Goodbye, Roseanne.

The value of the Roseanne Connor character was the other side of the double edge that got her fired: frankness, a willingness to put her ideas out there, regardless of possible consequences. There’s bravery in that, and the risk factor made for good comedy, most of the time. The show Roseanne also felt essential in this time as an avenue for the dialog that we have long since stopped even attempting to have as a nation.

I have family who are like her — the character and the flesh and blood woman — in some ways. Though most people who might happen across this post might not agree with me, I think this culture lost an important opportunity today, a chance to dialog across this widening chasm between those of us on the left and those on the right. The point of the show was to look beyond the ideological stances that divide us so sharply and remind ourselves that even though we disagree, we can at least try to see each other as people: as family.

Still, what Roseanne was fired for, she absolutely should have been fired for. It was a gross betrayal of the very thing that was most crucially valuable about Roseanne. There’s nothing defensible about the things she put in that tweet. Those remarks were personally directed and indefensibly mean-spirited. They were uncalled for and bore no constructive value. In fact, quite the opposite was true: they were meant to wound and they betrayed an attitude of dehumanization and cruelty. Their ilk has been with us for centuries, and there is nothing to be said in response to them. One can only dismiss as irredeemable the person who would invoke those ideas at this point in history.

On the other hand, Roseanne has said harsh things about trans people. Those comments about bathrooms and trans folk still need to be addressed whenever possible, because public cognizance of us as normal, productive, well-adjusted members of society is new — not the truth of them, but the currency of them in our society. I hate to hear the sorts of things those who hate us say, but I would rather those things get said out loud than thought and not said, because I can’t respond to hateful, wrong ideas about who I am, about my experience, if I never hear them stated. If ideas like that can’t be said in the public sphere, people will only transmit that hate among the like-minded, in private. If somebody is hiding what they think of people like me for fear of the consequences of speaking their minds out loud, that’s far more dangerous for me.

I’m reminded of sitting with family recently, after my transition, an uncomfortable and impenetrable silence between us. Those people no longer talk to me. If only someone — either my cousins, or my aunt, or, for that matter, if I — had spoken up, said what we were thinking, maybe we could have found a way to still be talking, even across the divide and disagreement we would still both have between us, rather than the huge, resounding silence that is all we share now.

This November, my state (Massachusetts) is going to vote on my right to exist via a ballot initiative. I would very much rather have the conversation about who I am and whether I am a danger or not, as painful and frustrating as it is, than to have to worry about what’s going to happen with people who think one way and talk another. It’s the way they think that will determine what happens when they vote, not what they’re willing to say when I’m in earshot.

Roseanne was the one TV show making the attempt to conduct some sort of dialog between conservatives and progressives, on issues that are, frankly, life or death for many. It was rightly cancelled due to the words of its star. Unfortunately, I fear that the failure of this lone attempt at having a conversation is a sign that it’s already too late for us to find our way to be one national family again.

What Happened at Program 1

Trans program 1 happened today at the Alford Auditorium at MFA Boston.

I had an amazing time. The program went over well: every film hit the mark, though I was surprised at the reactions to some of the individual movies.

People loved Calamity. It was funny, deeply awkward, and pithy. I love that movie, but I was worried no one else would. Beyond the representation issues (see original post with my comments here) it’s an edgy comedy. I didn’t know how my audience would react to it. I needn’t have worried.

The biggest surprise to me was The Real Thing. There were very few dry eyes in that house at the end of that movie.

I put my favorite movie at the end of the program, and that one didn’t impact the audience nearly as much as I had thought it would. The last couple of minutes of that film are just amazing. Alex Trahan’s wordless performance in that two minutes are the whole film for me, and they make it the best one. But it may have been too delicate a moment for a show-ender.

I will acknowledge that I was freaking out quietly in the front row about something unrelated, so some of the subdued audience reaction may have been my fault. I’ve learned my lesson; I’ll sit in the back from now on.

If I had needed to shorten this program for some reason, the two films I would have taken out got the best reactions. How about that? I can’t tell you what a rush it is to be in an audience full of people sniffling while the next film spools up.

Wicked Queer: The Boston LGBTQ Film Festival, Trans Program #1

As a programmer for Wicked Queer: The Boston LGBTQ Film Festival, it’s my great pleasure to curate short film programs of trans-themed movies. This year I put together 2. This week, I will blog about the first of them. I’ll follow up with comments about the second program next week.

Here are the films I’ve included, in program sequence:

Different: (2 min) narrative short, in French w/ subtitles.
A brief, narrated pace-setter, this film serves the purpose of a thematic overture for the whole program, encapsulating the issues that will come up throughout the set of films.

She: (14 min) Documentary, in English.
Often what attracts me to a documentary is the hit of personality I get from the film’s subjects. Tanesh Nutall, whom I grew to admire more and more over the course of the film, is an activist working in San Francisco. The first section of the film presents a view of her life there — her work, her relationships. In the second half of the film, we go with Tanesh to her family reunion in Rahway, NJ, a home she fled decades before to be able to transition her gender away from her conservative religious family. What kind of reception should she expect to receive?

In My Mother’s Closet: (13 min) narrative short, in English.
It’s a musical! There are a number of musicals in the festival this year, and I am proud to be presenting one as part of this sequence. A young woman invokes her mother’s strong presence in a phone conversation with a friend, whom she is trying to convince to come support a performance she is preparing to give.

Calamity: (23 min) narrative short, in French with subtitles.
Awkward, nearly to the point of horrifyingly so, but with a deft, light touch, this Belgian comedy caught my eye because of all of the strange visual juxtapositions and gags. It’s edgy stuff, but manages to give and preserve each of its characters’ dignity throughout. Note the role of Cléo/Calamity is played by François Maquet, a cis man. Generally, I avoid booking such films, but this one is so well done, I had to book it.

¿FAMILIA?: (15 min) narrative short, Spanish with subtitles.
A woman bears the burden of family in many different ways. Where Calamity has an almost sitcom-like feel, ¿FAMILIA? is gritty and carries notes of desperation. This familia is not on any picnic.

The Real Thing: (7 min) narrative short, in English
This film presents a nice twist on a very familiar current pop culture trope. Simple, sweet, and direct, I got the same heart warming feeling that the soldier’s homecoming trope has ceased to provide for me otherwise.

Umbrella: (16 min) documentary short, in English
Tells the story of four trans community activists/leaders. I found the inclusion of Mara Keisling, director of NCTE (National Center for Transgender Equality) exciting, as I’m familiar with her work. I hadn’t known the other three subjects of the film, but they are all compelling figures: inspiring and strong.

Pre-Drink (23 min) narrative short, French with subtitles
I’m so impressed with this film. Funny, sexy, emotional and intimate — it’s a stellar addition to our festival. The two actors give nuanced, engaging performances. Alex Trahan especially takes us to a place we haven’t seen before in filmed stories about trans folk. All through this film, we feel that underneath the snarky banter there is a world of feeling that never quite makes it to the surface.

This first program, which is entitled Family? will screen at the MFA on Saturday, March 31st at 1 PM. I hope to see you there!