I'm glad of the happy accident of watching the two consecutively, one informing my viewing of the other. But that's one of the things that made David Lynch great - his films stand up to viewing from multiple angles, far beyond just subtext or meta elements. You can bring a different lens each time.

“I like to remember things my own way. How I remembered them, not necessarily the way they happened.”
In this case, he's choosing the self-serving version of events.
Which was also what David and Maddie did in The Dream Sequence Always Rings Twice.

To me, Lost Highway is all about how the male characters choose to view Patricia Arquette's character(s), and by extension how women are represented in classic noir (and beyond). Then, in response, it also becomes about how they view themselves and their actions - what women 'made them do' 🙄

In that Moonlighting ep, David and Maddie each have different dreams about a famous murder case, each skewing their version to favour their hypothesis of what happened - effectively whether it was the man or the woman who influenced the other in the murder of her husband. Lost Highway is the same!

I'd seen both again fairly recently, but something struck me about Lost Highway this time around. The previous night I'd watched an episode of Moonlighting, 'The Dream Sequence Always Rings Twice', and the similarities between LH and the Moonlighting ep made for a great coincidence.

Last night, with the news in our minds all day, we tried to watch as many Lynch films as we could before falling asleep. We started with Lost Highway, then Wild At Heart, because they were the ones that multiple kids hadn't seen.