Truth of course is allied with both individual and mass perception, but that issue becomes problematic in a world of abstraction in which the central characters are depicted as victims of amnesia with identity problems. When characters are lost in a world of darkness and confusion, it becomes apparent that their criteria cannot be measured in terms of the twenty-four hour clock.

In the press kit for Lost Highway David Lynch describes the work as “A world where time is dangerously out of control” and also “A graphic investigation into parallel identity crises”. As an ongoing extension of his previous work, these themes abound in Rabbits which conveys the subject of amnesia and time dislocation in both the visual and the narrative. Characters become victims to a world devoid of the rules of physics. At the conclusion of episode 8, Jane says “I wonder who I will be ?” and as mentioned earlier, Suzi seems to physically disappear whilst walking into the dark adjoining room leaving a transparent outline of herself as she exits the frame . Her transparent outline makes the viewer think about ghosts ; the remnants of a history and time gone by, which is what all images are when depicted through the medium of our television sets. Even live televised events reach us fractionally later than when they are actually transmitted. Lynch has toyed with time paradoxes before in Twin Peaks : Fire, Walk With Me, in a scene where Dale Cooper’s (Kyle MacLachlan) frozen image on a screen monitor is transgressed by the live apparition of “the long lost Phillip Jeffries” (David Bowie), who seems to be an F.B.I Agent who disappeared at some unspecified moment in the past.

The dimensions of time and space, which we rely on to maintain our daily sanity, are referenced frequently in Lynch’s body of work. In the 1984 movie Dune, Lynch’s screenplay adaptation of the Frank Herbert’s novel, the opposing factions feud over the spice melange, a drug like substance that enables the user to fold space or travel without moving. The warped nature of time also featured prominently in Twin Peaks, which contains a highly original version of limbo called “The Black Lodge”. Within this mystical realm, the rules of physics are shattered and turned upside down : characters talk backwards and past, present and future are all conflated into a spiralling Moebius strip. By working within this framework, it enables Lynch to freeze the viewers secular concerns and advance their attention into areas of a transcendental nature. Also by coaching it in the familiar setting of a living room, he encourages the viewer to bring notions reserved for the sci-fi genre into a more mundane backdrop, and in doing so, he highlights the ephemeral and elusive quality of our diurnal existence. Lynch might not be one of life’s most conventional tour guides, but he is certainly one of the most interesting.