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PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:


  1. Tap on the share icon Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu


For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Young, J. (2007). Identity as Subterfuge: A Kleinian and Winnicottian Reading of David Lynch's Mulholland Drive. Psychoanal. Rev., 94(6):903-925.

(2007). Psychoanalytic Review, 94(6):903-925

Identity as Subterfuge: A Kleinian and Winnicottian Reading of David Lynch's Mulholland Drive

Johnny Young

This above all: to thine own self be true

—William Shakespeare, Hamlet

I behave half as a traitor to my company, half as a traitor to myself. I'm a double traitor. And that state of double treason I consider not a defeat but a triumph. Because who knows how long I'll still be able to hold on to my two faces?

—Milan Kundera, Identity

The director David Lynch simultaneously stimulates and challenges viewers to look beyond the screen image. His films are an amalgam of introspection, metaphor, and uncertainty, blurring the line between fiction and reality. Lynch's unbridled, somewhat whimsical imagination has led to such lurid and daunting films as Eraserhead (1977), Blue Velvet (1986), and Lost Highway (1997). Yet he can be equally expressive with poignant subjects, as seen in The Elephant Man (1980) and The Straight Story (1999). Mulholland Drive (Lynch, 2001) is the quintessential example of the filmmaker's predilection for complexity. In it, the viewer is transported into a reality of the darkest order, where symbols are guideposts for anyone bold enough to suspend his or her disbelief.

The film is challenging and complex, as unsettling as it is fascinating. The first half follows an ostensibly linear trajectory detailing the plight of a woman who has suffered amnesia as a result of a horrific car accident and that of the young inge´nue who befriends her.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

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