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Hank, a trans man played by Thai-American actor Adrian Hill, tries to seek support after being raped by his former best friend. Unfortunately, he is faced with judgement and a lack of support, and ultimately discovers that he is pregnant after the assault. Queer and Southern God Short Film 2018 United States of America, Thailand (ไทย) Hank, a trans man played by Thai-American actor Adrian Hill, tries to seek support after being raped by his former best friend. Unfortunately, he is faced with judgement and a lack of support, and ultimately discovers that he is pregnant after the assault. Watch. Available Summary: Queer and Southern God is a Southern Gothic, biblical tale set in rural Tennessee. Hank finds himself pregnant and hasn't had a God to turn to in a minute. He’s got his Mama, but she’s busy drinking her Budweiser and smoking the Kools. He just can’t stomach his boyfriend’s pretentious worldview anymore. It just may take the spiritual guidance of the town loon to show Hank another way of looking at the world and "God". -YouTube. Entry last updated: 18 Apr 2026 Related Media Trans Male Media Browse

Multiple transsexual men describe their experiences with bottom surgery (phalloplasty and metoidioplasty), with several partners sharing their experiences as well. Hung Jury Book (Non-Fiction) 2012 United States of America Multiple transsexual men describe their experiences with bottom surgery (phalloplasty and metoidioplasty), with several partners sharing their experiences as well. Goodreads Page. Available Summary: The first book of personal testimonies focusing exclusively on genital surgery of female-to-male trans bodies. Stories document the intricacies, ups and downs of genital surgery and the many transformative ways it changes their lives. These journeys of courage, risk, trial, and triumph speak to readers of all walks of life. Testimonies are a valuable companion for those considering genital surgery, and will educate others who want to learn more about female-to-male gender transitions. Clinicians, therapists, and partners of trans men will also gain insight into a dimension of transitioning that is rarely discussed, and learn how to support them in their quest. -Book blurb. Note from Jack: I really appreciate the foreword from trans man Shannon Minter, where he talks about previously having unfairly negative views about bottom surgeries, and how much he has learned in the years since. His openness, humility, and compassion is so lovely. The information in this book is, naturally, based on medical information from over a decade ago, but these men's experiences are still worth engaging with, if you are considering a similar journey or seeking to understand someone else's journey. For a more modern view of bottom surgery (specifically phalloplasty), consider the book Top to Bottom , and the author's appearance in an episode of Naked Education . Images: Trystan T. Cotten and Shannon Minter . Entry last updated: 25 Mar 2026 Related Media Gender-Related Surgery Browse

Rae Tutera, a non-binary tailor, is filmed alongside their business partner as they make clothes for trans people and other gender-diverse individuals. Multiple trans men and non-binary people are interviewed. Suited Documentary 2016 United States of America Rae Tutera, a non-binary tailor, is filmed alongside their business partner as they make clothes for trans people and other gender-diverse individuals. Multiple trans men and non-binary people are interviewed. Trailer. Available Summaries: Going deeper than fine fabrics and silk linings, Suited takes a modern, evolved look at gender through the conduit of clothing and elucidates the private and emotional experience surrounding it. With heart and optimism, the film documents a cultural shift that is creating a new demand—and response—for each person’s right to go out into the world with confidence. -Letterboxd. A behind-the-scenes look at the Brooklyn tailoring company Bindle and Keep. -IMDb. Jack's Summary: This is a documentary about a tailoring shop that specifically serves trans and gender-diverse clientele, with the scope of the film going far beyond just clothing. Filmmakers take the time to interview a range of trans people who have different identities and are at varying stages of their transitions. Family life, transitioning, employment difficulties, gender dysphoria, and a huge range of subjects are discussed. The majority of the interviewees are trans men and gender-diverse people assigned female at birth. Mental health, suicidal ideation, and bigotry are discussed, but nothing graphic or too confronting; just people sharing their life stories and struggles. One interviewee reclaims a homophobic slur, so if that will be upsetting for you, be prepared for that. A trans man is filmed as he goes in for his hysterectomy, and is interviewed while sitting in his hospital bed. He uses potentially dysphoria-inducing anatomical terms for his organs and genitalia. Overall, I'd say this is a positive and diverse film, and I liked that it concluded with praise and adoration of masculinity. Entry last updated: 24 Feb 2026 Related Media Trans Male Media Browse

A child named Robin, played by Canadian actress Matreya Fedor, chooses to be known as a boy while attending swimming lessons. Inspired by a short story of the same name, published by butch/non-binary activist Ivan E. Coyote. No Bikini Short Film 2007 United States of America, Canada A child named Robin, played by Canadian actress Matreya Fedor, chooses to be known as a boy while attending swimming lessons. Inspired by a short story of the same name, published by butch/non-binary activist Ivan E. Coyote. Watch. Available Summary: Robin takes us back to that glorious time when she was seven years old and shows us how it defined her for the rest of her life. -IMDb. Jack's Summary: This sweet, simple short film is based on the true experiences of Ivan E. Coyote, a renowned non-binary/butch Canadian activist. Robin, the protagonist of No Bikini , is a pre-pubescent kid who feels irritated and restricted by female bathing costumes, and so chooses to go shirtless like the boys do. This feels so natural, easy, and right that Robin hopes the swimming lessons will go on forever but, at the end of the film, Robin's mother is astounded and annoyed when she finds out that Robin has been "parading around half-naked for six weeks". What I like about this film is that it could easily be about a trans boy, a non-binary youth, a tomboy, or simply a girl who sees no difference between herself and other kids. No Bikini is set in a simpler, easier period of childhood where gender norms don't really exist, and splashing around in a pool doesn't require rules. There are no physical differences between Robin and the boys, when Robin is walking around shirtless. So, why not wear the most comfortable swimwear? Robin smiles when the swimming lesson report card is read out: "Your son has successfully passed his beginner's badge and is ready for the next level. He shows great promise. We suggest that you enrol him in our competitive swim program." When just watching the short film, without the further context of Coyote's experiences, the viewer is left to wonder about Robin's motivations. Is Robin smiling because she is simply a girl being free and uninhibited, uncaring about gender and simply delighted to have performed above her peers? Or is Robin smiling because they, like Ivan Coyote, are motivated by a non-binary gender experience? Or is Robin possibly a trans boy? Whichever way, a lovely short film that many of us can relate to. You can read Ivan Coyote's original short story, describing their childhood experience, here . Entry last updated: 8 Feb 2026 Related Media Ambiguously-Gendered Media Browse

Gaish, Kazuki, and Tatsu are three Onabe, which is a term used by some Japanese trans men and other Japanese gender-diverse people who were assigned female at birth. Tatsu, a trans man on testosterone, is interviewed alongside his cis female partner named Tomoe, and Kazuki is interviewed alongside his trans female partner named Kumi. Gaish describes themself as being neither a woman nor a man. Shinjuku Boys Documentary 1995 Japan (日本) Gaish, Kazuki, and Tatsu are three Onabe, which is a term used by some Japanese trans men and other Japanese gender-diverse people who were assigned female at birth. Tatsu, a trans man on testosterone, is interviewed alongside his cis female partner named Tomoe, and Kazuki is interviewed alongside his trans female partner named Kumi. Gaish describes themself as being neither a woman nor a man. Watch. Available Summary: The Shinjuku Boys are three Onnabe (Japanese females who live as males) working as hosts at a Tokyo nightclub for women clients. Filmed at home and at work, they speak with searing frankness about their lives and hopes and sexuality. -DVD blurb. Jack's Summary: This documentary follows three Japanese people, one of them a medically-transitioning trans man, as they work in an LGBT bar. Gender identity, sexuality, and complicated relationships with gender roles are discussed. The documentary subjects are Gaish, Kazuki, and Tatsu. All three interviewees identify as Onnabe (more widely spelled Onabe), which is a diverse term for trans men and "women who live as men", including people who might identify (in Western terms) as non-binary individuals or butches. Kazuki is in a relationship with a trans woman who is also a drag queen. You can learn more about the term Onabe/Onnabe here. Please note that some people consider it an offensive term, so it should only be used if someone identifies with it. Shinjuku Boys is a wonderful film that, while sad at many points, is an enriching insight into a unique trans culture. I highly recommend it. This is a part of trans/gender-diverse history which should be more widely appreciated. Tatsu's barber. One of the sweetest parts of this documentary is a scene where Tatsu, a hormonally-transitioning trans man, is getting a haircut from a barber who is very accepting. The pair laugh together and casually discuss Tatsu’s changing appearance. "You have more facial hair," the barber remarks, "It must be the hormones. You'll get a moustache soon." Tatsu replies, "I'll look distinguished!" The barber laughs joyfully. Tomoe speaking about her trans boyfriend. I also love a conversation involving Tatsu and his girlfriend, Tomoe, where the pair discuss their relationship and the emotional connection which allowed Tatsu to finally feel comfortable being naked with a woman. Tomoe talks about being pressured by her parents to marry a man who can impregnate her, but she insists, “With or without a penis, Tatsu is Tatsu. It wouldn’t make any difference,” also clarifying, "It's Tatsu I love, not the fact that he's an Onnabe." Tatsu recalls that, when they had sex for the first time, she told him, “There’s nothing to worry about. If you take your clothes off, you just haven’t got a penis. Apart from that, you don’t look any different from a man. Don’t worry.” Gaish discussing their transition. Gaish, another interviewee, describes their gender by saying, “I don’t think I’m a girl, and I don’t think I’m a boy… There are all kinds of Onnabe”. So, it’s clear that not all Onnabe identify as men in the way that Tatsu does, and for some it is more complicated. The most upsetting moments in this documentary involve Gaish, particularly a conversation where they discuss the fact that their ex-girlfriend would’ve been “an outcast” if she’d committed to living her life alongside them. “It was better for her to marry and lead a normal life, rather than be with me,” they say, “That’s what I thought. So, we split up… By law, I’m alone. If I think about that, where’s the fun in living? If I think about it, I wish I’d never been born.” That in itself is very sad, but what I noticed during my most recent rewatch is that Gaish recalls being only 15 years old when they were in this “relationship”, and the woman who "dated" them was their teacher. While I obviously can’t know the full context of Gaish’s life, you should proceed with caution if that conversation might distress you, because (although Gaish does not describe the dynamic in such a way) it certainly sounds like the abuse of a child by a trusted adult. Kazuki with his partner. Kazuki and his trans girlfriend, Kumi, discuss gender roles in their relationship, their attraction to each other, and what their sexual orientations are. Kumi emphasises that their relationship works because the pair are equals. Kazuki reveals that he used to be very sexually active, and would have casual relationships with multiple women at once, but is now exclusively committed to a largely sexless relationship with Kumi. "A relationship isn't just about sex," Kazuki explains, "I've been taught the emotional aspects of relationships. It's got nothing to do with whether you're a man or a woman... Kumi has had her genitals off, so she has no need for sex. Almost none." Later in the documentary, Kazuki gets a call from his mother and tries to explain his life and relationship to her. He explains that he is with someone that he could get married to, since Kumi is legally male and he is legally female, much to his mother's confusion. It feels like a wonderful gift, to be allowed this window into his life, and into the lives of the other Onnabe and their partners. I highly recommend watching this documentary. Kazuki trying on a binder over his shirt. WARNING: Unsafe chest binding. This documentary includes the use of a chest binder which does not have shoulder straps. Binders which are designed this way can be unsafe, because of consistent pressure all around the ribcage without shoulder straps or looser areas to allow more movement. Learn more about chest binding here. Entry last updated: 23 Feb 2026 Related Media Culture-Specific Media Browse

Robin Jones, a trans male jazz musician played by American trans actor Scott Turner Schofield, supports the female protagonist as she tries to become a conductor. De Dirigent (The Conductor) Film 2018 Belgium (België), Netherlands (Nederland), United States of America Robin Jones, a trans male jazz musician played by American trans actor Scott Turner Schofield, supports the female protagonist as she tries to become a conductor. Trailer. Available Summary: Antonia Brico dreams of becoming a conductor, but she isn't taken seriously because she is a woman. -IMDb. Jack's Summary: The Conductor begins in 1926, which is important context to keep in mind when discussing this film's depiction of a trans man, and the language he uses when discussing his identity. Robin Jones is introduced as a man, and is non-disclosing with few exceptions. He works as a bass player in a performing troupe that also includes Miss Denise, a "female impersonator". He offers Antonia work in the troupe, as a pianist, after encountering her job-seeking on the street, and later opens his home to her when she needs somewhere to stay. Robin supports her several times as the movie progresses, including when she is blackmailed by a piano teacher who attempted to sexually assault her, and overall allies himself with her cause; proving that women can be conductors and musicians, just like men. Robin wearing a chest-flattening garment. Miss Denise tells Antonia that Robin wears a corset beneath his clothes due to a back injury; in truth, Robin wears a corset (or perhaps a girdle) in order to flatten his chest and pass as a man. While hugging Robin, Antonia touches his chest and asks, "Does it hurt?" Robin replies, "Every day." Robin in feminine clothing. When Antonia starts an all-women symphony, Robin attends wearing a dress and a wig, and is unbound beneath his clothes. Antonia assumes that Robin is dressing up like Miss Denise does, and asks whether this is Robin's way of supporting her. Robin, gesturing to his chest, says, "I'm not dressed as a woman... and these are real," in an unsteady voice. "You never were in an accident," Antonia realises aloud, and Robin replies, "Unless you count being born a girl." Antonia asks Robin whether he wanted to be a man, and Robin replies, "I wanted to be a musician," later adding, "I think I'd rather stay who I was," expressing a preference to continue in his male role. For the rest of the film, he continues to present masculinely and be known as Robin. Robin clearly does not have the language to explain his trans experience, but knows that he adores music and prefers to live as a man, even as Antonia (and other female musicians) prove that women can be musicians and conductors as well, and he actively supports them in this mission. If "Robin" were just the crossdressing persona of a woman determined to succeed, she could cast off that persona and resume being Roberta, but he does not... because he is not pretending to be Robin, he is Robin. I found this to be an interesting and compelling depiction of trans maleness in a character who had neither the language nor the community to explain being a trans man, and I'm very glad this character was played by a trans actor. In this interview , Scott Turner Schofield explained how dysphoria-inducing it was to wear a prosthetic chest for hours during filming, describing it as "painful" but "worth it." According to the article, he had difficulty getting through the scene in one take. I can't imagine going through that myself, so he's certainly got my respect. Beyond Robin, this film seemed quite boring to me, but that likely just reflects my lack of interest in historical romance/drama as a genre. In general, this film includes period-typical misogyny, anti-LGBT+ attitudes, and sexual harassment from Antonia's piano teacher. I did skip around a bit, due to the afore-mentioned boredom, so I may have missed scenes/themes which might be either interesting or confronting for viewers. A love interest aggressively grabbing Antonia's arm after she has specifically said, "stop," and forcing a kiss on her, is framed as a romantic gesture, and is followed by a montage of romantic moments involving the pair. This uncritical normalisation of assault is ploddingly similar to a long history of scenes where unconsenting, unwilling people happily submit to intimacy once they're forced into it, furthering the idea that those who resist intimacy just need to be pushed harder. Given that this is a film which centrally explores feminism and female empowerment, I found this moment particularly disappointing. Narratively, the fact that the fiercely progressive Antonia adores this pushy misogynist over the fiercely progressive Robin... well, it makes no sense. The overarching romantic plot feels forced. That being said, I understand that Antonia was based on a real conductor, Antonia Louisa Brico, so perhaps the filmmakers didn't wish to stretch the truth somehow by having her end up in a relationship with a trans man (although I have no idea how factual the rest of the movie is). Even aside from how nice it would've been to see Robin as the main love interest, from a representation standpoint, I think the film would've made more sense if it had been taken in that direction. Entry last updated: 24 Feb 2026 Related Media Trans Male with Female Browse

Nao Tsurumoto, a teenage trans boy played by Japanese actress Aya Ueto, explores his gender identity and faces verbal, physical, and sexual abuse as a result. 3年B組金八先生 (Kinpachi-sensei) (S6) Show 2001 Japan (日本) Nao Tsurumoto, a teenage trans boy played by Japanese actress Aya Ueto, explores his gender identity and faces verbal, physical, and sexual abuse as a result. Video Summaries Here and Here . Available Summary: Kinpachi-sensei ( 3年B組金八先生 , San-nen B-gumi Kinpachi-sensei ) is a Japanese television drama that aired from 1979 to 2011. Kinpachi-sensei tells the story of a third-year junior high school class in Japan; its teacher is Kinpachi Sakamoto, played by Tetsuya Takeda. The series has a lot of social commentary on issues such as homosexuality, gender dysphoria, and psychological pregnancy, as well as bullying (of both students and teachers), teenage pregnancy, teenage suicide, hikikomori, and the extreme pressure to do well in school. -Wikipedia. Nao explaining his clothing preferences. Jack's Summary: Season 6 of this series introduces trans boy Nao Tsurumoto, played by actress Aya Ueto. The above reviews thoroughly examine Nao Tsurumoto's characterisation and impact. I've watched a few episodes of this season, and it's certainly a product of its time, while also being a significant example of trans male representation in the media. I loved scenes where Nao meets with a trans woman, seeking solidarity and guidance. Nao binds his chest, wears a packer in his pants, and wears masculine clothing to affirm himself. He is supported by his mother, but not by his father. Nao's classmate telling teachers about his plans. WARNING: Unsafe chest binding and confronting themes. You should prepare for potentially distressing themes, including physical, verbal, and sexual abuse, not limited to the trans character. Nao Tsurumoto is sexually assaulted by his father, harassed by his classmates, and laughed at for his gender identity. Nao also self harms in one scene; while it is unrealistic and dramatised, it is also quite graphic and confronting. The first review linked above has timestamps in the description, allowing viewers to skip the footage. Additionally, Nao binds with bandages, and his chest appears to have self harm scars. The show, to my memory, does not address the dangers of binding this way . One of the most disturbing episodes is episode 22, where a male classmate decides that he will prove that Nao is female by raping and impregnating him, telling several girls (ostensibly his friends) that he will rape them as well if they expose his intentions. While two adults discourage him, the planned rape is not taken as seriously as it should be. The would-be rapist, despite being unashamedly committed to the assault beforehand, is convinced to spare Nao by a mere speech from his teacher. This episode is consistent with the whole series in terms of unrealistic conflict resolution and heavy topics. Despite all of the ugliness, Nao does get a happy ending, and is eventually accepted as a boy by his peers and teachers. Entry last updated: 8 Feb 2026 Related Media Trans Male Media Browse

Tien Neo Eamas, a 55-year-old Singaporean-Canadian transman, discusses growing up in a fundamentalist Christian family, recognising himself in another trans man of colour, being the first Asian trans man to come out in Vancouver, enduring racialised expectations of manhood, overcoming hatred and abuse, attempting suicide, and finally finding joy both in himself and in his community. Tien: Becoming Queer Joy Interview 2023 Singapore (சிங்கப்பூர் 新加坡), Canada Tien Neo Eamas, a 55-year-old Singaporean-Canadian transman, discusses growing up in a fundamentalist Christian family, recognising himself in another trans man of colour, being the first Asian trans man to come out in Vancouver, enduring racialised expectations of manhood, overcoming hatred and abuse, attempting suicide, and finally finding joy both in himself and in his community. Watch. Available Summary: "I think that, the only thing I wish I knew then, was that life was going to be extremely challenging and that it was okay... If you're going to stick around on Earth, just make me this one promise: make sure you have a freaking good time." Tien, is the 1st Asian Transman to publicly come out in the Vancouver, then, gay and lesbian community of 2001. In this profound and inspiring film, Tien shares his story as a pioneer, racialised transman immigrant and his journey to discovering his true purpose in life -- cultivating and becoming joy. The TROUBLEMAKERS 7.0 film program gathered a fresh team of aspiring young filmmakers and experienced troublemakers to work together through an eight-session filmmaking program that captured local queer and trans histories. We are in awe of the films they created, and excited to share them here! See all the films here: https://reelyouth.ca/troublemakers-2023.html -Reel Youth, YouTube. Notes from Jack: I highly recommend watching this interview. I love what Tien has to say, I'm thankful for his visibility, and this portrait of a trans man's place in trans history is so valuable. What a beautiful smile. Included in this video are photos of of Tien as a young person, photos of him wearing post-op gauze on his chest, footage of him welding, footage of him wearing platform high heels while practicing pole dancing, and other glorious snapshots of a life well-lived. Very impressive. Tien describes conceiving the first date-based celebration of trans joy in 2007 (né Lesbian Day of Visibility, IDAHOBIT, et cetera), smiling widely as he notes that it was originally called Happy Tranny Day, but was renamed to Gender Euphoria Day when some community members objected to the reclaimed slur being used. "It was a really powerful moment," he explains, "The only event around trans was the Trans Remembrance Day in November. Which is important... but all we did around Trans Remembrance Day was honour the dead and the murdered of our community, and at that point, I was clear that we needed to actually start celebrating us. It was challenging for lots of people, because I insisted on it... I would tell people, no, no, no, don't come and do your slam poetry and be angry... Do something fun. I think my younger self would be very, very proud of me, and be probably a little bit stunned that I was able to get here." Finishing the interview, he says, "I love that the community has expanded and grown to be so much more welcoming, open, loving, and generous in its embracing of the diversity of humanity. It's time to actually show the world how colourful we can be." I am so, so glad that I watched this gorgeous interview! Everybody else should, too. Entry last updated: 28 June 2026 Related Media Trans Male Media Browse

Frankie, a Kiwi trans man, is filmed throughout a pregnancy journey which includes miscarrying, trying again, and eventually giving birth to a healthy baby. Trans and Pregnant Documentary 2024 New Zealand (Aotearoa) Frankie, a Kiwi trans man, is filmed throughout a pregnancy journey which includes miscarrying, trying again, and eventually giving birth to a healthy baby. Watch on SBS. Watch on TVNZ+. Article. Available Summary: This documentary follows the journey of two Kiwi men as they look to start a family, with Frankie, a trans man, wanting to carry and birth his own child. -SBS. Entry last updated: 11 Mar 2026 Related Media Fatherhood and Parenthood Browse

Two trans men, played by American trans actors Radcliffe Adler and Marten Katze, become involved in a love triangle in this indie short film. Bros Before Short Film 2022 United States of America Two trans men, played by American trans actors Radcliffe Adler and Marten Katze, become involved in a love triangle in this indie short film. Watch Here... If You are an Adult! Available Summary: Elijah and Billy are two trans bros who just happen to enjoy jerking off together -- in a straight way! But when Billy starts dating a woman, Elijah must come to terms with his feelings for Billy and his own burgeoning homosexuality. Raunchy, campy, and heartfelt, "Bros Before" is a second puberty coming-of-age story saturated with sex, drugs, and hyperpop. -Gonella Productions, Vimeo. Jack's Summary: This is a silly, campy, gay, trans short film. Lots of slurs, drinking, smoking, explicit content, and drama. Trans-directed, starring amateur trans actors Radcliffe Adler and Marten Katze. Just a bit of fun! But probably don't watch it if you're sensitive to homophobic slurs. Entry last updated: 8 Feb 2026 Related Media Trans Relationships Browse

Shayan, an Iranian trans man, presents and lives as a male as much as possible, but is affected by the laws and expectations placed upon women. خستگی (Khastegi) Film 2008 Iran (ایران) Shayan, an Iranian trans man, presents and lives as a male as much as possible, but is affected by the laws and expectations placed upon women. Watch. Available Summary: Khastegi tells the story of seven Iranian transsexuals living in Tehran. -Wikipedia. Jack's Summary: This indie movie predominantly features trans women, but there is also one trans man, named Shayan. The film's actors are trans themselves, and apparently the director Bahman Motamedian struggled to find trans men who were willing to act in the movie. Discussing the film , Motamedian explained, "Right up to the day of shooting, I hadn't found a suitable character to play that role... As it is a very masculine and male-oriented society, revealing they are not a ‘real’ male has real problems". Though he considered cutting the role completely, he did find a suitable actor at the last second. I think that Shayan is played by Iranian actor Bahare Ghavibal, but information is limited, potentially to protect actors' identities. Khastegi was not shown in Iran and was made without official Iranian permission. Shayan listening to his mother's yelling. Shayan is introduced sitting on a park bench with his girlfriend, listening as she speaks on the phone. Once the call ends, he demands to know who she was speaking to, establishing his nature as a jealous and insecure boyfriend. We find out that Shayan is a trans man when he sneaks away to put on a hijab and matching black clothing over his male attire. When he gets home, his mother yells at him, demanding to know where he has been and admonishing him for acting like a boy, saying that a "decent girl" would not stay out so late. Shayan at work. Shayan is then shown working as a receptionist, presenting as a woman. He is given a bunch of red flowers by his coworker for Women's Day, which clearly frustrates him. When he later tries to buy a motorcycle, the seller is reluctant to sell to him on the basis that a woman is unlikely to get a license for a motorbike. Annoyed, Shayan snaps, "It makes no difference if she can or cannot! Buying a bike isn't a crime, is it?" It is apparent that the majority of Shayan's life is governed by strict gender roles which prevent him from being his true self, making him feel trapped and angry, giving context to the machismo he emphasises when he is able to present as a man. In Shayan's next scene, he is lurking on the street, watching as his sister walks with a man. When the pair come near him, he jumps out and grabs the man, insisting that he stay away from his sister. By way of explanation, when his sister is justifiably pissed off by his behaviour, he says, "I don't like to see you with these pricks." His sister reasonably insists that her dating choices are none of his business, criticising his behaviour, but then proceeds to attack his very identity. "You're sick," she says, "All your boyish mannerisms are because you're sick. Do you know what others say about you? They say you like to be a boy because boys inherit twice as much as girls. But I know why. You like to be a boy because you're so ugly. You like to be a boy because nobody would fall in love with you." Shayan reacts impulsively, slapping her cheek. She walks away, and he watches her go with an upset expression. Shayan being criticised by his boss. At work again, Shayan asks a man if he can borrow his motorcycle. The man asks, "Now?" Amusingly, Shayan replies, "Of course! When did you think? Next year?" The man agrees, and Shayan, still wearing his hijab and female attire, rides the bike down the street. Shayan's boss sees him and confronts him at work. "I won't ride a bike anymore," Shayan concedes, but his boss clarifies that the real issue is Shayan acting and presenting like a man. "You don't do make-up and you don't look pretty," the boss says, "We need ladies to work here. Do you understand?" Furious, Shayan curses his boss and quits on the spot. Shayan's prayers being interrupted. At home, Shayan performs the salah. A female relative interrupts him, coldly saying, "All the prayers that you said without a veil are worthless." He sits on the floor, absorbing her words, clearly distressed. The film then cuts to a one-on-one interview with Shayan, where he is directly addressing the viewer. "I always have to prove myself to others," he says, "I get so upset when they ask me why I like to be a man. Then I want to shout that I want to be myself. I want to live in comfort. I like to be myself, just myself." Shayan's girlfriend leaving him. Shayan is shown with his girlfriend again. She asks whether he wants to undergo transition surgeries, but he says that he doesn't, citing physical pain and the financial cost as reasons. He says that he would rather buy a car and work as a driver, prompting his girlfriend to complain that he is not considering her feelings enough. She then asks him for advice, saying that her sister in Holland and her brother in Afghanistan are both willing to take her in, but she is "stuck" in Iran because of him. "You have to tell me what to do," she says. "It's obvious what you should do," he responds, "Go wherever you like and do whatever you like!" Unsatisfied with this answer, she breaks up with him. Shayan arguing with his FTM friend. Shayan asks a trans male friend (who has finished transitioning) for help, saying that he needs to buy a car to make a living, but can't currently afford it. His friend is reluctant to even speak with Shayan, because his wife doesn't want him around other women, and she views Shayan as a woman since he has not medically transitioned. Though the pair argue and Shayan starts to walk away, it is implied that his friend gives him money regardless. In Shayan's next scene, he is working as a taxi driver, presenting male and not wearing a veil. His aggressive manner and frustration is unchanged, resulting in a tussle with another taxi driver. Shayan confronting his would-be husband. Shayan sleeps in his taxi cab rather than his family home, and is woken one morning by a phone call from his mother, who has arranged a marriage for him. He refuses the marriage, telling his mother not to arrange any other pairings in the future. After hanging up on her, he finds the man he has been paired with, chasing him down and threatening him with violence if he insists on the marriage. After revealing that he is the man's proposed wife, Shayan says, "Next time you're gonna marry someone, you better see her first! Get outta here!" The film cuts to another interview scene. Shayan lists the excuses he has to provide when people ask about his gender non-conformity, because he cannot tell people that he is a trans man. To explain his short hair, he says that he feels too hot with long hair. To explain why he doesn't wear make-up, he says that he has sensitive skin. To explain why he does male activities, he says that he is a feminist. To explain why he plays physically-intensive sports, he says that they are good for his health. Every aspect of his life and gender presentation are constantly being scrutinised, and he feels trapped. Shayan in his taxi. The arranged marriage was, apparently, the final straw for Shayan. He packs a suitcase of clothes and leaves home. His mother yells at him, asking, "What should we do if the police arrest you? Why don't you wear a veil outside?" Now homeless, Shayan works as a taxi driver and sleeps in his car permanently, having nowhere else to live. He is woken, one night, by an unnamed man who addresses him as "Mr. Shayan". When Shayan rolls down his window, the man asks if he is okay, and passes him a bowl of food. Shayan has almost nothing, but he has autonomy and can live as his true self, with this moment of kindness offering viewers a moment of hope. Shayan being stopped in traffic. Shayan appears twice more. In his penultimate scene, he addresses the viewer once more, talking about true love and explaining that he has been unable to find it thus far. His last scene shows him being stopped by an officer who demands his driving license, refusing to explain why or say what Shayan has done wrong. After finding out that Shayan is legally a woman, the officer asks why he is not wearing a veil. Shayan says that he will explain after the official hands his license back, but the official continues to aggressively question him, demanding to know why he is not wearing a veil. Frustrated, Shayan yells, "Okay, keep it then!" He drives away, fleeing in his car. It is an ominous ending for him, since he now faces arrest While this film avoids the more extreme experiences that trans men face regardless of the country that they live in (rape, conversion therapy, et cetera), it is still made abundantly clear that Shayan is immensely struggling. Given that, it is ironic when a trans woman monologues about trans men having it easy, claiming that FTMs do not face discrimination whereas trans women do. "If you're a girl and you like to be like a boy, everybody supports you because of your strong character. Then it's all praise and clapping," she complains. Oh, do I wish that were true! Overall, I really liked this film. It's really frustrating that I'd never heard of it until researching trans male media for this website. It's freely available online, it was made in the early-2000s, and it features a bunch of trans actors in trans roles. I can't help but think that, if this had been made in the U.S.A. and featured a large cast of American actors, it would be more widely appreciated... and even praised as groundbreaking. WARNING: There are confronting themes throughout this film. These include suicide, domestic violence, abduction, hate crimes, misogyny, homophobia, transphobia, harassment, deadnaming, and misgendering. Entry last updated: 4 Mar 2026 Related Media Trans Male with Female Browse

Tony Sawicki, a trans man played by Canadian actress Tatiana Maslany, embodies a harmful stereotype of manhood. Orphan Black (S02E08) Show 2014 Canada, United States of America Tony Sawicki, a trans man played by Canadian actress Tatiana Maslany, embodies a harmful stereotype of manhood. Available Summary: The series focuses on a number of identical human clones, all of whom are played by Tatiana Maslany: Sarah Manning, Alison Hendrix, Cosima Niehaus, and Rachel Duncan. This episode introduces a new clone, Tony Sawicki, a transgender man whose search for another clone leads him to Sarah's foster brother Felix Dawkins... The show's co-creators, Fawcett and Graeme Manson, along with Maslany and her hair and makeup artists, developed the character of Tony over a period of six months after deciding that the inclusion of a transgender character would fit well with the show's themes of identity, gender and sexuality. Overall, the episode received mixed reviews: critics praised Maslany's performance but found Tony's character underdeveloped and gimmicky, and found the plot disorganised. -Wikipedia. Jack's Summary: Orphan Black is a well-known science fiction show about autonomy, identity, and found family. The basic summary is that a group of clones, after finding out about their biological origins, work together to try and gain independence from their creators. The clones have all been created through a process of in-vitro fertilisation, with their genetic material sourced from one woman. Tatiana Maslany, a Canadian actress, plays many clones throughout the series, and her acting is genuinely mind-boggling. Every clone is vastly different, with unique personalities, accents, interests, and sexualities. Five clones appear in S02E08, titled "Variable and Full of Perturbation". Four of them (Sarah, Rachel, Cosima, and Alison) are cis women. The fifth is a trans man named Tony Sawicki. When I first watched this show, I remember being utterly delighted by Tony's inclusion. Here were the reasons for my joy: His presentation is quite masculine, especially compared to the other clones. He is shown wearing a tank top binder, and packing in his underwear. He is confident in his body and unashamed, happily taking a bath in a stranger's apartment. He is shown injecting testosterone, and discusses how important it is to affirm himself through hormones. After meeting Tony, Sarah (another clone) expects that he will have an "identity crisis", similar to other clones' reactions. He calmly denies this, saying, "I did all that work a long time ago. There's only one Tony, and you're not me, sucker." I loved that, even when confronted with the truth of his conception, he remained self-assured and secure. What I liked most about Tony was the implication that anybody could be born trans, however you conceptualise the reasons that we trans people exist. Whether you focus on scientific explanations like the development of the brain before birth, or you focus on the soul, or you believe in a complex combination of factors, anybody could be born with gender incongruence/dysphoria and anybody could someday make the decision to alter their sex. In a show which chiefly focusses on autonomy and individuality, specifically in defiance of biological expectations, trans themes seemed a no-brainer. I was glad they explored trans male self-determination through one of the clones. Rewatching this episode, though, I noticed a different aspect of Tony's characterisation which I now find deeply troubling. An uncomfortable scene, at best. I registered that Tony kissed Felix, a gay main character, of course. But what I noticed during my rewatch was a double standard which I've seen in other films and shows; LGBT+ characters ignoring consent in situations where cishet men (particularly) would be harshly judged for acting exactly the same way. Tony corners Felix and asks him a question. When Felix hurriedly answers and tries to move away, clearly uncomfortable, Tony refuses to let him walk past. He crowds Felix into a corner and kisses him, after which Felix shakes his head and verbally indicates that he doesn't want to kiss Tony. Viewers, of course, know that Felix is uncomfortable with the intimacy because Tony looks a lot like Sarah, another clone and Felix's adopted sister. But it doesn't matter why Felix is uncomfortable. It doesn't matter why people say no, it just matters that they do. If Tony had been a cis male character treating a cis woman exactly the same way, I guarantee that fans would've furiously criticised his actions. This is an example of sexual harassment occurring outside of a widely-believed, limited stereotype (a cis man abusing a cis woman), and therefore not being taken seriously. Jasmine trying to stop Dallas from touching her. I was similarly frustrated when I watched Below Her Mouth (2016), during which a masculine woman repeatedly ignores a feminine woman's protests and refusals, sexually harassing and sexually assaulting her (groping her inner thigh, kissing her on the mouth, touching her genitals). You can read a good review of the film here but, to paraphrase another review that I can't seem to locate now: arousal does not equal consent. That applies when any person corners another person and insists on kissing or touching, not just when a cis man does that to a cis woman. If someone is saying no, they're saying no. If someone is physically trying to move away and escape, forcing them to stay still is wrong. Just because you think they've flirted with you, or are attracted to you, doesn't mean you should ignore their refusals. No means no, whatever form that "no" takes. As LGBT+ people, we need to be on our guard for LGBT+ content which perpetuates dangerous stereotypes. Being desperate for representation shouldn't mean that we're content with characters who harass or assault people without any consequences. Masculine LGBT+ people shouldn't be portrayed as inherently predatory due to our masculinity. Masculinity does not mean ignoring consent. I can confirm that as a very masculine trans man myself, who fits into many norms of masculine presentation/identity, certainly within my culture. LGBT+ masculinity does not, and should never, mean forcing a more feminine person (whatever their gender) to submit to you. Not only is it an awful stereotype to perpetuate, it does a disservice to the reality of being a trans man or being transmasculine. According to the 2015 US Transgender Survey , trans men and presumed-female non-binary people experience the highest rates of lifetime sexual assault in the entire trans community; a struggle which is worryingly under-discussed and even ignored. Being masculine, or men, does not inherently make us predators. Being masculine often makes us vulnerable to assault, especially if we were born female... as was brutally explored in Stone Butch Blues . I would not recommend Tony Sawicki as an example of good representation, which is an unfortunate thing to say, because I really did enjoy his characterisation upon my first viewing. It felt like quite the betrayal to return to his episode as a more mature, deliberately masculine man, and to realise the misandristic stereotype which underpins who Tony is. As he only features in one episode, there's not any opportunity for him to grow beyond that foundation. What this episode offers is the sole appearance of a trans man, played by an actress who exaggerates negative attributes in order to make his maleness convincing. He's a token character that I previously enjoyed, but not anymore. As I only watched the Tony-related scenes again, rather than rewatching the entire episode (let alone the entire show), I can't comment on how well or badly other aspects of Orphan Black have aged. Please note: While I personally agree with lesbians and other female-attracted women who have criticised Below Her Mouth , I can see why it would be an enjoyable film for many, and it certainly offers some fantastic sex scenes. These reviews, as always, are my own opinion only. Lastly, if you are a man who has survived sexual abuse, I recommend the site 1in6 , which supports and advocates on behalf of men/boys who are survivors. It addresses the specific struggles faced by men. You are not alone. Entry last updated: 8 Feb 2026 Related Media Trans Male with Male Browse