Or, to put it in yet another way, Lynch confronts us with a universe in which different, mutually exclusive fantasies co-exist. Peter Hoeg's novel The Woman and the Ape stages sex with an animal as a fantasy of full sexual relationship, and it is crucial that this animal is as a rule male: in contrast to the cyborg-sex fantasy, in which the cyborg is as a rule a woman, i.e. in which the fantasy is that of Woman-Machine (Blade Runner), the animal is a male ape copulating with a human woman and fully satisfying her.

Does this not materialize two standard vulgar notions: that of a woman who wants a strong animal partner, a "beast," not a hysterical impotent weakling, and that of a man who wants his feminine partner to be a perfectly programmed doll meeting all his wishes, not an effective living being. What Lynch does by staging inconsistent fantasies together, at the same level, is, in the terms of Hoag's novel, something akin to confronting us with the unbearable scene of the "ideal couple" underlying this novel, the scene of a male ape copulating with a female cyborg — the most efficient way to undermine the hold this fantasy exerts over us.