Malcolm Himschoot, an American trans man, shares his story with the United Church of Christ. Call Me Malcolm Documentary 2005 United States of America Malcolm Himschoot, an American trans man, shares his story with the United Church of Christ. Watch. Available Summary: Call Me Malcolm is an amazing story of the human spirit and God’s spirit, and the liberating struggle to realize and express with confidence the marvelous gift of one’s truest sense of self. As Malcolm shares his own story and through the stories of others we meet, Call Me Malcolm offers us a glimpse into the real lives of real people who are transgender. But it is only a glimpse. There are many stories to be told, and Malcolm helps us make connections to our own stories, encouraging us to share them. That can seem daunting in a culture which has done more to heap shame on persons who identify as transgender. The good news of Malcolm’s story is the way in which shame and fear are overcome by grace, compassion and knowledge. Viewers cannot help but come to a deeper understanding of faith, love, and gender identity, and by doing so, arrive at a deeper understanding of their own journey. -United Church of Christ. Entry last updated: 8 Feb 2026

A child, played by French actress Zoé Héran, chooses the name Mickaël after moving to a new town, living as a male among new friends and getting a girlfriend. Tomboy Film 2011 France A child, played by French actress Zoé Héran, chooses the name Mickaël after moving to a new town, living as a male among new friends and getting a girlfriend. Trailer. Available Summary: Tomboy follows a 10-year-old gender non-conforming child, who moves to a new neighbourhood during the summer holiday and experiments with their gender presentation, adopting the name Mickaël. -Wikipedia. Jack's Summary: The adolescent protagonist of this film has moved to a new home with a younger sister, pregnant mother, and a stressed but affectionate father. Mickaël making friends. When the protagonist wanders away from the apartment to meet other kids and make friends, Lisa, a neighbourhood girl, introduces herself. "Mickaël," the protagonist says in reply, "My name is Mickaël," introducing himself both to Lisa and to the viewers as a boy. Lisa introduces him to the other children, as Mickaël, and he is happy. Mickaël at home. Mickaël's life seems simple, as the children play. He is shy, certainly, but Lisa likes him and allows him to win a game so that the other boys will like him as well. About fourteen minutes into the film, however, viewers finally understand where Mickaël's shyness comes from, and why the camera lingered on him so dramatically after he said his name. After he and his sister bathe together, his mother calls out to him, saying, "Laure, get out of the tub!" That is when we learn that Mickaël, at home, is known as a sister and daughter, unlike how he presents himself with other children. While the movie is titled Tomboy, Mickaël's gender is never labelled, and it's up to the viewer to decide whether Mickaël will grow up to be a trans boy/man, a butch, a gender non-conforming lesbian, etc. This is a film about an in-between period of youth and exploration; the tomboy stage of life which many different LBT+ people experience. For some of us, myself included, the tomboy stage represents a deeper need to present and live as a male. For others, it represents the masculinity of being a lesbian, or a bisexual woman, or a non-binary individual. This film is potentially relatable for many different kinds of people. At home, Mickaël continues being Laure, keeping his outside life a secret from his family. He plays soccer with neighbourhood boys, taking off his shirt and spitting on the ground like they do. As far as anyone knows, and as far as Mickaël feels, there is no difference between him and them. But future conflict is foretold when Mickaël, unable to pee standing up like the others, sneaks off to squat where nobody can see him. A boy comes to find him and Mickaël, scared of being found out, hurriedly pulls up his shorts, wetting himself as a result. Humiliated and afraid, he runs home. Lisa, who has a crush on Mickaël, invites him over to her family's apartment the following day, not judging him for what happened. The pair dance and hold hands, and then Lisa (much to Mickaël's discomfort) puts make-up on him, saying that they are playing pretend. "It suits you," Lisa tells him, "You looks great as a girl." It is perhaps implied that she knows Mickaël is a "girl", and has a crush on him anyway. Mickaël, distressed, walks home with his hood up, hiding his face. However, he is unable to remove the make-up before his mother sees it. She praises him, assuming that he has put on make-up by choice, glad that he is presenting femininely where he usually looks and acts like a boy. As she hugs him, grinning happily, he is unsmiling. Mickaël wrestling with another boy. Mickaël wants to join the other children the next day, to go swimming, but wants to continue presenting as a boy throughout. He cuts his one-piece swimsuit so that it looks like male briefs, and uses modelling clay to create a makeshift packer which he sticks in his swimwear. The day is idyllic. The children splash at each other, push each other into the water, and play around like any other group of kids. All the while, Mickaël gets to be a normal boy. Afterwards, Lisa takes him aside, and he has his first kiss with her. Jeanne talking to a new friend. Mickaël's worlds start to collide when Lisa comes to visit his apartment, finding that only Jeanne (Mickaël's younger sister) is home, and asking after him by his chosen name. Mickaël swears Jeanne to secrecy, promising to bring her along when he goes to play with neighbourhood kids, as long as she doesn't out him. In testament to Mickaël's long-standing masculinity, and thanks to the open-mindedness of youth, Jeanne immediately accepts Mickaël as her brother and refers to him that way around the other children. It is clear that she has noticed and accepted Mickaël's gender diversity long before now. Mickaël's mother yelling at him. When his mother finds out that he has been living as a boy, she is furious. She slaps him on the face and admonishes him for lying. His father, despite softly reassuring Mickaël, defends his wife's actions. Seemingly nobody, except for Jeanne, is willing to let him exist as he is. When his mother demands that he wear a dress, he protests that he doesn't want to. His mother gives him no choice, aggressively grabbing his arm and forcing him to leave the apartment in the dress, frightening Jeanne. She takes him to others' homes, Lisa included, ensuring that he is outed to everybody before the school year starts. She says that she does not mind him "playing the boy" at home, but that everyone else must know him as a girl. Afterwards, Mickaël runs away to the forest, taking off the dress, revealing the shorts and singlet he'd been wearing underneath. Mickaël being bullied. Word has spread about Mickaël's identity. The neighbourhood kids chase him down and tackle him to the ground, physically hurting him. "We hear you're a girl," one boy says, "We're gonna check that." Lisa steps in, trying to protect him, but the boy convinces her to participate instead; "If she's a girl, then you kissed her. It's disgusting. Right?" Whether because she genuinely agrees with that sentiment, or because she is afraid of being punished too, Lisa agrees that would be disgusting for her to kiss a girl. She either looks or feels inside Mickaël's shorts, inspecting his genitals to "check", as the other kids demanded. She does not seem surprised by what she finds, possibly confirming the earlier implication; she knew all along, and did not care. Mickaël is left crying in the forest, alone. Mickaël's mother seems utterly unaware that outing her gender non-conforming child has had traumatic consequences. A short time later, she asks whether Mickaël wants to go outside and play, not understanding that he is now an outcast and has been assaulted by the people he previously called friends. She has her normal family and her normal daughter, so she is happy. Mickaël re-introducing himself. The film ends with Lisa standing below Mickaël's balcony, looking up at him. After he walks down to meet her, she asks, "What's your name?" Mickaël answers, "My name is Laure." Realising that Lisa still wants to be friends with him, even if he cannot use his chosen name or live as a boy, he smiles. Like many of us, Mickaël is prevented from living as he is most comfortable, but he still has hope for the future. Imagining that Mickaël is a trans boy or a non-binary youth, perhaps he/they will transition at an older age. Imagining that Mickaël is a butch or gender non-conforming lesbian, perhaps she/they will find love and affirmation with Lisa, and in the future will be able to embrace masculinity by her side. We don't know what the future holds for Mickaël, or what labels will suit Mickaël best, but we do know that Jeanne stands with Mickaël and perhaps Lisa will too. CONTENT WARNINGS: Non-sexual underage nudity, very brief underage drinking (with parental supervision), sexual harassment, bullying, transphobia, lesbophobia, parental aggression. Entry last updated: 26 Feb 2026

Feña, a trans man played by American non-binary actor Lío Mehiel, reconnects with his father, straight ex-boyfriend, and estranged sister after transitioning. Mutt Film 2023 United States of America Feña, a trans man played by American non-binary actor Lío Mehiel, reconnects with his father, straight ex-boyfriend, and estranged sister after transitioning. Trailer. Available Summary: In one day, Feña, a trans man, rekindles his relationships with his foreign father, his straight ex-boyfriend, and his estranged younger half-sister after having lost touch with them since his gender transition. -Wikipedia. Entry last updated: 8 Feb 2026

Solange Bastos, a Brazilian journalist, interviews non-disclosing trans man João Nery alongside a transsexual woman. João was widely known as the first trans man to have undergone transition surgeries in Brazil. He was also Solange's brother, although this is not revealed in the interview. Entrevista com João W. Nery para TV Manchete (Interview with João W. Nery for TV Manchete) Interview 1985 Brazil Solange Bastos, a Brazilian journalist, interviews non-disclosing trans man João Nery alongside a transsexual woman. João was widely known as the first trans man to have undergone transition surgeries in Brazil. He was also Solange's brother, although this is not revealed in the interview. Watch on YouTube. Watch on Vimeo. Related Thesis. Available Summary: Em [1985], essa reportagem no Programa de Domingo, na TV Manchete, foi a primeira matéria sobre transexualismo na TV brasileira. João W. Nery, hoje militante conhecido pelos direitos dos LGTB, não podia se identificar. Falou de costas, ao lado de uma transexual feminina, Joana. Antonio Houaiss conta por que resolveu prefaciar o primeiro livro autobiográfico de João, Erro de Pessoa . Ele é meu irmão. In [1985], this report on the Sunday Program on TV Manchete was the first story about transsexualism on Brazilian television. João W. Nery, now a well-known activist for LGBT rights, could not identify himself. He spoke with his back turned, next to a trans woman, Joana. Antonio Houaiss explains why he decided to write the preface to João's first autobiographical book, Mistaken Identity. He is my brother. -Familia Bastos Produções, Vimeo. Jack's Summary: The interviewer, Brazilian journalist Solange Bastos, introduces João by his first name only, and his face cannot be seen by viewers. Bastos reveals that João underwent surgery eight years ago (in 1977) and fraudulently obtained legal documents which reflected his male gender, and these are the reasons his identity must be protected. As Solange addresses João, neither sibling gives any indication that they are related. At no point is João's face seen. Solange also introduces Joana, a trans woman and biochemist, and says that the interview team includes practitioners who support transsexual people. These practitioners must also have their identities hidden, she says, so that they can continue their work. Antônio Houaiss is interviewed, and briefly discusses his decision to write a preface for João's book, emphasising the dignity and beauty of João's writing as being particularly compelling for him. João talks about writing his book while recovering from surgery, and wanting to spark a wider discussion in Brazil about transsexuals being ignored and ridiculed. He emphasises that being a transsexual is not inherently the same as being a crossdresser or a homosexual. Joana, who is fully-disclosing as a trans woman in her workplace, agrees with João that transsexuals struggle in a regressive society, and that being visible as a trans person will help others be visible in the future. After brief input from a practitioner who is sitting off-camera, João asks Joana about her choice to be visible whilst still being legally male and known by a male name. He compares this situation to his own struggle of obtaining a new legal identity; from what I can read in Não se nasce homem, torna-se by Caio de Souza Tedesco , João obtained a new birth certificate by pretending that he was a cis man who had never been issued one before, and so was re-registered as an entirely new person. This meant that he was considered uneducated and unemployable, and he had to start his life all over again, unable to refer to his qualifications and employment under a female name/identity. He wonders whether Joana is more courageous than him, and asks how she handles her situation. In response, Joana says that she has faith that legislation will change to include and support transsexual people, and points to the legal decisions of other countries, which gives her hope. Joana says that she must find courage, that there is really no other option, especially since there are others in similar positions with less power and job security than she enjoys. Solange points out to João that he lost his ability to practice as a psychologist, due to his transition. He confirms that, yes, he lost his history and résumé due to transitioning, but says that other paths opened to him. He worked as a taxi driver, a farmer, a house painter, and a street vendor, and feels more emotionally liberated than he had prior, even embracing his femininity to some degree. Solange changes the focus of the conversation to religion and spirituality, revealing that Joana is a Catholic. In reply, João states that he is an atheist who believes only in the strength of human beings. After this, Joana notes that João seems happy. He agrees and says that meeting her is an emotional experience for him, as he has never spent long in the company of another transsexual before. The pair share details of their happy lives before Solange changes the topic, talking about the legal and medical advocacy which has arisen from João's transition. Note from Jack: I learned of João W. Nery thanks to Seu Franco ! Entry last updated: 7 Apr 2026

Chris, a masculine-presenting child played by French actress Raphaëlle Santini, has a small role in this film, befriending the trans female protagonist. Ma vie en rose (My Life in Pink) Film 1997 France, België (Belgium) Chris, a masculine-presenting child played by French actress Raphaëlle Santini, has a small role in this film, befriending the trans female protagonist. Available Summary: Ma vie en rose (English: My Life in Pink ) is a 1997 Franco-Belgian drama film directed by Alain Berliner. It tells the story of Ludovic, a transgender girl, and depicts her family and community struggling to accept her gender identity. -Wikipedia. Jack's Summary: This film is primarily about a young trans girl named Ludovic, who suffers humiliation and discrimination from both family and peers, not allowed to femininely express herself around anybody except her grandmother. Another child appears towards the end of the film, who I interpret as a trans boy, but could otherwise be a young butch, a tomboy, etc. Chris meeting Ludovic. As Ludovic sits alone, she is approached by this masculine child, who introduces himself as Chris. Chris is aggressive and boisterous, the opposite of Ludovic in every way, and insists that Ludovic play with him. Before that can happen, though, Chris is called back home. When his mother yells "Christine”, it is the first indication we get that Chris is not a cis boy. Chris looks heartbroken and uncomfortable. Later, Chris is forced to wear a dress to his birthday party, and mopes around miserably until Ludovic arrives wearing a pirate costume. Chris demands that Ludovic swap costumes with him and put on the dress. Ludovic, though excited and eager to wear a dress, says no because her parents have threatened and shamed her away from feminine behaviours. Chris forces her to swap costumes with him anyway. When Ludovic’s mother sees that Ludovic has put on a dress, she becomes violent towards her. This shocks everyone at the party, including Chris, who becomes very distressed and tells Ludovic’s mother that Ludovic only swapped costumes because she’d been forced into it. This is pretty much the extent of Chris’s presence in the film, but his appearance was a pleasant surprise when I watched My Life in Pink originally, as I wasn’t expecting any gender-diverse characters beyond Ludovic. Ultimately, this isn’t a very nice film, and is probably not worth watching unless you have a very high tolerance for transphobia, homophobia, and children being mistreated. The trailer for the film doesn’t at all communicate the amount of abuse that Ludovic endures. At one stage in the film, she even attempts suicide by hiding in a freezer. Entry last updated: 8 Feb 2026

Tony Ferraiolo, an American trans man, discusses his transition and work as a youth advocate. A Self-Made Man Documentary 2014 United States of America Tony Ferraiolo, an American trans man, discusses his transition and work as a youth advocate. Watch. Available Summary: At a crucial turning point in his life, Tony Ferriaolo’s inner voice said, “Create yourself.” This credo once saved his life and now serves as a guiding principle as he educates transgender youth, as well as their parents. Lori Petchers’ moving A Self-Made Man interweaves the poignant story of Ferraiolo’s personal transition with his life work as a transgender youth advocate. We watch Tony guide kids as young as eight through the confusing journey of defining themselves when challenged by a physical appearance that conflicts with their gender identity. At this time of quickening in transgender awareness, younger and younger kids are declaring their gender identities, and families are struggling to adjust. Petchers highlights a self-made man who is an endearing and inspiring guiding light for whole families to move forward together with love, empowerment, and compassion. -Frameline Distribution, Vimeo. Entry last updated: 22 Feb 2026

In this fantasy roleplaying game, players are Rook, a hero working to save the world. Rook can be made canonically trans during character creation. There is a non-binary main character, a non-binary main antagonist, and several trans minor characters. Dragon Age: Veilguard Game 2024 Fictional Location, United States of America In this fantasy roleplaying game, players are Rook, a hero working to save the world. Rook can be made canonically trans during character creation. There is a non-binary main character, a non-binary main antagonist, and several trans minor characters. Trailer. Available Summary: The story follows a customisable player character called Rook as they prevent the elven trickster god Solas from ending the world. In the process, Rook accidentally frees two other amoral elven gods and must also prevent them from conquering the world. -Wikipedia. Jack's Summary: Rook can be trans female, trans male, or non-binary, and the player can choose pronouns. Body shape, body characteristics, and voice can be chosen independently of gender or pronouns. The player can also choose how certain Rook is in his/her/their gender; whether Rook is still exploring or settled in a gender identity. Top surgery scars are available as part of the character creation. One of the player's main companions comes out as non-binary during the game, and can be romanced. They are voiced by American non-binary actor Jin Maley. The player can encounter other gender-diverse characters throughout the game; a trans male soldier/spy, a trans female politician, a non-binary main antagonist, and a non-binary healer. The healer was the only trans character who, in my opinion, had an awkward and shoehorned trans backstory. Multiple companions, if romanced, will supportively comment on Rook's trans status, whereas other romance storylines will not bring it up at all. Erika Ishii, an American non-binary actor, provides one of the available Rook voices. In terms of the game overall, I personally think that Dragon Age: Inquisition was better in terms of roleplay outcomes, a range of different endings, and players' choices having nuanced impacts on the world state. I was also disappointed that certain significant choices made in Inquisition were not carried through to Veilguard, and I felt that slavery, racism, and class conflict were better explored in Inquisition. It was cool to play a sequel which offered trans storylines and characterisation, though. If you're looking to experience that in a game, it is worth playing. That said, I was disappointed that the in-game trans identity Aqun-Athlok was not really explored, only being mentioned in passing. Entry last updated: 11 Mar 2026

Trans men are interviewed about the changes they have experienced on testosterone. Imagine a Body (The Second Puberty of Trans Men) Experimental Film, Short Film 2022 United States of America Trans men are interviewed about the changes they have experienced on testosterone. Watch. Available Summary: Connor O’Keefe’s Imagine a Body shares the testimonies of trans men about the process of entering the body they were meant to have. -YouTube. Jack's Summary: This is a lovely non-fiction piece where trans men are interviewed about their experiences of finally feeling comfortable in their bodies. One trans man laughs as he recalls being surprised by the growth of arse hair. Several men describe the process of testosterone (and transitioning overall) being less linear than they had expected, with changes ebbing and flowing throughout the years. NOTE: The word clit is used by one trans man to reference his bottom growth so, if that will make you dysphoric, proceed with caution. If you're sensitive to needle use, you should be aware that uncensored footage of a testosterone injection is shown. Entry last updated: 8 Feb 2026

Finn, a deaf trans man played by Greek-Australian deaf actress Yiana Pandelis, begins dating a cis gay man while also starting his medical transition and fighting to protect his deaf community. Unsound Film 2020 Australia, Ελλάς (Greece) Finn, a deaf trans man played by Greek-Australian deaf actress Yiana Pandelis, begins dating a cis gay man while also starting his medical transition and fighting to protect his deaf community. Trailer. Available Summary: A disillusioned musician's romantic spark is ignited by a young trans man as they work together to save his community nightclub for the deaf. -IMDb. Jack's Summary: The plot of Unsound is that Finn, a deaf trans man, struggles to balance his professional life with his personal journey. He is fighting to save his nightclub, which caters specifically for deaf people, while also navigating the earliest stages of his female-to-male transition. Finn's transition is made all the more difficult due to audism. For example, when his father (Lewis) speaks aloud for him, he allows Finn to be misgendered even when Finn is standing right there, making Unsound a multi-layered story about personal agency. Lewis, who is fluent in sign language and knows Finn is asking to be referred to correctly, ignores his son's request. Noah, a cis male musician and gay man, moves back in with his mother, who lives in the same area as Finn’s nightclub. While wandering he happens upon the nightclub and meets Finn. Finn, who is dysphoric about his appearance and particularly about his long hair, is visibly worried about how Noah will perceive him. In a very sweet moment, Noah says it is “crystal clear” that Finn is a guy, setting the foundation for a lovely developing relationship in which Noah learns sign language to communicate with Finn, and actively becomes involved in Finn’s identity journey. The film explores Finn’s difficult relationship with Lewis, as well as with the memory of his deceased mother. He says how, every time he looks in the mirror, he sees her. This is a struggle I have heard real-life trans men discuss, so it was nice to see it explored in this fictional setting. Noah pushes Finn past his hesitation by simply walking up to him and handing him a pair of scissors, saying, “whatever you choose to do, I wanna be there with you”. He sits with Finn and helps him cut his hair. Finn cutting his hair. The haircutting scene exemplifies the shortcomings of Unsound . Finn is played by a self-described queer woman and actress named Yiana Pandelis. In interviews ( this one included ), she and other film staff talk about wanting to avoid the clichés of trans representation... but, as someone who has watched a lot of FTM films and shows, I can confirm that a young trans man cutting his hair with kitchen scissors, in front of a mirror, is about as cliché as you get. And a trans man being played by a slender, light-skinned, naturally androgynous actress (rather than a trans male) is mega cliché. But, on the other hand, stereotypes do come from somewhere, so I’m willing to concede that Finn’s haircutting scene probably resonates with quite a few trans men. I know my first short haircut meant a great deal. That doesn’t change the fact that, when it comes to trans themes, all Unsound offers is stereotypes. That’s not necessarily a bad thing, given the lack of violence and rape and hostile transphobia, but it does limit what Unsound is. While the official Unsound website notes that multiple transgender consultants were involved with the film, that’s window dressing which doesn’t compensate for the fact that the filmmakers considered a deaf actor essential in a deaf role, but didn’t consider trans male authenticity to be equally crucial. I discuss the importance of trans actors in trans roles in my Dead of Summer review, but the TL;DR is that trans men should be portrayed by trans men for the following reasons: To combat anti-FTM rhetoric that we are just women playing dress-up. To give trans viewers a trans male actor to connect with. To improve trans male storylines based on lived experience. To increase the visibility of trans men in acting industries. Finn lifting weights. When trans male actors play trans male characters, the impact of their involvement goes beyond what they show onscreen, because they've undergone female-to-male transitions in their own lives and gained an intimate understanding of the things trans men go through. Further trans male involvement with Unsound may have, for instance, avoided a scene where Finn weightlifts while wearing a chest binder, which sets a dangerous example for viewers who may injure themselves by doing the same. Considering the fact that Unsound was released in 2020, when evidence cautioned against exercising while binding, the filmmakers should've known better. At the very least, while some people are capable of exercising in binders, that comes with huge caveats; a larger binder may be necessary to prevent pain and injury, exercise duration/intensity may need to be limited for safety, and a compression sports bra is much, much safer. None of that information is included in Unsound . Learn more about chest binding here. Finn arguing with a fellow deaf person. Despite its failings, this film does offer a trans man who has genuine interests and passions beyond being trans. Finn’s trans identity is equally as important as his deaf identity, and you couldn’t accuse Unsound of reducing a character down to his gender identity alone, even if the movie can be justifiably criticised for other reasons. Finn shows real energy, emotion, and anger about being ignored and silenced as a deaf man, and he does feel like a whole person beyond his trans status. All in all, this is a decent film… up to a point. At some stage in the filmmaking process, the creative minds behind Unsound decided to jettison a compelling, sweet relationship for cheap romantic conflict. The supportive, calm, and reasonable Noah shows patience and understanding for Finn from their very first meeting, going beyond mere acceptance and choosing to involve himself in Finn’s life, language, and gender affirmation. Then, he abruptly changes his tune. While he doesn’t become unsupportive, and the conflict in Unsound is nothing more distressing than what you’d find in a stereotypical cishet romance/drama flick, Noah's sudden need to flee their relationship doesn’t make sense. Therefore, casting aside, the biggest issue with Unsound is Noah’s contradictory character development, and the focus on romantic conflict rather than something more compelling. It would've been fantastic, for example, to involve actual trans actors, and particularly disabled trans actors, so that Finn could bond with others about difficulty accessing trans spaces. That would've been a lovely way to draw attention to a persistent issue in gender-diverse communities, and would've given this movie an authenticity it currently lacks. The ending isn’t sad, but I wouldn’t necessarily call it happy either. It’s bittersweet, courtesy of the needless romantic conflict. Ultimately, I’m glad to have watched Unsound . As objective as I can be in my reviews now, as an adult man who has finished his transition, I know that in my youth I probably would've been hugely changed by this film! I wouldn't agree that "any representation is good representation", but Unsound certainly isn't the worst thing trans men could be engaging with. WARNING: Potentially confronting themes. In terms of general warnings, Unsound isn't too bad, but there is the following to consider: Deadnaming of Finn during an argument. Plate-smashing and other aggressive actions during the same argument. Audism and ableism. Also, side note... Contrary to Noah's comments in the film, no, not all trans men cut their hair short, and it's not necessarily the first thing a trans man does when transitioning. Some trans men (and– gasp –men overall) do have long hair. If you ever meet a trans man with long hair, I do not recommend asking him why he hasn't gotten rid of it! Entry last updated: 28 Feb 2026

Paul Strickland, a trans male firefighter played by American trans male actor Brian Michael Smith, works with his team to save lives. He is canonically straight, and has a brief relationship with a woman. 9-1-1: Lone Star Show 2020 United States of America Paul Strickland, a trans male firefighter played by American trans male actor Brian Michael Smith, works with his team to save lives. He is canonically straight, and has a brief relationship with a woman. Interview Featuring Brian Michael Smith. Available Summary: 9-1-1: Lone Star follows a sophisticated New York firefighter who, along with his son, relocates from Manhattan to Austin, Texas. He must try to balance the duties of saving those who are at their most vulnerable, while solving the problems in his own life. He is joined by other firefighters and members of the police department and emergency medical services. -Wikipedia. Jack's Summary: I really like how this show handles trans representation, how Smith's character is depicted, and how strong he is. Based on the episodes I've watched, I would highly recommend 9-1-1: Lone Star as a refreshingly progressive, and inclusive, procedural firefighter show. Paul's struggles with dating, transphobia, disclosure, and family acceptance are thoughtfully handled. He's a straight trans man who is fully transitioned when the series begins. Overall, the show has a decent number of gore/accident scenes, and the occasional self-harm depiction. Drug addiction and alcohol use disorder are also tackled. Entry last updated: 8 Feb 2026

Austin, a straight American trans man who is also deaf, prepares for his mastectomy. Austin Unbound Documentary 2011 United States of America Austin, a straight American trans man who is also deaf, prepares for his mastectomy. Trailer. Available Summary: Austin is deaf and transgender, but identifies as a straight man. After top-surgery, he will stop binding and breathe freely. His journey is an inspiration to many, his self awareness, humor, and personality long recognized and honored in his community. In middle school, he changed his name and began to dress as a boy. Despite his challenges, Austin is a regular guy with a comedic sense and flair for romance. Gathering varying intimate glimpses from his mother, girlfriend, and best friend, Austin shamelessly counters with his own reflections on his personal journey. The film follows Austin and his best friend on a road trip to finally undergo a double-mastectomy. Austin’s courageous journey is shared through personal reflections and into the operating room. Unbound at last, Austin is eager to get on with life. He shares intimate insight with self-awareness and humour. Austin Unbound: a Deaf Journey of Transgender Heroism won awards and was featured at film festivals and community events around the globe. It has been translated into nine foreign languages. The film portrays Austin’s Deaf experience in full cinematic effect, the music a portal to his world. -Official website. Entry last updated: 8 Feb 2026

Yûji Tamiya, a trans man played by Japanese cis male actor Issei Ishida and Japanese actress Rie Kuwana, takes violent revenge on those who abused him during his childhood. 奇妙なサーカス (Strange Circus) Film 2005 Japan Yûji Tamiya, a trans man played by Japanese cis male actor Issei Ishida and Japanese actress Rie Kuwana, takes violent revenge on those who abused him during his childhood. Available Summary: The erotic novelist Taeko is writing a morbid story of a family destroyed by incest, murder and abuse. Her assistant, Yûji, sets on a mission to uncover the reality of this story, but the reality might be too much to bear. -IMDb. Jack's Summary: For starters, I highly recommend reading Alyssa Miller's review of this film . Strange Circus deals with many themes which are extremely confronting and deserve dedicated in-depth critique. Miller, a survivor of child sexual abuse, eloquently and thoroughly reviews Strange Circus in a way I simply cannot. In summary, while Miller asserts that the movie is an "incredibly accurate portrayal of the long-term effects of sexual abuse on children", this film will not be watchable for many people. There is gore, child abuse, spousal abuse, incestuous rape, self harm, suicide, torture, forced voyeurism and exhibitionism... the list goes on. My personal opinion is that this movie is grotesque and awful, but that's the aim. If you're really into horror drama and have a very high tolerance for awful shit, you might even enjoy the campy, exaggerated violence with which the trans male gets his revenge. But otherwise, Strange Circus may not be worth the distress it could cause. Within the genre of Japanese ero-guro (huge qualifier there), this is a good film. The trans man who is violent and unpredictable and threatening isn't the embodiment of a classic anti-trans trope . His motivations are thoroughly explored. If anything, he's portrayed as a survivor of years-long abuse, who also has the superhuman strength to exact revenge beyond what most people would be capable of. When it comes to his gender identity, Yûji explains his female-to-male transition by saying, "To me, the body is a vase you put your flowers in... I wanted to be a vase that compliments the flowers." Put simply, he wanted his external appearance (his sex) to match his internal reality (his gender). While also entwined with self-mutilation themes and body horror (his top surgery scars are incredibly unrealistic), his trans identity is ultimately presented as an expression of autonomy and inherent gender incongruence. He felt that he was a man, at heart, so he manifested that truth. Yûji with his childhood self. There is a scene in this film where Yûji walks alongside his younger self, the pair of them literally taking a stroll through their memories and watching as traumatic events play out. It's utterly baffling that this movie, which is disgusting and repugnant in so many ways, could present such a poignant and gentle illustration of a trans man being at peace with who he used to be, and with trauma from his childhood. I wouldn't exactly recommend watching this film... but it is amazing in that way. I couldn't call the ending happy, necessarily, but Yûji is ultimately victorious against his abusers. Entry last updated: 24 Feb 2026