong smoker, he announced in August that he was suffering from emphysema so severe that he had been effectively housebound since the ",["em",{"class":"small"},"COVID"],"-19 pandemic. I can’t help but wonder what meteorological forecasts he might have delivered this January, in light of ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2025\u002F01\u002F20\u002Fon-the-ground-during-las-wildfire-emergency","isExternal":false},"the disastrous wildfires"]," that have devastated Los Angeles. A ",["em","Deadline"]," report quoted anonymous sources claiming that one of the fires, the Sunset Fire, forced Lynch to relocate from his home, and that, after the evacuation, the director’s precarious health had taken a turn for the worse. (No cause of death was given.)"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Before his death, it was possible to declare, or at least hope, that every generation would get the Lynch masterwork it deserves. For his earliest admirers, it was surely “Blue Velvet”; for a more recent wave of converts, it may have been “Twin Peaks: The Return” (2017), the magnificently uncompromised third season of his landmark 1990-91 TV series, “Twin Peaks.” Still others would make the case—and I wouldn’t disagree—for “Twin Peaks: Fire Walk with Me” (1992), a devastating feature-length spinoff that, received at the time with scorn and bewilderment, has since been reclaimed as one of Lynch’s supreme achievements."]],["p",{"class":"paywall"},"For me, it was “Mulholland Drive,” a movie that may have been too much for television (it was famously salvaged from the ruins of a rejected ABC pilot), but proved to be the best kind of too much for cinema. This was the film that finally made a four-star believer out of Roger Ebert, until then a longtime critical holdout on Lynch’s work. (“There is something inside of me that resists the films of David Lynch,” began Ebert’s pan of the director’s 1990 film, “Wild at Heart.”) In the years since, “Mulholland Drive” has become Lynch’s consensus masterpiece; it landed at No. 8 in the 2022 ",["em","Sight & Sound"]," critics’ poll of the greatest films of all time. I’m sympathetic to the idea, as some have grumbled, that all this canonization is a bit premature, and that the sheer seductiveness of “Mulholland Drive” has made it a little too hip and easy to love: the most basic bitch of Surrealist classics. But I’ve never come close to falling out of love with it. To do so would feel a little like falling out of love with Los Angeles itself."],["p",{"class":"paywall"},"“Mulholland Drive” was the second film in Lynch’s unofficial L.A. trilogy; the other two left their own marks on the landscape. Even now, I can’t walk down Hollywood Boulevard without briefly reflecting back on “Inland Empire,” in which a tormented film actress, Nikki Grace (Laura Dern), is gutted with a screwdriver and pukes blood all over the Walk of Fame: “You dyin’, lady,” a homeless onlooker mutters. Another Lynch landmark was his three-house compound in the Hollywood Hills, part of which became a set in “Lost Highway”—transformed, in what felt like an act of almost confessional intimacy, into a distended labyrinth of domestic horror, where even a darkened corridor can open up a portal to the unknown. To speculate about what that unknown might be part of the fun; it may also be beside the point in a movie that never once departs the maelstrom of Lynch’s subconscious."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"The weekend after Lynch died, “Inland Empire” happened to be showing in an American Cinematheque retrospective, and the event became a kind of impromptu memorial. The screening was at the Egyptian Theatre in Hollywood, mere steps away from the spot where Dern’s Nikki staggered, fell, and vomited all that blood, and the place was packed with Lynch buffs. Before the main feature, the Cinematheque screened a short excerpt from a video interview, in which the director talked about his specific love for Los Angeles:"]],["blockquote",{"class":"paywall"},["p","I love the light there. I live there. And I love the feel of it. And\nI’m always saying, when you’re there in L.A., on some nights in\nsummer, maybe the spring, this night jasmine smell comes, and\nsometimes there’s a wind, and you can feel the golden age of Hollywood\nin the air, and it’s pretty magical. And there’s big studios, big\nsound stages. I love these big sound stages, factories for making\ncinema. So there’s—and then there’s the star system, and all this\ngoing on. It’s all kind of part of this dream. There’s a lot wrong\nwith it, but that part is a big lure to people."]],["p",{"class":"paywall"},"“Inland Empire” was, among other things, a furiously detailed exploration of that “a lot wrong with it.” When the movie was first released, it was rightly greeted as a darker, uglier, even more violently destabilizing companion piece to “Mulholland Drive”—another dreamlike dismantling of the dream factory, only this time, the dream had been entirely shorn of its seductive verve. For three hours, Nikki, played by Dern with an often terrifying magnificence, navigated a shifting labyrinth of chambers and antechambers, run-down homes and cavernous sound stages, shedding and accruing identities at every turn. She was stalked and menaced, drowned in identities but robbed of selfhood, and—just to underscore the movie’s view of Hollywood as a pimp’s game—thrust into a roomful of leering, dancing sex workers. “Inland Empire” was a tragedy and a prophecy: it was Lynch’s first (and last) feature film shot on digital video, a medium that, in its thrift and ease of use, encouraged his will to experiment. It also seemed to capture, in the grubbiness of its textures, the vibe of a Hollywood swiftly fading and degrading beyond recognition. The movie made no sense; it made all the sense in the world."],["p",{"class":"paywall"},"And if it makes no sense now that David Lynch is gone, there is consolation in knowing that his presence among us was, to begin with, the most irrational and undeserved of gifts. Certainly, there was solace in the gathering that Saturday night, where the reverence of diehard Lynch obsessives seemed to commingle, excitingly, with a newbie’s sense of bafflement and discovery. Exiting through the lobby, you couldn’t miss a familiar, heartening post-screening buzz: sounds of laughter and exasperation; hesitant, hazardous attempts at analysis; confused variations on “What was ",["em","that"]," all about?” We could have just seen “Eraserhead” or “Blue Velvet,” or stumbled out of “Mulholland Drive,” as some friends and I did, not too far away, more than two decades earlier. And then we did what we did back then—wandered out, lost in thought and in cinema, into the dark shimmer of another L.A. night. ♦"]],"pageStructure":[["inline-embed",0,"cneaudio"],["inline-embed",330,"callout"],["p",120],["p",150],["p",189],["p",147],["p",189],["cm-unit",0],["p",200],["p",104],["inline-embed",284,"callout"],["p",177],["inline-embed",0,"cneinterlude"],["p",115],["p",167],["ad",0],["p",107],["inline-embed",198,"callout"],["p",191],["p",148],["inline-embed",168,"callout"],["blockquote",204],["p",194],["p",148]],"hasAffiliateLinks":false,"affiliateLinksCount":0,"isCommerceContent":false,"contributorSpotLightProps":{"header":{"name":"Justin Chang","title":"Justin Chang is a film critic at *The New Yorker*. 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He also reviews movies for NPR’s “Fresh Air.” Previously, he was the film critic at the Los Angeles \u003Cem\u003ETimes\u003C\u002Fem\u003E and the chief film critic at \u003Cem\u003EVariety\u003C\u002Fem\u003E. His book “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FFilmCraft-Editing-Justin-Chang\u002Fdp\u002F0240818644\"\u003EFilmCraft: Editing\u003C\u002Fa\u003E” was published in 2011. Chang serves as the chair of ... \u003Ca href=\"\u002Fcontributors\u002Fjustin-chang\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjustin-chang\"\u003EJustin Chang\u003C\u002Fa\u003E is a film critic at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E. He won the 2024 Pulitzer Prize for criticism.","name":"Justin Chang","photo":{"altText":"","sources":{"sm":{"aspectRatio":"1:1","width":240,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_240,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"},"md":{"aspectRatio":"1:1","width":240,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_240,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F65a6d356c84a90f018b40c2f\u002F1:1\u002Fw_240,c_limit\u002Fundefined 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