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.

A legendary film in the history of rock climbing in the Verdon Gorges, shot in 16mm between the autumn of 1978 and the spring of 1979 by Henri Agresti, a high mountain guide. For the first time, acrobatic shots were taken on the walls of the Verdon. We rediscover a whole generation of pioneers on routes like Dingomaniaque, Triomphe d'Eros, Péril rouge, Luna Bong, Pichenibule or Necronomicon, routes which, like Dingomanique or Triomphe d'Eros, had just been opened. We witnessed a major turning point in the style and possibilities of rock climbing at the end of the 1970s: anchors sealed by drilling used as belaying and no longer as aids, new equipment: climbing shoes and chalk, harnesses and figure eights. Henri Agresti's unfinished and silent film, lasting around fifty minutes, was presented in the form of a nine-minute fragment at the Trento Film Festival in 1981.
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.
One of the reasons I love watching movies is that, much like books, they serve as windows into other times and different places. Productions from around the world offer valuable insights into the history and culture of their respective countries. And just like literature, cinema can help us understand the present by showing us the past.
Despite its aggressiveness, the Beef anthology series is about romantic love in all its forms. The final scene of the first season led us to believe that, despite the conflict, drama, and toxic traits, the main characters would end up together and, most likely, live happily ever after. The whole “beef” plot was the prelude to their love story.
There’s no two ways about it — Bridgerton is horny. Shondaland’s newest venture- released on Netflix on Christmas- is certainly a spectacle to behold, just as the premise; essentially an Austenian, Regency-Era Gossip Girl, helmed by Shonda Rhimes, the reigning queen of steamy romance television. It would not be inaccurate to describe it as Jane Austen porn.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
"First Day" is a trans kid slice-of-life tv show that brings desperately needed diversity to coming-of-age stories in mainstream media. Here's a show that get's it right by having a trans actress in a story centered on trans girlhood.