I could no longer ignore a glaring fact about Lynch’s new Twin Peaks: It is fueled by troubling cultural appropriation. I’ve been a serious
and passionate Twin Peaks
fan since the 1990s. I’ve written a weekly column
on a popular fan site since before The Return.
I founded my own Facebook Bookhouse of old-timers that I hear tell is one of the most productive and decent fan communities with almost zero trolling and wonderful discussions. As a woman of color — and one of an even more niche community of Twin Peaks
fans of color — I’ve been a vocal and staunch defender of David Lynch’s work as not racist and sexist, and I’ve theoretically situated The Return
in the framework of Brechtian theatre principles
and socio-cultural satire. I’ve done my part to feature the voices of other fans of color
, as well as actively advocate for rape and trauma survivors
through my writing and participation in fan communities. I watched Twin Peaks: The Return
from an unabashed female and feminist gaze, and found much of Lynch’s commentary to be powerful and empowering
. Twin Peaks
has been like an imaginary home to me for decades, and a place where I was able to accomplish a great deal of healing and self-development. But after the surreal and disturbing finale, and slowly coming out of the
haze that has been these past three months, I could no longer ignore a glaring fact about Lynch’s new Twin Peaks
: It is fueled by troubling cultural appropriation.