In 2008, Jennifer Lynch made her first film come to the Festival de Sitges, Surveillance, a dark policeman, disturbingly weird, who in many ways remembered Twin Peaks from her father – who had made her debut as an improvised actress in her first film, Eraserhead, and then I had let him write The Secret Diary of Laura Palmer, a spin off of the series with novel aspect -, but a Twin Peaks to which the absurd humor had been extirpated or, better, it had been replaced by a more than uncomfortable perversion.
And although the film won the prize for best film, it went through the billboard with an unheard-of dissimulation as it was the first-born of the director of Mulholland Drive. And something similar is happening with his already extensive career on the small screen: Jennifer Lynch is directing the darkest chapters of some of the series of the moment without us being aware of it. An example? In 2015 he left the second and third row (series also dark but teenagers like Finding Carter) to try your luck in the team of a giant like The Walking Dead.
From there he gave the jump to the police Quantico, and specialized in paranormal phenomena (even adolescents) -the review of Teen Wolf– and not entirely orthodox superheroes – he has directed chapters of Daredevil, Jessica Jones Y Agents of S.H.I.E.L.D.-. He is also behind the vampire The Strain, the series based on the novels of Guillermo del Toro and Chuck Hogan, and directs, usually, for two of the franchises of Ryan Murphy (American Horror Story Y 911).
Waiting for him to dare to take the step and, who knows, direct something own for television – right now he has the long version of A Fall from Grace, a sickly short film about a detective from a small town, that is: more movies, we can enjoy his perverse darkness in small and disguised doses.