Wherein Arquette gives an all-time femme fatale performance as “Slayyyter”
Lynch fans take this one for granted. Sure, he’d done it better before and would again, but there’s something special about how the elliptical structure here presents itself as pure bluntness on second watch… his use of Freud’s tripartite model and Madonna-whore complex is unsubtle, but the psychological approach is perfectly suited to them (as opposed to the external dichotomy of the M-w in Blue Velvet), with the whole thing…
