the community celebrates the art life of David Lynch • Journal • A Magazine • , Life in canada

“In heaven, everything is fine.” In David Lynch’s 1977 debut feature, Eraserhead, the Lady in the Radiator sings these words. In 2025, at Bob’s Big Boy in Burbank, California, a piece of cardboard at the foot of the Big Boy statue spells them out in capital letters. It’s one amongst hundreds of other offerings for the late filmmaker, who dined here “for seven years every day at 2:30” and who passed away January 15—five days before what would have been his 79th birthday.

Every day, more than once a day, acolytes have been giving Lynch presents. Sparkly blue roses. Drawings of the Eraserhead baby, of cherry pie and damn good coffee, of the director himself (with extra care taken to capture his iconic swoopy hair). A model of “the evolution of the arm” from Twin Peaks: The Return. Owls and logs and boxes upon boxes of donuts. Two cookies and a Coke. These are all physical manifestations of the Los Angeles film world’s grief, but Lynch’s singular, surreal visions touched those all over the globe. We see it in the outpouring of reviews praising and memorializing his filmography in the wake of his death—virtual contributions of words, emotions, recollections.

activity has demonstrably spiked for every single one of his features: Mulholland Drive joined the One Million Watched Club and Twin Peaks: Fire Walk with Me made its official debut in our Top 250. The Elephant Man also resides in the Top 250—as its lead John Merrick (John Hurt) said, “People are frightened by what they don’t understand.” But not here. Here, we live inside a dream, understanding that this whole world is wild at heart and weird on top. While we have no idea where an art life without Lynch will lead us, we have a definite feeling it will still be a place both wonderful and strange.

And now, a moment of silencio for David Lynch. No hay banda.