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What keeps other Peakies of color coming back again and again? How did other people of color navigate and negotiate the show’s overwhelming whiteness?

It was the summer of 1998 when I was first introduced to David Lynch and Mark Frost’s strange little town of Twin Peaks. I was already a huge Lynch fan, but Twin Peaks was a horse of a different color. It changed the landscape of pulp television and elevated it to art. More importantly, it was the first time that family violence — and in particular childhood sexual abuse — was ever discussed openly on prime time TV in a white middle class context, removing it from the narrative that only the poor and racial minorities were the perpetrators of these kinds of crimes. It was groundbreaking work. As the decades have gone by, Twin Peaks has managed to keep my attention, and with each viewing of the show and its prequel film, Fire Walk With Me my obsession with the town and Laura Palmer’s story has only grown.

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