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North Wales Chronicle
a day ago
- Entertainment
- North Wales Chronicle
David Lynch memorabilia including scripts and props sell for more than £3m
More than 450 items of memorabilia were sold in the Los Angeles auction, hosted by Julien's Auctions and Turner Classic Movies (TCM) at the Peninsula Beverly Hills, where they fetched a combined 4.25 million dollars (£3.16 million). The item which sold for the highest price was a group of 11 scripts from Lynch's unfinished film project, Ronnie Rocket: The Absurd Mystery Of The Strange Forces of Existence, which fetched 195,000 dollars (£145,206). Other lots included three scripts from the production of Mulholland Drive, which made 104,000 dollars (£77,443), with a note on one script reading: 'We are very concerned about preserving the integrity of this screenplay. Please do not let anyone read this script – it is for your use only.' Other Mulholland Drive items sold at the auction included prop menus from Winkie's diner, which sold for 7,800 dollars (£5,808), and an original diptych featuring portraits of Naomi Watts and Laura Harring as their roles Betty Elms and Rita in the film, which made 16,250 dollars (£12,100). A red leather director's chair with Lynch's name emblazoned on the back sold for 91,000 dollars (£67,762), after it had been on a tour of locations across Los Angeles such as Mulholland Drive's scenic overlook and Winkie's diner, as well as the diner frequented by Lynch during his life. Catherine Williamson, managing director of entertainment at Julien's Auctions, said: 'Every object in this collection served as a window into Lynch's surreal and uncompromising creative world – whether from his ground-breaking films, television work, or personal studio. 'The global response to the auction speaks not only to the cultural importance of his legacy, but to the profound admiration and reverence he inspires among fans, collaborators, and collectors alike.' Script copies of the pilot episode of Lynch and Mark Frost's Twin Peaks TV series, with its original name Northwest Passage crossed out and replaced with Twin Peaks, sold for 91,000 dollars (£67,762) at the auction, while scripts from its prequel film Fire Walk With Me, made 78,000 dollars (£58,082). Lynch's personal 35mm print of his debut feature film Eraserhead sold for 52,000 dollars (£38,721). The US director died aged 78 earlier this year, five months after he revealed he had been diagnosed with emphysema, a chronic lung disease, after 'many years of smoking'.
Rhyl Journal
a day ago
- Entertainment
- Rhyl Journal
David Lynch memorabilia including scripts and props sell for more than £3m
More than 450 items of memorabilia were sold in the Los Angeles auction, hosted by Julien's Auctions and Turner Classic Movies (TCM) at the Peninsula Beverly Hills, where they fetched a combined 4.25 million dollars (£3.16 million). The item which sold for the highest price was a group of 11 scripts from Lynch's unfinished film project, Ronnie Rocket: The Absurd Mystery Of The Strange Forces of Existence, which fetched 195,000 dollars (£145,206). Other lots included three scripts from the production of Mulholland Drive, which made 104,000 dollars (£77,443), with a note on one script reading: 'We are very concerned about preserving the integrity of this screenplay. Please do not let anyone read this script – it is for your use only.' Other Mulholland Drive items sold at the auction included prop menus from Winkie's diner, which sold for 7,800 dollars (£5,808), and an original diptych featuring portraits of Naomi Watts and Laura Harring as their roles Betty Elms and Rita in the film, which made 16,250 dollars (£12,100). A red leather director's chair with Lynch's name emblazoned on the back sold for 91,000 dollars (£67,762), after it had been on a tour of locations across Los Angeles such as Mulholland Drive's scenic overlook and Winkie's diner, as well as the diner frequented by Lynch during his life. Catherine Williamson, managing director of entertainment at Julien's Auctions, said: 'Every object in this collection served as a window into Lynch's surreal and uncompromising creative world – whether from his ground-breaking films, television work, or personal studio. 'The global response to the auction speaks not only to the cultural importance of his legacy, but to the profound admiration and reverence he inspires among fans, collaborators, and collectors alike.' Script copies of the pilot episode of Lynch and Mark Frost's Twin Peaks TV series, with its original name Northwest Passage crossed out and replaced with Twin Peaks, sold for 91,000 dollars (£67,762) at the auction, while scripts from its prequel film Fire Walk With Me, made 78,000 dollars (£58,082). Lynch's personal 35mm print of his debut feature film Eraserhead sold for 52,000 dollars (£38,721). The US director died aged 78 earlier this year, five months after he revealed he had been diagnosed with emphysema, a chronic lung disease, after 'many years of smoking'.
Wales Online
a day ago
- Entertainment
- Wales Online
David Lynch memorabilia including scripts and props sell for more than £3m
David Lynch memorabilia including scripts and props sell for more than £3m More than 450 items of memorabilia were sold David Lynch (Image: Getty ) A collection of memorabilia linked to late director David Lynch has sold for more than £3 million at auction. More than 450 items of memorabilia were sold in the Los Angeles auction, hosted by Julien's Auctions and Turner Classic Movies (TCM) at the Peninsula Beverly Hills, where they fetched a combined 4.25 million dollars (£3.16 million). The item which sold for the highest price was a group of 11 scripts from Lynch's unfinished film project, Ronnie Rocket: The Absurd Mystery Of The Strange Forces of Existence, which fetched 195,000 dollars (£145,206). Other lots included three scripts from the production of Mulholland Drive, which made 104,000 dollars (£77,443), with a note on one script reading: "We are very concerned about preserving the integrity of this screenplay. Please do not let anyone read this script – it is for your use only." Other Mulholland Drive items sold at the auction included prop menus from Winkie's diner, which sold for 7,800 dollars (£5,808), and an original diptych featuring portraits of Naomi Watts and Laura Harring as their roles Betty Elms and Rita in the film, which made 16,250 dollars (£12,100). Article continues below A red leather director's chair with Lynch's name emblazoned on the back sold for 91,000 dollars (£67,762), after it had been on a tour of locations across Los Angeles such as Mulholland Drive's scenic overlook and Winkie's diner, as well as the diner frequented by Lynch during his life. Catherine Williamson, managing director of entertainment at Julien's Auctions, said: "Every object in this collection served as a window into Lynch's surreal and uncompromising creative world – whether from his ground-breaking films, television work, or personal studio. "The global response to the auction speaks not only to the cultural importance of his legacy, but to the profound admiration and reverence he inspires among fans, collaborators, and collectors alike." Article continues below Script copies of the pilot episode of Lynch and Mark Frost's Twin Peaks TV series, with its original name Northwest Passage crossed out and replaced with Twin Peaks, sold for 91,000 dollars (£67,762) at the auction, while scripts from its prequel film Fire Walk With Me, made 78,000 dollars (£58,082). Lynch's personal 35mm print of his debut feature film Eraserhead sold for 52,000 dollars (£38,721). The US director died aged 78 earlier this year, five months after he revealed he had been diagnosed with emphysema, a chronic lung disease, after "many years of smoking".
Metro
3 days ago
- Entertainment
- Metro
Twin Peaks pop-up in London abruptly scrapped as full cult series hits streaming
Fans of Twin Peaks were left disappointed today after Mubi abruptly postponed its much-anticipated dining experience in London – just 24 hours before it was set to open. The pop-up, inspired by the cult show's iconic Double R Diner, was due to take over the New River Café in Stoke Newington on June 18. The event was part of a wider celebration by the boutique streaming platform marking Twin Peaks' 35th anniversary and its long-awaited arrival on Mubi's platform. However, on June 17, Mubi took to social media to announce the sudden postponement: 'We wanted to let you know that unfortunately we will be postponing tomorrow's Twin Peaks diner experience,' the post read. 'We're so sorry for the short notice and hope to bring this back in the future.' No official reason was given for the last-minute change, though it comes amid controversy surrounding a recent investment deal. Earlier this month, Mubi faced backlash for accepting a $100million investment from Sequoia Capital, a firm linked to Israeli defence technology companies. We wanted to let you know that unfortunately we will be postponing tomorrow's TWIN PEAKS diner so sorry for the short notice and hope to bring this back in the future. — MUBI UK & Ireland (@mubiuk) June 17, 2025 Mubi responded to criticism with a statement: 'The beliefs of individual investors do not reflect the views of Mubi,' adding that Sequoia's ties were unrelated to Mubi's own mission and values. It remains unclear whether the Twin Peaks diner experience will be rescheduled. For now, fans will have to settle for indulging in the surreal mystery from the comfort of their own homes. Finally, all three chapters of the acclaimed series are now available to stream in full on Mubi. That includes the original two seasons (1990–1991), the prequel film Fire Walk With Me, and Twin Peaks: The Return, the 2017 sequel helmed once again by David Lynch and co-creator Mark Frost. Starring Kyle MacLachlan, Sheryl Lee, Sherilyn Fenn, and Lara Flynn Boyle, the show follows the investigation into the murder of small-town teen Laura Palmer and the eerie, supernatural forces swirling beneath the surface of the town of Twin Peaks. More Trending Beloved for its genre-defying weirdness, unforgettable characters, and unsettling atmosphere, Twin Peaks became a global phenomenon and remains one of the most influential shows of all time. Following the death of David Lynch, fans are thrilled that the series is finally available to stream in full. View More » Season one holds a 91% rating on Rotten Tomatoes, while The Return boasts a near-perfect 94%. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
Atlantic
07-02-2025
- Entertainment
- Atlantic
What Really Defined David Lynch
Laura Palmer, the immortal heroine (played by Sheryl Lee) of Twin Peaks, appears to me all the time. It could be because I'm watching a horror movie and someone's let out the kind of pulse-stopping scream that could knock a planet out of orbit. Or because a new true-crime series has offered up precisely the style of ideal victim that Laura Palmer embodied—young, white, and archetypally American; a life conveniently summed up by a beaming senior-year school photo—and that Twin Peaks teased apart over dozens of hours of disorienting storytelling. By the time this picture of prom-queen Laura reappeared in 2017's The Return, the show's third-season revival, decades had passed since her murder, and the image of her face had become one of the most familiar in American pop culture. The Return would work, in part, to rectify this ubiquity—for Laura's sake, and also ours. After David Lynch's death last month, as I revisited his work, one thing became clear to me: The Return (made in collaboration with Mark Frost, Twin Peaks ' co-creator) was not only his final major project but also a culmination of his style, obsessions, ideas, and feelings. The title referred most literally to the attempted reemergence of the federal agent Dale Cooper (Kyle MacLachlan) in the real world, after he'd become trapped in an ominous parallel reality, as well as the return of the show to our televisions after 25 years. It was, too, a restoration of Laura Palmer's image to its rightful, most alienating place: pulled back from the memes and returned to the realm of the horrific and unfamiliar. I've always seen the Twin Peaks universe as an extraordinary act of sympathy—for Laura, first and foremost, but also for the lives and places she left behind. In that regard, The Return was curious—but also crucial—for appearing to barely involve Laura at all. That was very much the point: Moving away from Laura enabled the series to help us find her again. In the show's first two seasons, Laura's murder broke open a placid American town—much as a severed ear, in Lynch's 1986 film, Blue Velvet, famously undermined middle America's saintly image of itself. Fire Walk With Me, the 1992 theatrical prequel dedicated to tracking Laura's last days, laid out all the terrors—abuse, drugs—leading up to her death. But with The Return, Lynch ventured even further. The 18-episode season made Laura's death feel almost world-historic, peeling back the layers to reveal a grand, mythological evil manipulating events into shape. Shows such as Stranger Things and Buffy the Vampire Slayer settled on the trope of a hellish world reachable only through science-fiction portals. Twin Peaks certainly had its share of fantastical images, but while The Return forced viewers to contend with the horrors that had crawled through that opening, it also showed how these horrors had forced their way into hearts and minds across America—how the concept of 'hell on Earth' had become nearly indistinguishable from conventional reality. Like Twin Peaks, The Return opened with two murders, when a kissing couple were mauled by a mysterious monster who emerges from a glass box, and a body without a head and a head without a body were found rotting in a faraway room. From there, the show spun outward, presenting a whole cast of shadowy doubles and mysteriously cosmic back doors—during which distance grew between us, the confused audience, and Laura's death, which had kicked off the entire franchise. All of this slyly obscured the show's real beating-heart concern: the question of whether Agent Cooper and Laura would find their way back to who they once were. Lynchian, the oft-used adjective inspired by the director's work, typically means a clash between the surreal and the mundane, the innocent and the macabre—a dreaminess whose narrative logic can only be intuited. Rarely is the term used to describe the qualities that can make Lynch's work so emotionally overwhelming. Yet all the eerie soundscapes and rabbit-hole mysteries and exposed underbellies wouldn't amount to a Lynchian text without the surplus of feeling that characterizes, say, Laura's heartbreaking recognition of her abuser, in Fire Walk With Me. Burrowing into these sensations is, I think, the real responsibility of the Lynch viewer—not just dutifully trying to put the narrative and symbolic pieces together, but also taking seriously what make Lynch's tragedies so powerful. If you experience a complex work like Mulholland Drive as a breakup movie, for example, what you get in the end is not the resolution of a dream, but an extraordinary catharsis—the feeling of a devastating emotional reality coming, finally, into clear view. Maybe you've watched Lynch's deeply strange psychological thriller Inland Empire —the Finnegans Wake to Mulholland' s Ulysses —and found that it made absolutely no sense. But at least one thing is beyond dispute, and hard to ignore: Laura Dern's terror, as the actress she plays begins to merge identities with her role in a cursed film production. This straightforward description hardly captures what it's like to descend into madness alongside this woman—but our proximity to that descent becomes almost too much to bear. In The Return, part of what moves me is the simple fact of Lynch getting the gang back together. The majority of the original cast reappears, and besides them, Dern and Naomi Watts—two of Lynch's other great heroines—are folded into the story. Much of The Return is spent sorting through the detritus of Laura's case: a resolute look backwards that ultimately points the series toward some uncertain future. Laura is there, but not there. She's in their files—and their dreams. When Laura's ex-boyfriend Bobby (Dana Ashbrook), who's now a cop, sees Laura's prom picture for the first time in years, he's immediately moved to tears—a flash of that distinctly Lynchian soaring sentimentality, the kind that can feel unnerving to watch. Lynch tends to be discussed as the consummate surrealist, a dream-smith who was remarkable for managing to meld his unique flavors of avant-gardism with the the mainstream. Audiences have often struggled with his oddball and laconic tendencies, and The Return only gave people more to complain about, what with its dense mysteries that veered far from the coffee-and-donuts shenanigans of its network-TV run. But the brief moments in which Laura reemerges centers the show, along with Lynch and Frost's enduring affection for her hometown. The Return provided a world big enough to encompass both the lo-fi hijinks of the Twin Peaks sheriff's department and the utter darkness of hell on Earth. Laura's death unified these worlds, and held them together. In another artist's hands, The Return might have become a straightforward show about the corrosion of small-town America, or the incursion of extraordinary violence into polite society—something of that order. Behind the closed doors of a southwestern tract house, on the streets of a Pacific Northwest mountain town, and in the anonymous quarters of some sparkling city lurk neglected children, drug-addled parents, gambling debts, and bloodshed. Heads without bodies, bodies without heads. Certainly, Twin Peaks is about all of this. But look at where its last season lands: with a Laura who does not realize who she is, 25 years after she has died. It concludes with a snap of recognition, as Laura is confronted with the past that proved to be her unmaking—and with her screams. A lesson of Twin Peaks, of Lynch's work broadly, is that that other, chaotic world already exists around us. Through Laura, we also learned that the world could exist within us. It's enough to drive some people crazy, which she and Cooper learn the hard way, in the end. As we watch, so do we.
