This post was updated April 3 at 8:20 p.m.

The UCLA Film and Television Archive is unearthing a forgotten piece of David Lynch’s filmography.

As his critically acclaimed series “Twin Peaks” ended in 1991, the filmmaker created the short-lived series “On the Air.” As a tribute to Lynch following his death in January, the 1992 series will be presented in its entirety Friday during the “David Lynch Tribute: On the Air Marathon” event at the Hammer Museum’s Billy Wilder Theater. The event begins at 7:30 p.m. and will present the entire seven-episode series in marathon format, followed by a Q&A with lead actors Ian Buchanan and Nancye Ferguson.

“The spirit of this event is to honor this incredible filmmaker, this incredible artist and this really unique, one-of-a-kind television show – of which there’s really nothing else like it,” UCLA Film and Television Archive curator Mark Quigley said.

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The series focuses on the 1950s production of the fictional “Lester Guy Show,” capturing the behind-the-scenes chaos as conflicting personalities and technical difficulties send each taping off the rails. Buchanan – who portrayed the titular Lester Guy – said the series is a tribute to the first golden age of television but also a harsh critique of network television executives potentially inspired by Lynch and collaborator Mark Frost’s experiences with networks as “Twin Peaks” came to an end.

The same surreal qualities that define Lynch’s other films and television series are present in “On the Air,” Quigley said. He described the show as Lynch’s approach to the sitcom genre, pairing Lynch’s production sensibilities alongside boundary-pushing comedy.

“David Lynch loves to play with format and genre and to circumvent expectations,” Quigley said. “What he’s really doing is defying everything that you would expect such a program to be. And it’s uniquely David Lynch – the rules of physics or reality as we know them don’t apply.”

The show’s on-screen chaos was a far cry from the supportive community behind the camera, Ferguson said. After she watched Lynch’s debut feature film “Eraserhead” as a college student, she said it became her dream to one day work with the director. So when she was offered the part of in-universe production assistant Ruth Trueworthy, she said she felt lucky to join the Lynch family of actors and collaborators – one of the most sought-after opportunities in the industry.

“I don’t think there’s a single actor that wouldn’t want to work with him,” Ferguson said. “He’s a very special artist, a very special filmmaker and a very special human being. It’s such a privilege to be able to be in his company.”

She described the production as a family, where a closed set, gentle feedback and Lynch’s trust for his actors ensured everyone could excel in their roles. She added that she felt fortunate to be part of the specific, thought-out creative vision Lynch brought to the production.

Buchanan said he felt that same sense of community and artistry – even with the unusual expectations Lynch placed on his actors.

“To be swinging from a rope upside down was the last thing in the world I expected – but I did, because David could talk you into it,” Buchanan said. “We had fun. We’re always very supported. We worked very long days – very fond memories of the whole period.”

Buchanan had worked with Lynch previously on the surreal mystery series “Twin Peaks” and as part of Calvin Klein advertising campaigns. He said he felt confident “On the Air” would be a success, with good press for the pilot and exciting guest directors booked.

But the show would be canceled after seven episodes – and only three episodes would ever air on American screens.

“People have said now it was ahead of its time, and if it were to come on television now, it would be received differently,” Buchanan said. “I wish more people had gotten to see it.”

Reflecting on the cancellation, Quigley said the show’s absurdist and avant-garde elements may have concerned network executives and confused audiences. Network shows had to appeal to the broadest possible audience, and an absurdist show about 1950s television was unlikely to break through to every 1990s TV watcher, he added.

In hindsight, Quigley said he considers “On the Air” as an overlooked artistic achievement in the renowned director’s catalog. It was a specific, niche artistic vision – the kind of program that excels on the streaming market and the kind of show that can still resonate with modern audiences. With that in mind, Quigley began the process of acquiring the rights in November to screen the series, planning to invite Lynch to speak at the marathon.

After Lynch’s January death, Quigley said the event is now a tribute to Lynch and his artistry, and he is grateful for the opportunity to learn more about the avant-garde show from Ferguson and Buchanan.

“Not only are they extremely talented actors, but they were also eyewitness to working with one of the greatest film artists of all time,” Quigley said. “I can’t imagine the magic that was in the room and the alchemy when they were shooting that pilot with David Lynch.”

Buchanan and Ferguson said they were looking forward to the opportunity to see the series again. For Buchanan, this will be the first time he has watched the series in over a decade, and he said he is excited to see the show with a new audience.

[Related: Hammer Museum showcases UCLA alumnus David Lebrun’s filmography, presents live Q&A]

Ferguson added that Lynch’s spirit lives on through his art and its inspirational power. She is excited to share the series with the Hammer Museum audience alongside her friend Buchanan, she said.

“That show will always be just this beautiful, magical experience that we had together,” Ferguson said. “I’m hoping that people can go and see it in such a beautiful context shown at the Hammer in Los Angeles. David in heaven will be thrilled.”