Twin Peaks: Why LGBTQ Ally Depiction is Crucial
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.

In the 1950s, Circus Kavaros suffers major financial difficulties. After a performance, it goes wrong: 17-year-old acrobat, Juul, falls into a coma. The doctor pronounces her brain dead. Her father, magician Bor, wanting to keep his daughter with him, kidnaps her from the hospital. When he performs with Juul as a living puppet, the general public rush back to fill the stands. Bor is convinced that he’s doing his little girl credit by allowing her to shine once more in the circus. But within Juul, the inner frenzy and despair grow. In silent protest against the humiliations and the loss of her own will, she slowly transforms into living porcelain, until she falls apart into pieces.
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
There were too many irrelevant parts that could have been shortened, and too many characters that didn't advance the plot. Either way, some things didn't add up. This was just another played out plot with little, if any, originality in it. By the end of the film, I wasn't happy that she finally got her freedom, I was happy that it was finally over.
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