Check out the words of some of our favorite trans folk for Transgender Awareness Week

Chase Joynt & Amos Mac on discovering–and respecting–trans icon Billy Tipton in ‘No Ordinary Man’

On the erasure of trans men from pop culture:

Writer Chase Joynt: “There’s a kind of hysteria around trans femininity. The same can’t be said for transmasculinity. I think that there’s a kind of history of transmasculine subjects who transition and pass and live lives obscured by various heteronormative structures. I’m not sure we’re in a moment where transmasculine stories are everywhere in culture. I think we’re in a moment where transmasculinity is trying to have a kind of shape and form, and that transmasculinity now signals something in culture.”

Mark Saxenmeyer explores the difference between drag queens and female impersonators in ‘The Queens’

Cisgender director Max Saxenmeyer on the complicated relationship between drag queens and transpeople:

So I think “drag queen,” to some transgender performers, seems to lessen what they do because a drag queen is traditionally a man dressing up as a woman. [The Baton performers] are transgender women or transitioning women or somewhere on the gender spectrum. So it’s different. And even in the time frame between when we shot the film and released it—nine years—the whole culture has changed. The whole understanding has changed. People in our film use the word “transgendered” which is not used anymore. Jim still used the world “transsexual.” People were still using “tranny.” There was a lot that changed really rapidly. Even on Drag Race, though they years they’ve had to edit things out that were once considered cute, but now are offensive. I don’t think you can ever please everyone; things are constantly evolving and changing.

Janet Mock on being a constant trailblazer and directing the ‘Pose’ Season Finale

On transgender progress made during Mock’s lifetime:

I can live my truth. I’ve been able to live my truth since I was 12 years old. That’s the most gratifying for me. I don’t have to live a lie. I’m anchored in my truth, and by telling my truth as a writer, as a memoirist, as a director, that I am able to offer kids growing up like I did affirmative images of themselves, affirmative stories, things that can make them puff out their chest a bit more. I am all too aware of how it feels to be a young person—or just a person period—aching to be yourself and be met with a shake of a head instead of a nod, to not be affirmed for who you are.

Mya Taylor on her crash course in drag and her award-winning performance in ‘Stage Mother’

On Hollywood’s occasional tone-deafness when it comes to casting transgender roles:

I do not get it, for the life of me. We have made improvements, but it’s not enough. You see cisgender men and women playing their own roles, or our roles. It seems like we don’t get hired for much of anything, unless it has to do with prostitution or drug dealing or getting killed. I don’t get it. I don’t understand it. It’s so hard and expensive to make your own work without others to help cover the bill. And by others, I mean cisgender people.

Mitch Harrison brings transmasculine athletics to a new level in ‘The Titan Games’ 

Pro-athlete Harrison on including transgender people in sports:

It’s hard to say or provide a clear-cut answer. I think it’s something that will take time. I think there will need to be a lot of time and discussion to fill out how we navigate this. At the same time, just in terms of me entering this show and trans athletes not being well-represented at this point, it’s all pretty new. These issues are new in terms of how we integrate trans high school athletes, or even beyond. How do we create a clear playing field? I don’t know. I could see where if we have discussions, rules might need to be adjusted so we can say a trans woman can compete on a women’s team even if she’s already experienced puberty. Or it might lead to creating separate leagues. From my perspective, I can see there is some common sense to saying create a separate league, for example, for trans women. But I think we’d find a lot of backlash to that as well, because it’d be a separate but equal kind of thing.

‘Disclosure’ director Sam Feder on the complicated history of trans representation

On revisiting painful episodes in trans representation:

There’s stuff where I had to look away, that I couldn’t watch again in a screening. Jen Richards, she had to look away and not watch. So I think trans people will all have different experiences watching it and feeling the pain again. I’m hoping that the context of having other trans people identify and share that experience will be cathartic. I do think there’s something to be said for seeing all this in one place outside of you, to be able to work through all that internalized hate and violence that was taken in over time. Seeing it outside of you, you kind of pass it in a way you haven’t before. In particular, the talk shows, Kate Bornstein, I think in her first book, talks about why she went on talk shows so much. She saw it as a modern-day freak show, but in the best possible way. She identifies as a freak. And she said that was the only way to reach the public.

Kate Bornstein on the beauty of cowboys in love and the power of non-binary gender in ‘Two Eyes’

On the correctness of using “transgender” and “gay” synonymously:

I came out when the word “gay” was the umbrella term. I was gay. I marched in gay parades. It was a big deal to call something gay or lesbian, or later, gay, lesbian, or bisexual. Holy smokes. Then to finally add “trans” makes your heart overflow. But words…gay is a homonym. It sounds and is spelled exactly the same but it has different meanings. Gay then doesn’t mean what gay means now. The context for gay as an umbrella term has changed. It doesn’t fit. One thing I loved in those days is that everybody called themselves “queer.” We laughed at all the letters. Now it’s important that there is a letter for you and me. That’s the context of the world today, and it will change. The trick is to change with it. If you’re not changing with it, there’s a lot you need to learn unless you want the world to pass you by. Which it will.

Emmy-nominee Vera Drew on the art of editing, lessons of Sacha Baron Cohen and irony poisoning

On how anyone can stand up for transgender rights:

I think it’s very simple. All of us inside—all the letters in the queer umbrella—have varying degrees of privilege. My privilege is very different from that of say, a black transwoman. I think trans allies within the queer community should just use their privilege to support [transgender people] and support them however they can. I feel like, specifically, gay men are pretty mainstream now. There’s plenty of homophobia out there in every institution, but a white gay man has more privilege than a transwoman. So use your privilege when you can, and speak up when you hear somebody say something sexist or transphobic. If somebody gets someone’s pronouns wrong, correct them. And educate yourself. Listen to people’s stories. One benefit I have is that I did spend a chunk of my life thinking I was a gay guy. So I feel like I learned a little bit about it. But gay men don’t necessarily know what the trans experience is unless they’ve talked to people. So the key is to talk to people and educate ourselves. And I have to do the same. I’m a white trans lady that lives in Hollywood and works in showbiz.

On Germaine’s whirlwind career rise as an out-transgender actor:

Right now I’m pretty occupied. Work in Progress and The Politician are my two main things. I’m still going on auditions, and I have to turn a lot of stuff down, mostly because of schedule conflicts. I don’t really know what I can say yes to, but I have goals. I’m in a huge period of transition in regards to building a larger team. I don’t even have a manager yet. But my agents are so amazing. I’m trying to think what I want to go after, and making connections, networking. I really want to get into film acting. I want to play trans characters, but I also really want to play characters like James, where he’s just a “he.” I want to dip into lots of different kinds of content. I’m doing a lot of writing and doing some directing shadowing since I want to direct. I’m trying to get into modeling because I like that. I’m teaching myself to DJ. I’m just trying to diversify my skills.

Bombshell trans actress Trace Lysette spills on how Twitter landed her a part in ‘Hustlers’

On transgender actors playing cisgender characters:

I find it empowering to work, period. Whether the character is specifically trans or specifically cis, I am invested in telling all stories that I’m able to tell. I think it’s really cool that they didn’t address it in Hustlers because it allows the audience to form their own opinion. Sometimes we spoon feed things to audiences. I don’t think that’s necessary. This might even be more effective in terms of opening people’s minds because it’s not too on the nose or hitting them over the head with it. They can come to their own conclusion or Google me later on, maybe fall down a rabbit hole of different articles about being trans. Something that would educate them: I hope that’s what comes of it.

MJ Rodriguez kicks down a new door with her new role in ‘Little Shop of Horrors’

On bringing dimension to a comic role: 

There are many facets to a human being, and reading about her, I noticed that she was someone who went through a lot. One of the first things she says: “Daddy left early. Mamma was poor.” If you’re looking at the movie or the show, sometimes people will overlook those lyrics. Given that Mike [director Mike Donahue] has this different take on Little Shop, it might be a little bit darker, and obviously, it will have a different look to it. We can actually dive down and stress what these characters have gone through. So being Audrey, she’s actually someone very real outside of all the make-up and hair. She’s someone who is hurt and trying to find someone to love. That’s why she’s looking for “Somewhere that’s Green.”

We visited the set of ‘Pose,’ the show that might just save the world

On how ‘Pose’ has changed the world:

Actress Dominique Jackson: “The one thing I want people to understand is that we’re human beings. Some of the reactions I’ve seen that have been the most prominent have been, ‘Oh my God, I did not know that you guys went through this also.’ We have this thing in society where we suffer in silence and don’t speak out. It’s not just about Pose. We’re in an era right now where everyone is starting to come forward and say, ‘I matter. My life matters.’ It’s high time we started to remove ourselves from taught toxicity where women believe they are subservient and men believe that they are the ones in power, and trans people believe the only thing they can do is sex work. We have a lot of these myths to debunk.”

About that time Alexandra Billings made us scream with laughter, then made us cry

On Hollywood’s evolution of trans representation: 

“I don’t think Hollywood, in general, understands anyone but Hollywood. What’s happened is that trans people have gotten louder. Laverne Cox is not asked to walk into a room and become a shy, petite, flower. She knows what she wants to say, what she wants to do, and if nobody will help her, she’ll do it herself. Trace Lysette doesn’t walk into a meeting with cis white people and squirm. She knows what project she wants to get done. These trans artists understand who they are. What all of us have done collectively is say here’s what we’re not going to do. So Hollywood hasn’t come to the realization of ‘let’s be nice to trans people.’ They’ve gone ‘we need a trans hooker, a trans guy dying of cancer, and a trans doctor. Let’s go talk to Laverne and Alex and Trace.’ What’s happened is we’ve just said ‘No, thank you.’ So what Hollywood has had to do is say ‘Gee, they don’t want to play these roles. Why don’t we cast them as neighbors or just people?’ Which is what we’ve been saying for the past 50 years.

Director Zackary Drucker lifts the veil on one of the strangest, true-queer stories ever: The Dale

On the true intentions of transgender grifter Liz Carmichael:

“I mean, your guess is as good as mine. Ultimately we intended to put all these pieces out there so the viewer can decide for themselves. That can be a dinner table conversation. And it’s inconclusive, and Liz isn’t alive to advocate for her side. We tried really hard not to put a rose-colored gloss over it. We embraced the rough edges. For me, that represents a new era of a complex trans protagonist. We’re able to be fully human and not relegated to just affirmational stories. They’re not realistic: we’re all messy in our identities and our lives. Not everyone is interested in pandering to a respectability class. Liz certainly wasn’t, and she was very resentful of the system she was trying to operate within.

Dominique Jackson schools us on celebrity, activism and the importance of great shoes

On how playing the genderfluid God Mr. World empowers her as an actor:

“It shows me also that we need to discontinue with this male-female traditional crap. It’s not about if you’re male or female. It’s about getting the job done. So for me, Mr. World is not this misogynistic character that only feels like he has to turn into powerful men. He now realizes that a non-binary state helps. Being a woman is not to be put down or less than. Being a woman is powerful. So Mr. World transforming into Ms. World is a powerful statement. It’s a validation to many young women and girls around the world that yes, your power is valid.”

Jen Richards battles the problematic, transphobic legacy of Buffalo Bill in ‘Clarice’

On the catharsis of calling out a negative transgender stereotype, and moving forward from it:

“It really does heal it. It closes one chapter so I can move on. It’s truly cathartic. I’m such a fan of the movie. I love the characters. I love Clarice. I love women characters trying to overcome social oppression and discrimination. I love everything about [The Silence of the Lambs], except this one part which stings. And as a transperson, I’m pretty accustomed to media that kisses me on one cheek but then stabs me on the other side. It’s just something you come to live with. But it’s such a personal thrill to get to take the knife out and show that up. It really was profound. And credit to Deborah Kampmeier, our director, who really wanted the scene to land. She knew the importance of the scene, she did her research. She knew my work. She’d seen Disclosure. She had me improvise the scene to warm up, and to say a lot more than what we see. Without cutting, I went back into the scene and did it again. I felt all that emotion I generated in talking about it in character carried over.