Responses to various ideas in the thread:
1. Why aren't people taking Dougie Coop to the Dr? Stop using everyday logic or narrative realism to explain this (or most) aspects to the show. Instead, think in terms of satire or parable. Lynch and Frost are illustrating how people's own interests make them solipsistic to the suffering of others, how their everyday ideology makes it impossible for them to act beyond their own immediate interests. Janey-E and most of Dougie's co-workers are so absorbed in their own concerns that it's impossible for them to act -- not just rationally -- but ethically. For example, Janey-E can only think in terms of Dougie maintaining his job so that they can maintain their bourgeois lifestyle. His behavior frustrates her more than it worries her.
2. What would be the narrative upshot of handing Audrey Horne a psychopathic kid? Well, Lynch and Frost are obviously interested in repetitive cycles in families and circularity, but they are also moral, despite their interest in using absurdity as a way of satirizing our culture. Their basic humanity and morality make them often choose poetic truth over so-called "realistic" truth (the world is full of people who ignore the suffering of others), which makes me think it's impossible to hand Audrey such a horrible, rapey fate like having been seduced by Bad Coop. What would Lynch and Frost gain from such a narrative choice? Evil can come from good? Perhaps, but they usually tell us that evil comes from abuse, so I don't think they'll go this route with Audrey.
3. Slow pacing/improved pacing. I've maintained from the beginning that the best way to think about the pacing of the story in regards to narrative structure is in terms of a long novel. Often the approach is to begin slowly, laying out key characters and situations, and then afterward speed things up when appropriate. We also have to try to understand why Lynch often chooses "slow" pacing. Pacing is always relative to what the audience is used to; there is no "correct" style of pacing. As an avant gardist, Lynch is likely interested in the technique of estrangement, which is all about slowing the audience's normal perception down in order to reshape it and force it out of cliched ways of thinking. But I also think there's a surprisingly realist motive in Lynch's slow pacing at times -- it imitates more accurately how we actually live moment to moment in our actual lives. The "realistic" pacing many clamor for is the exact opposite of a realistic flow of time -- instead, it's just how we're used to seeing time represented in popular entertainment. That is, it's not realistic at all. By maintaining a slow pace, Lynch not only estranges our perception, but he also creates a super authentic realism -- an interesting irony that shows just how programmed we all are.
Member of the Agent Tammy Preston Defense Lodge