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A Feminist CritiqueĪllegations of misogyny in David Lynch’s works have been there since the beginning, and have always dogged Twin Peaks. But it’s not like we haven’t been somewhere like this before.
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It’s causing people to rethink their interactions, to second-guess what used to be sexist or misogynist instincts if it brings us to a point where the majority of people feel safe and free from the threat of violence of any kind, many would argue, how can that be a bad thing?įor the most part, the Twin Peaks community hasn’t been touched by this reckoning, not in the way House of Cards or the works of Woody Allen or Louis CK have been affected.
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But most people agree that something needed to be done, and the #MeToo and #TimesUp movements are, for the most part, being acknowledged as disinfectants, resetting our cultural and societal standards in the face of decades of normalized abhorrent behaviour. This “reckoning” as it’s come to be seen may be long overdue or over-the-top, depending on who you speak with. Suddenly, powerful people in Hollywood and broadcasting and in the world of business and politics were being toppled, ousted from positions as titans of industry by allegations of extreme sexual impropriety. But something about this particular story caused massive waves to ripple out from the point of quiet implosion. We’d heard about these things before Octowe all knew what a “casting couch” was and had heard stories about women “sleeping their way to the top” as if it were expected of them or the only way they could have achieved the power of their station. What began with a single New York Times expose by Jodi Kantor and Megan Twohey detailing the horrific allegations of sexual misconduct against now-disgraced film producer Harvey Weinstein has, as of the writing of this article, become a vast and powerful movement dedicated to exposing the sexual abuse that women (and men) experience all-too-routinely in their daily lives. Since Twin Peaks ended back in September, something curious has happened to the landscape of pop culture. So it is not my intention to throw the baby out with the bathwater rather, I want to step back and examine one aspect of the show that has given me and many others pause, in order to understand how Twin Peaks fits into the broader cultural conversation that many of us are now having. We fans are quite protective of the things we love, and I love Twin Peaks a lot. There is so much about Twin Peaks that is worthy of the high praise it continually receives that it can often feel inappropriate to criticize any part of it. Can Roseanne continue to be a beloved show if you disagree with the prejudiced beliefs of its star? Can we still find something to love in the films of John Hughes in spite of what makes them problematic?Īfter months of internal and external debate on the subject, it seemed like the right time for me to ask the same kinds of questions with regard to Twin Peaks. In recent weeks, two high profile articles published in two venerable giants of the print media industry - Roxane Gay’s critique of the Roseanne reboot in the New York Times and Molly Ringwald’s reappraisal of The Breakfast Club in The New Yorker - have brought this issue into the public conversation. But sometimes you can’t ignore it, because the cognitive dissonance that arises is too much and it becomes necessary to point out the flaw in order to make sense of it, our reaction to it, and how it affects the original thing we held so dearly in light of this new evidence and viewpoint.
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We don’t want to risk finding those warts, even if (or especially if) we know they are present, as if having a flaw makes the thing we love less lovable somehow. Author’s Note: When you love something as much as we love Twin Peaks, it can sometimes be a challenge to appraise it critically, warts and all.