Krow Kian, a Canadian male model, documents his journey and his modelling career pre-transition and post-transition. Krow's TRANSformation Documentary 2019 Canada Krow Kian, a Canadian male model, documents his journey and his modelling career pre-transition and post-transition. Watch. Available Summary: Transitioning female-to-male and conquering the runways of Paris, follow Krow's remarkable journey to become his true authentic self. -IMDb. Jack's Summary: This is a gorgeous documentary. Krow Kian, a Canadian male model, documents his journey and his modelling career pre-transition and post-transition. His trans friends are also interviewed, and they share their own stories. Suicide, self-harm, dysphoria, and other struggles are addressed, but through the lens of a happy ending. Interviewed family members are supportive, and viewers get to see progress beyond early-transition turbulence. I'd definitely recommend this documentary to early-transition men, and to their families. Many steps are shown; coming out, starting testosterone, having a mastectomy, having a uterectomy, getting married, etc. I really liked an interview Krow's mother gave, referencing an emotional moment that she had while her son was having surgery. She says, "I sat down, poured myself a drink, and said goodbye to my daughter. Then I poured myself another drink, and said hello to my son." I liked that the mother's grief didn't affect her support for Krow, and that she outwardly advocated for him and supported his decisions, while also nursing her own complex feelings. The concept of grieving your child while they're still alive is a tricky one, because it's so often used as a weapon against trans people, to prevent us from transitioning and make us feel guilty for identities which we can't control. That isn't what happens in this documentary. What Krow's mother shows, in a moment of profound maturity, is that it's possible to support and love your child while also commemorating who they used to be, if you have attached any particular cultural meaning to your child's gender, and you will be losing that aspect due to a transition. She shows that a sense of loss doesn't mean you've actually lost your child, and you can still be there for them. I liked that this film made space for that nuance, all the while showing Krow being loved, supported, and defended by his mother. Entry last updated: 8 Feb 2026

Seu Franco, a Brazilian trans man, discusses growing up, being unsupported by family members, experiencing homelessness, binding with bandages when no other method was possible, and eventually finding his chosen family. He talks about seeing an interview with Brazilian trans male pioneer João W. Nery on Programa do Jô, and realising his identity. At 50 years of age, he started to consider having a mastectomy, in defiance of partners who discouraged him from surgically transitioning, and finally had the operation at 66. He says that he was surprised to become an inspiration for younger trans men, and has aspirations to further his education in the future. He discusses providing end-of-life care for an elderly mother who never accepted his gender identity. LGBT+60: Seu Franco, A 67-Year-Old Trans Man Interview 2025 Brazil Seu Franco, a Brazilian trans man, discusses growing up, being unsupported by family members, experiencing homelessness, binding with bandages when no other method was possible, and eventually finding his chosen family. He talks about seeing an interview with Brazilian trans male pioneer João W. Nery on Programa do Jô, and realising his identity. At 50 years of age, he started to consider having a mastectomy, in defiance of partners who discouraged him from surgically transitioning, and finally had the operation at 66. He says that he was surprised to become an inspiration for younger trans men, and has aspirations to further his education in the future. He discusses providing end-of-life care for an elderly mother who never accepted his gender identity. Watch. Available Summary: Seu Franco, a 67-year-old trans man who had to live on the streets at the age of 13 because he didn't feel accepted by his family. His testimony reveals the process of his long-time-dreamt masculinizing mastectomy, carried out at the age of 66. -YouTube. Entry last updated: 6 Apr 2026

A Two-Spirit, neurodivergent teenager named Hucpiga (AKA Tyler LaMere) discusses his identity, culture, and experiences of gender. Two Spirit: A Spiritual Identity and a Reclamation Interview 2023 United States of America A Two-Spirit, neurodivergent teenager named Hucpiga (AKA Tyler LaMere) discusses his identity, culture, and experiences of gender. Watch. Available Summary: Two-Spirit Nebraskan Tyler LaMere discusses spirituality, culture, and family in an in-depth video conversation.. -YouTube. Jack's Summary: Hucpiga, who is from Winnebago and belongs to the Mille Lacs Ojibwe tribe, is interviewed about life, art, and identity. Remarking on the nature of being Two-Spirit, Hucpiga explains, "One thing that really gets on my nerves is that people just say that, "Two-Spirit is just Native American non-binary," or, "Two-Spirit is just a way of saying Native American transgender," when it's so much more than that. It's a whole spiritual identity as well as a cultural one. It's a reclamation from being a survivor of genocide. There's a sacredness that not other LGBTQ people would understand." Regarding Hucpiga's last point, I take exception to the broad generalisation that no other LGBTQ people understand having such a cultural, spiritual gender identity. Brotherboys and Sistergirls, in the land now known as Australia, have a very similar experience to what Hucpiga describes, including belonging to a culture which survived mass-killings, ethnic cleansing, and cultural genocide. While I understand the point that is being made, it is a continent-limited perspective which is exclusionary of other First Peoples. Obviously, this interview may have been conducted with a local/limited audience in mind, I don't know the prompt Hucpiga might've been responding to, and he may have not intended to exclude Brotherboys and Sistergirls in this way. But, for what it's worth, there absolutely are LGBTQ people who do not use the label Two-Spirit, and yet do have a very similar lived experience of sacredness and cultural survivorship. Moving on, Hucpiga explains, "The Mille Lacs Ojibwe is where the origin for Two-Spirit comes from, because they believe that two spirits exist in one body; the masculine and the feminine. In the Winnebago tribe, we have specific identities when it comes to Wakikanak, which is what I identify with, which means, "stand like a man." Those born in a woman's body, but take on the roles of men and have a man's spirit." Hucpiga describes exploring the term non-binary but, as he learned more about his culture, he felt more connected to "the binary trans male roles." Unfortunately, he has faced disgust and hatred from both Native and LGBTQ people due to his identity. "I don't conform to what a trans man should look like," he says, "I keep my hair long for my culture, I love doing makeup, I don't necessarily dress masculine or feel uncomfortable enough about my body. And, when it comes to Natives, they don't like when I try to engage in masculine terms, or don't necessarily respect my identity." These experiences are similar to struggles described in Transblack , with Aboriginal Brotherboy Max seeking approval from Elders to perform male roles in his community, and being denied because he is judged to be not male enough, despite the "boy spirit" he embodies. Hucpiga proceeds to describe being outed, relieved by the support he received afterwards, and the comfort which prayer rituals provide. He cites Native American activist and politician Frank Lamere as having had a significant, positive impact on his life, and on the lives of people he loves. Note from Jack: According to his Instagram account in 2026, Hucpiga uses they/them, he/him, and she/her pronouns. Entry last updated: 11 Apr 2026

In a world where people have sentient reflections which can converse with their real-world counterparts, Cristian, a trans man played by Spanish actress Malena Alterio, tries to figure out his gender identity. Pol, a trans man played by trans male actor Iván Vigara, is the first person Cristian comes out to. Ariel, a non-binary person played by non-binary person Eli Sajaz Hinestrosa, has a minor role in the film. Espejo, Espejo (Mirror, Mirror) Film 2022 Spain In a world where people have sentient reflections which can converse with their real-world counterparts, Cristian, a trans man played by Spanish actress Malena Alterio, tries to figure out his gender identity. Pol, a trans man played by trans male actor Iván Vigara, is the first person Cristian comes out to. Ariel, a non-binary person played by non-binary person Eli Sajaz Hinestrosa, has a minor role in the film. Trailer. Available Summary: Employees at a cosmetics firm grapple with their respective desires by arguing with themselves in the mirror, ahead of their company's anniversary party. -Netflix. Jack's Summary: This is a very strange film with a trans storyline that ended up being surprisingly moving. In fact, I would say that being trans is depicted more sensitively than any of the other topics explored throughout this movie. Tito. The comedic bigotry in Espejo, Espejo can be summed up in one character; Alberto, also known as Tito. He is degraded for his weight, his hairline, his manner, and his clothing, and he never proves any of this bullying wrong. He is the laughing stock, not just of the characters but also of the viewers, and that's precisely how the writers intended it. What the writers do not seem to grasp, though, is that affirming trans men means affirming... well, men. If you are living in a larger body, if you are on testosterone and are balding, the physical characteristics which accompany living as your most authentic self are the basis of humiliation and worthlessness in this film. The characters discuss many negative stereotypes, two of which being that trans people are freaks and that fat people are repulsive. By the end of the film, viewers are led to understand that, no, trans people are not freaks but, yes, fat people are repulsive. Specifically, fat men are repulsive, weird, inappropriate losers destined to embarrass themselves in front of others. The writers perceive two disparate groups with no overlap; fat men and trans men. The former deserving of humiliation and body shaming, the latter deserving of affirmation and respect. Of course, we know that life is not so tidy. To put it simply, the trans male affirmation in this film will not be enjoyable for everyone, since the trans male population is not solely comprised of skinny men, and the men/boys in our lives are similarly diverse. Álvaro watching as his reflection leaves. To set the scene more broadly, Espejo-Espejo is based in a world where human beings have sentient reflections which are able to converse with their real-world counterparts, make independent decisions, and affect their counterparts' memories. These reflections are initially depicted as being aspects of their counterparts' personalities, but as the film progresses it becomes clear that the reflections are far more separate than that. They are not just a part of the same person, but another being with agency. Cris's reflection arguing with him. Cristian, initially introduced as Cristina, is a middle-aged trans man who works in the office of a cosmetics company, is married to a man named Mario, and is being pressured by his father to provide him grandchildren. At the beginning of the film, his reflection is a feminine woman who refuses to allow Cris to admit to any discomfort with his life, saying, "We're great. We're pretty, we do our job well. Mario loves us. Dad adores us." Despite this, however, Cris is clearly unhappy, uncomfortable, and bored in his life. Cristian's sister Paula, who works as a social media coordinator in the same office, produces a promotional video to rebrand the (genuinely toxic) company as inclusive. It features Ariel, a non-binary friend of Paula's, who Cris has briefly met in the past. Seeing them in the video unlocks something inside Cris, and the video's message resonates with him; "Don't be afraid to express yourself. Whoever you are. Be free. Be yourself." The first appearance of Cris's masculine reflection. After this, his reflection warps and his true self is revealed. Cris is initially confused because, as we learn later, his feminine reflection has been hiding his transness from him, and at the beginning of the movie he does not remember his gender non-conformity in childhood. It's an allegory for transitioning later in life, and transitioning in general, and it doesn't get too lost in the fantasy themes. His masculine reflection reveals childhood memories, which he watches in the mirror. Cris as a child. As the film progresses, Cris continues to explore his gender while wrestling with the expectations placed upon him. He watches YouTube videos featuring trans men and non-binary people, and learns about chest binding, different identities, and medically transitioning. He is overwhelmed by all of the unfamiliar terminology, and afraid of what transitioning will do to his personal and professional life, but he accepts that he needs to transition. Sensing this, his reflection warps into the feminine version once again, insisting that he must not transition; "Nobody would love Cristian. Nobody would love us." His reflection tells him to buy a dress and attend his company's anniversary party as normal. Though he initially obeys his feminine reflection, he happens upon an after-hours party at a hairdressing salon, and enters on a whim, wanting to cut his hair short in defiance of his reflection. The party is predominantly LGBT+ and gender non-conforming people, including Ariel, the person from Paula's video. He briefly talks with them, drinks alcohol, takes MDMA, and stares longingly at photos of masculine haircuts. Pol, a trans man. An employee of the salon, named Pol, offers to cut Cris's hair. While looking at photos to figure out what he wants, Cris notices two photos of Pol on the wall; one pre-transition and prior to top surgery, and the other after he has affirmed his gender. Cris, who did not realise he was speaking to another trans man, is stunned and overjoyed. For the first time, Cris introduces himself as Cristian, and Pol shakes his hand in greeting. This scene is utterly gorgeous. We get to see a middle-aged trans man figuring out who he is, doing a bit of low-key partying, and having a tender conversation with a trans man who was able to affirm himself earlier in life. During this conversation, Cris has not modified any of his presentation, and is read as a woman, but Pol believes him. I find this aspect of the scene very beautiful. After this, Cris comes out to his sister. It is very different from his experience with Pol. In fact, this movie gleefully skips over the seriousness which typically (and understandably) accompanies scenes where trans people come out to family members. It was really refreshing and interesting to see transitioning explored in a comedic way, without the joke being Cris's gender itself. Cris and his sister. He arrives at the company party and drunkenly congratulates Paula for her event speech. Paula, surprised by Cris's masculine presentation and obvious intoxication, questions him in a panic. He tries to come out, but is interrupted by a coworker tearfully confessing to Paula, then by Tito singing Paula a love song, then by the company receptionist committing arson. It's chaotic and ridiculous, and completely disarms the fear which often defines coming out scenes in media. After this, the film takes a dark turn. As four characters flee down the hallway, trying to escape the arsonist's fire, their physical bodies begin to warp and distort. Except, this time, it's happening in the real world, not in the mirror. Their reflections are taking control, swapping places with their real world counterparts. Cris's reflection reassuring him after they swap. Cris is the only main character to get a conceivably happy (if quite ominous) ending. His masculine reflection, now inhabiting his body in the real world, reassures him and says that they will take the transition slowly. This is the fantasy equivalent of proceeding with a transition despite fear of how other people will react, and what the consequences will be... Cris in the mirror world. ...but the real Cris, like the other three main characters, ends the film by slowly turning to behold the void of darkness where he now exists. The difference between his ending and the other characters' endings is that his reflection has goals absolutely aligned with his, whereas Paula (for example) has been replaced by a crueller, more pragmatic version with different goals and standards, who is doing things which Paula would not. All in all, this is quite an interesting film with a heaping load of fatphobia alongside some genuinely touching trans scenes. In terms of general warnings, in addition to what's already been mentioned, Espejo, Espejo includes workplace sexual harassment, misogyny, minor physical violence, conflict, and slurs. Entry last updated: 21 Feb 2026

Jake Rodriguez, a trans man played by American non-binary actor Garcia, tries to maintain a relationship with a lesbian woman while realising his increasing attraction to men. American trans actor Marquise Vilsón Balenciaga has a minor role. Tales of the City Show 2019 United States of America Jake Rodriguez, a trans man played by American non-binary actor Garcia, tries to maintain a relationship with a lesbian woman while realising his increasing attraction to men. American trans actor Marquise Vilsón Balenciaga has a minor role. Trailer. Available Summary: Middle-aged Mary Ann returns to San Francisco and reunites with the eccentric friends she left behind. -IMDb. Jack's Summary: Tales of the City primarily focusses on relationships, specifically conflict and budding romances between LGBT+ couples. It's a very realistic take on being sexuality-diverse or gender-diverse, in that it doesn't ignore the reality that such couples fight, break up, and even cheat on each other. Jake and Margot. From the very first scene involving Margot and Jake, it's clear that Margot is struggling profoundly with her partner's identity, presentation, and overall life direction. She's exclusively attracted to women and has remained with a partner who is no longer identifying as a woman. When a stranger asks them if they have any children, Margot realises that she is in an assumed-heterosexual relationship due to Jake's presentation, and she is extremely uncomfortable with this. She feels that her identity is being erased, which is entirely reasonable. While attempting to discuss this discomfort with Jake, she feels the need to add, "I swear to God, if you start in on your 'gender is a construct' speech right now, I will throw this cake at you." I don't know why that comment is necessary or even relevant. Gender being inborn, a construct, or any combination of those two complex realities doesn't change the couple's situation, or the reasons Margot feels uncomfortable. As a female-to-male transsexual, I've never really understood the insistence on saying "gender is a construct" in situations where it doesn't add to the conversation or even mean anything. I felt that the "gender is a construct" thing was shoehorned in pretty awkwardly, and actually works to erase Margot's lesbian identity further when Jake flippantly implies that yes, gender is a construct, therefore Margot shouldn't feel uncomfortable about the fact that she's not fulfilled in her lesbian identity. It's clear that the pair are unsuited for each other for reasons beyond gender and sexual orientation; ultimately, Jake doesn't really care about Margot's distress. He's too determined to believe their relationship hasn't changed, and doesn't want to hear otherwise. Margot and Shawna. Margot confides in Shawna, a queer woman played by a pre-transition Elliot Page. Shawna accurately guesses, "I think you might still be a lesbian". Margot answers, "Well, Jake says we're queer now," and therein lies the issue. Margot agreed to remain with Jake and to the redefining of their relationship and, now that she's having second thoughts, Jake doesn't want to accept that things have irreparably changed. Jake and Flaco. Jake confesses to her that he feels attracted to men, although Margot has already noticed this. He asks for permission to explore intimacy with guys, which Margot gives him, although she is clearly uncomfortable and just wants them to be a monogamous couple. Jake spends the night with Flaco, a wonderfully accepting cis man. The scene where they first meet, at Flaco's home, is very beautiful and affirming. Frustratingly, even after Jake tells Margot he's done experimenting, he remains in contact with Flaco and even sleeps with him before Margot and he are officially broken up. Speaking with Flaco about his struggles, he says, "I'm a fucking mess. It's like a crazy swirl or something, and it's scary. And Margot... She's my only anchor in all of this, and it's like I'm determined to fuck it up, or worse, fuck her up. And I'm starting to fucking hate myself." What Tales of the City offers isn't a perfect trans man. As a matter of fact, none of the main characters are perfect, which makes the show very valuable and occasionally difficult to watch. The most confronting and important scenes involve Michael (a cis White gay man) and his much younger boyfriend, Ben, who is a cis Black gay man. Michael's unwillingness to confront his gay friends when they make racist and transphobic comments results in intense discomfort for Ben, and ultimately the end of their relationship. This show tackles racism, classism, LGBT+ intergenerational conflict, AIDS, and all kinds of tough topics with grace. Jake and his sister. Returning to Jake, I do love many of his scenes. He comes up against gendered obstacles which are faced by many trans men. Despite the fact that he's a nurse who has a lot of knowledge, his sister accuses him of mansplaining when he merely asks her if she has a plan for any complications, because he's concerned about her and wants the birth to go well. He deals with changing cultural expectations from his family, wherein he is both too much of a man, but also not enough of a "real man" to appease both male and female relatives. His profession is mocked by a relative who believes nurses are inferior to doctors. A gay man, assuming Jake is cis, mocks trans men and assumes Jake will agree with his views. DeDe, Margot's eventual lover. I was thrilled when Margot moved on from Jake and fully embraced her lesbian identity. I was glad that Tales of the C ity acknowledged the fact that not all relationships survive a partner transitioning, and that's just reality. As a trans man, I would definitely recommend this show (with caveats, as per the warnings below). It's sometimes frustrating, confronting, and even upsetting, but it's very good. I personally view Jake as a selfish, immature young man... but that's okay. Tales of the City takes a typical soap opera format and inserts LGBT+ identities into tropes which have been thoroughly explored by cishet characters from countless mainstream soap operas. This time, the character who cheats on his girlfriend and hates himself for it happens to be trans. Makes a change from all of the cis blokes and ladies who do it in films and shows! WARNING: Some potentially-confronting themes. In terms of general warnings and themes which could make some people uncomfortable, prepare for the following: Drug use and frequent heavy alcohol use. This includes using alcohol to deal with stress. Discussed emotional abuse/neglect of children by parents. Slurs, both reclaimed and used negatively. The beating, imprisonment, and implied sexual assault of trans women by police officers. Police brutality and corruption. Multiple explicit sex scenes. Full-frontal nudity. Implied groping and sexual harassment, which is laughed about because the perpetrator is an "old queen". He's "handsy", particularly with the straight man he "has a thing for", which is apparently... funny. To understand why I don't find that funny, see Part 1 and Part 2 of Sexual Assault of Men Played for Laughs . Another thing that really frustrated me, as a man who is diagnosed with Obsessive Compulsive Disorder, was the misuse of "OCD" to describe non-disordered tidiness and cleanliness. "I am OCD about wiping down the sink," says one character, with his partner also saying, "He's way too OCD." I am absolutely baffled that these misrepresentations of OCD made it through an apparently inclusive, progressive writing process, and that (evidently) nobody pulled the writers aside and strongly said, "this shit is harmful". Framing OCD as a quirky personality trait perpetuates the misunderstanding and unacceptance which actual sufferers face. When we tell people that we have been diagnosed with OCD, we're often laughed at, or told that we're just a little too tidy and need to loosen up. In actuality, OCD can take many horrific forms; intrusive, unwanted thoughts about sex with family members, washing your hands until they crack and bleed, spending an hour checking that your stove is turned off and still being terrified that it's not, facing horrific thoughts of killing yourself despite not being suicidal, and so on. OCD is a hugely misunderstood condition, and media like this perpetuates that misunderstanding, preventing people from realising that they have it, and worsening the stigma when they try to seek help. If you do not have OCD, please view those moments in the show critically, as an example of what not to do when discussing non-disordered tidiness or a preference for cleanliness. Entry last updated: 24 Feb 2026

Bobby, a trans man played by English trans male actor Pete MacHale and actor Saoirse Wren Beckner, searches for his father's spirit after the man drowns at sea. In the Name of the Father Short Film 2021 England Bobby, a trans man played by English trans male actor Pete MacHale and actor Saoirse Wren Beckner, searches for his father's spirit after the man drowns at sea. Watch. Available Summary: Bobby is a trans man in his early twenties, and his father a typical baby boomer. When Bobby’s father drowns in the ocean, he is left paralysed without his validating figure and begins a journey to find him in the afterlife composed of an intimate childhood flashback, and facilitated by a trio of angels. - Otherness Archive . WARNINGS: Death, grief, implied suicide. Entry last updated: 18 Mar 2026

Masaki, a Japanese trans male bartender in Tokyo, is interviewed about his life and experiences. We Went to an FTM Trans Bar in Tokyo Interview 2020 Japan, Canada Masaki, a Japanese trans male bartender in Tokyo, is interviewed about his life and experiences. Watch. Available Summary: Tokyo BTM go to a Trans bar for the first time and talk to its owner, Masaki-san, about life as an FTM trans person, marriage, kids, and the current state of transgender issues in Japan. -YouTube. Jack's Summary: In this video, Meng and Andrew, cis gay men from China and Canada, visit an FTM/LGBT+ bar and speak to the owner; a Japanese trans man named Masaki. You can visit the bar's website here. The pair have a very lovely interview with Masaki, who says that he wants to share his experiences with others. Andrew chides Meng at one point, when Meng asks Masaki why he wanted to become a man. "It's not that he wanted to become a man," Andrew interrupts, "I believe he has always been a man in his heart." Although Masaki did not seem offended by the phrasing, it was so sweet to see Andrew making this distinction. Later, Masaki says he does not mind very personal questions about his private life and transition, explaining, "Had I minded, I probably wouldn't have started an FTM bar... I want people to know more about us. Feel free to ask a lot of questions, so you can share the knowledge with others... Because I was helped by other people who shared information with me, I would like to pay it forward, and share this knowledge with others in the hope that it helps people". Masaki explains that, when he was young, he struggled to figure out if he liked women "as a man, or as a woman". He figured out that he was trans when he started to go through puberty, and realised that what he was experiencing had a label; gender dysphoria. Fittingly enough for this website, Masaki talks about the importance of TV shows with trans male characters, specifically Kinpachi-Sensei , which featured a trans male character named Nao Tsurumoto. He also talks about his wife, who he married two months after their first meeting, and about their two children, who were conceived with a sperm donation from Masaki's brother. The interview also includes discussions about language preferences within the trans community, and the fact that all trans people use different terms to describe their experiences. Masaki also talks about participating in Tokyo Pride and Taipei Pride. It's so wonderful to hear Masaki talking about his life, and to get a window into his experience. Entry last updated: 8 Feb 2026

Shannon Minter, an American trans man, is interviewed about his life, transition, and pursuit of LGBTQ legal equality. Shannon Minter Interview 2016 United States of America Shannon Minter, an American trans man, is interviewed about his life, transition, and pursuit of LGBTQ legal equality. Watch. Available Summary: Shannon Minter was born on Valentine’s Day, 1961. He grew up female in a close-knit family and faith community in East Texas. In high school, Shannon came to the conclusion that he was lesbian, and eventually came out to his family as such. After graduating from University of Texas at Austin, Shannon attended Cornell Law School. During his last year there, he began to identify as transgender. He graduated from Cornell in 1993, and in 1996 began transitioning. Shannon thought that after being rejected by his family for being lesbian, coming out as transgender might somehow be easier on him and them. It was the opposite. The resulting rift in his immediate family and extended church community took decades to heal. Shannon has devoted virtually his entire career to the quest for LGBTQ legal equality. Many of his cases have set precedents that safeguard LGBTQ rights. In 2001, he successfully advocated for a woman named Sharon Smith to file a wrongful death suit after a neighbor’s dog killed her partner. In 2003, he defended the custody rights of a transgender father. In 2008, he was lead counsel for same-sex couples in the case that ultimately instituted marriage equality in California. In 2005, Shannon received the Ford Foundation’s Leadership for a Changing World Award. In 2009, California Lawyer named him one of their California Lawyers of the Year. In 2015, Shannon was invited by President Obama to interview and recommend potential candidates for senior positions within the White House staff. And when the world seemed to turn upside down in November 2016, Shannon rose to the occasion, securing an injunction to stop President Trump’s proposed ban on transgender people in the military. Today, Shannon serves as legal director for NCLR and on the boards of Faith in America and the Transgender Law & Policy Institute. He lives in Washington DC with his wife, Robin. OUTWORDS was honored to sit down with Shannon in August 2016, at the tail end of the Lavender Law conference in Washington DC. Shannon was clearly exhausted, and perhaps for this reason, very reflective. His stories of growing up surrounded by love in East Texas, and then having that love withdrawn, were told through lots of tears. Afterwards, Shannon quickly posed for a couple of portraits, then headed home to Robin. -OUTWORDS Archive. Entry last updated: 8 Feb 2026

Emil, a teenage trans boy played by Danish actress Laura Emilie Hancock, binds with bandages, presents masculinely, cuts his hair with house scissors, and is mistreated by his mother when he comes out. BOY Short Film 2014 Danmark (Denmark) Emil, a teenage trans boy played by Danish actress Laura Emilie Hancock, binds with bandages, presents masculinely, cuts his hair with house scissors, and is mistreated by his mother when he comes out. Watch. Jack's Summary: This is about as stereotypical as FTM representation gets. Emil, born Emilie, is a young trans man played by a light-skinned, slender actress. He binds his chest with bandages . He gives himself a choppy haircut at home. He endures transphobia from a female relative who randomly deigns to abandon hate and bigotry, in contrast to everything she's done prior, thereby allowing the trans man a happy ending. Isn't she generous! The description above perfectly describes 3 Generations , funnily enough. Both of these films made me cry like a baby, when I was earlier in my transition... so, yeah, I'll admit that these tropes come from somewhere. That doesn't mean the experiences in this short film are universal, or that oft-repeated stereotypes aren't harmful in reducing trans men to one physical ideal... not to mention the harm of depicting bandage binding in an uncritical way. When I first watched this short film, I wondered whether Emil's actress might have been trans as well, given that her middle name is Emilie; perhaps this film was expressing a personal gender non-conformity or a desire to transition. Over a decade later, Laura Emilie Hancock is still labelling herself as an actress, so (insofar as we can ever know what's happening in an actor's life) this does appear to be yet another young trans man played by a young actress. This is not always a bad thing, as Facing Mirrors proved, and sometimes allows for trans stories to be told where trans actors cannot be involved... You can make up your own mind about these casting choices, and form your own opinions. Side note... In the 2018 film Girl, Belgian actor Victor Polster plays Laura, a trans girl whose birth name is Victor. It's curious that both BOY and Girl gave their trans protagonists deadnames based on the actors' names. I'm not sure why this choice was made in each instance, and I find it interesting. Entry last updated: 23 Mar 2026

Paul Millander, an intersex trans man played by cis male actor Matt O'Toole, is a serial killer who embodies harmful tropes about trans men and people who are born with innate sex variations. CSI: Crime Scene Investigation (S01E01, E08, S02E13) Show 2000, 2002 United States of America Paul Millander, an intersex trans man played by cis male actor Matt O'Toole, is a serial killer who embodies harmful tropes about trans men and people who are born with innate sex variations. Jack's Summary: Thank you very much to Buck for reaching out and letting me know about this show's incredibly transphobic caricature of a trans man. Paul Millander, the highly unrealistic FTM character, is also an intersex serial killer whose gender-ambiguous childhood is framed as the root cause of his aggressive and anti-social characteristics in adulthood. Violence and murder are baked into the foundations of why he transitioned and chose to "become a man". He embodies many harmful tropes in one messy, lazy jumbling of poor writing, including a laughable scene where he enters an elevator as Pauline (played by a feminine actress) and exits as a fully-transitioned man named Paul (played by an actor), having undergone that magical all-at-once sex change which we all definitely have... that apparently changes every single one of our facial features, too... and causes years of testosterone to take effect all at once... Millander's final episode is titled "Identity Crisis". His story ends with him violently murdering his mother before killing himself. His birth certificate, with his previous name on it, is placed near his corpse in an appropriately tacky, cheap way which sums up the character's entire being; he exists only to be intersex, trans, violent, and doomed from the start because his parents forced gender ambiguity onto him. In that way, he is similar to the trans male character in Private Parts (1972). And, beyond the transphobia, this is a horrific depiction of an intersex person. You can learn more about intersex people here . Entry last updated: 8 Feb 2026

Fred Rococo, a trans man played by American trans comedian/actor/performer Murray Hill, is an emcee and professor of agricultural sciences. He gets married to a woman in the show's second season. The series itself is a comedy that has been very well received, and does a wonderful job of humanising both cis men and trans men. Somebody Somewhere Show 2022 United States of America Fred Rococo, a trans man played by American trans comedian/actor/performer Murray Hill, is an emcee and professor of agricultural sciences. He gets married to a woman in the show's second season. The series itself is a comedy that has been very well received, and does a wonderful job of humanising both cis men and trans men. Season 1 Trailer. Season 2 Trailer. Season 3 Trailer. Available Summary: Sam is a true Kansan on the surface, but, beneath it all, struggles to fit the hometown mold. Grappling with loss and acceptance, she discovers herself and a community of outsiders who don't fit in but don't give up. -IMDb. Jack's Summary of Seasons 1 and 2: Fred Rococo is introduced in episode 1 as the emcee of a church “choir practice”, which is actually largely a gathering of LGBT+ people, sharing stories and singing and doing spoken word acts. Sam, the protagonist, is invited there by her friend Joel, who also encourages her to sing onstage. Fred is an enigmatic, smooth, well-dressed guy, played by Murray Hill. Hill is a comedian and trans pioneer of drag king performances, and I'm so glad he was included in this series. I'll be honest... I cried at the end of the first episode, which is not a common occurrence for me. Having experienced discrimination and isolation in my hometown, Sam and Joel's song about not giving up really left an impact. And I'm not alone in recognising the profound emotion and brilliant quality of this show; the first season has a 100% approval rating on Rotten Tomatoes, and a 92% average audience score. Even aside from the trans inclusivity, this is an awesome show. Fred talking to a waiter. In S01E02, Sam attends brunch with her new friends. Fred is among the group. When a visibly anxious waiter approaches the table, asking how the meal was, Fred confirms that it was good. "Thank you, sir," the waiter says, hurriedly correcting himself and instead saying, "ma'am." "Hey, you got it right the first time," Fred responds with a smile. At the end of the meal, after Fred has left, Sam notes aloud that Fred is a very good tipper. Joel agrees and says, "Especially for waiters who feel uncomfortable." This is a very sweet, understated moment. In Fred, Hill brings to life an older trans guy who has decided not to transition medically ( as discussed by Hill in real life ) and lives his life as his most authentic self. He understands that sometimes strangers will perceive his gender incorrectly, but that doesn't stop him being who he is. When the waiter next appears, in season 2, he refers to Fred correctly, as "sir". These quiet interactions offer hope and positivity to trans men who live similarly to Fred. Fred and his friends playing poker. One reason I love Fred is that he feels real, like a guy I might encounter at a local trans gathering. He's wise, funny, and self-assured. When a main character references a song during a poker game, saying, "put your dick away," apropos of nothing, Fred replies, "I already did, it's under the sink," without missing a beat. This quick, blink-and-you'll-miss-it reference to packing is exactly the type of joke I've heard made by my FTM and transmasculine friends. Fred and Ed. Fred is a Professor who specialises in agricultural sciences, and intervenes with his students to help Sam's father (Ed), whose farm is struggling financially. Ed is also struggling personally and refuses to confide in anybody, including his daughters. In a beautiful scene, he tells Fred that he finds it very difficult to work through emotional issues, and he doesn't know how to talk to people. Fred is supportive of him and, when he pats Ed on the arm, Ed reacts with surprise at being treated in such a supportive way. It's a gentle, simple, very tender portrait of solidarity between men and the masculine-identified, which emphasises that men need support too. While at his own wedding, Fred toasts Ed: "I'd like to say a few words about our host, who's not here. About a year ago, Sam asked me to come out on the farm to help her out. And, from the moment I walked in, I felt such a deep connection with Ed. Y'know, we were just two guys who shared a love of the land. It wasn't about him accepting me. It wasn't about being nice. He just saw me. That's a rare thing, no matter where I am. So, if he were here today, my friend Ed would be my best man. So, raise your glasses, everybody. Raise' em high!" I so appreciated Somebody Somewhere for treating a masculine cis man as the source of such connectedness and friendship, because I have found such blokes to be some of the most kind, calm people when it comes to my own identity. And, when they open up and seek comfort, it feels like a privilege to be the person that they turn to. Fred and Susan. In the show's second season, Fred introduces his fiancé, Susan, to his group of friends. "It's always been Fred, for me," Susan explains, "He didn't want me to hide, so I had to come out to my dad. I said, I'm dating someone who is important to me. He's trans, and I want you to know." It's established that, prior to Fred, she dated numerous men. Somebody Somewhere is set in a conservative area where many townspeople view LGBT+ identities as sinful, so it makes sense that Susan might have to "come out" as a woman in a relationship with a trans guy (even if she's heterosexual), especially since that trans guy is not medically transitioning and therefore has less opportunity to live low-disclosure. Interpreted that way, her comments reflect a determination to be respected as a woman who loves as trans guy, and a determination to ensure Fred's gender is respected. Fred and Susan's wedding. What Somebody Somewhere offers, perhaps most importantly, is a trans guy getting his happy ending. Fred is middle-aged, he's qualified and employed as a Professor, he has friends who love and respect him, and we get to watch as he settles down with a woman who is attracted to him. This show isn't about early-transition conflict or angst, and doesn't centre on the experiences of trans youth. Fred shows trans male viewers that something comes next, that life continues once you're no longer freshly out of the closet and trying to navigate the earliest stages of your transition. That is hugely important. We need more older trans guys in films and shows! WARNING: Potentially confronting themes. The show overall explores heavy and serious themes, often in lighthearted ways. Sam herself experiences depression following the death of her sister, and works to overcome social anxiety, low self-esteem, and hopelessness. While the subject matter in Somebody Somewhere can be sad, it's never sad to the point that it's unwatchable (in my opinion). Humour, brilliant acting, and solidarity between misfit characters makes for a touching series. The show also deals with the following: Bullying and humiliation. Possessiveness and jealousy in a friendship. Persistent insults and put-downs directed at Sam, usually by her female family members. A mother being cruel and aggressive towards her children. Alcohol Use Disorder leading to aggression, denial, rehab, family dysfunction, and the physical endangerment of family members. Trauma from negative school experiences. The impact of a stroke on a family. Homophobia and lesbophobia. Anti-LGBT+ bigotry under the guise of religion. Infidelity. Body image struggles. There is also crude and vulgar humour that might be uncomfortable (depending on your standards), especially in season 2. Entry last updated: 23 Feb 2026

Sam, a masculine-presenting teenager played by American actress Linsey Godfrey, endures bullying, sexual assault, and shock aversion therapy before being killed in an act of assisted suicide. His death is investigated years later, by police officers who mock his masculinity. Cold Case (S05E09) (2004) Show 2004 United States of America Sam, a masculine-presenting teenager played by American actress Linsey Godfrey, endures bullying, sexual assault, and shock aversion therapy before being killed in an act of assisted suicide. His death is investigated years later, by police officers who mock his masculinity. Available Summary: In 1963, a teenage girl caused a stir by dressing and behaving like a boy. She was found dead and considered a suicide victim, but the team wonders if the girl was actually murdered. -Prime Video. Jack's Summary: Take note of the wording in the episode's synopsis; it accurately reflects how Sam's identity is framed. This episode is split into two parts; in the modern-day, police derisively and condescendingly discuss Sam's life and death, mocking his masculinity; in the past, scenes of Sam's life are shown, with his friends, teachers, and family treating his masculinity as a problem, and ignoring the abuse he experiences as a result. It is unclear what Sam's identity is but I believe him to be a trans boy. He presented and passed a boy at school, and would have continued doing so if he hadn't been outed in an act of sexual assault. He feels that his masculine gender is innate, and insists that he is just trying to be himself. Though he is addressed with lesbophobic slurs, he is not attracted to girls at all. He is only ever shown being attracted to boys. His father refers to him as, "the son I never had". Of course, he could be a transmasculine person of another description, or even a heterosexual tomboy. To me, this character reads like a trans guy. You are free to make up your own mind. Sam crying after seeing "QUEER!" graffitied on his school desk. This is a pretty horrible episode. Sam's masculinity is largely treated as a joke, and Sam himself is a poor martyr whose sole purpose is to be victimised and overcome by tragedy. He starts the episode being groped in school, after which he is hauled into the principal's office and admonished for presenting masculinely. "You will dress like a girl because you are a girl, Samantha," the principal says. "It's Sam," the teenager snaps immediately. "Sam is a boy's name. Let's get that straight," the principal responds, "You'll go by Samantha at this school." Sam in the principal's office. After some more shaming and puritanical hand-wringing from the adults in the room, Sam demands to know, "Why can't I just be who I am?" The principal coldly asks, "And who, or what, exactly, is that?" Sam falls silent; he does not know. This is the 60s, and he does not have a label to explain what he feels. All he knows is that he is masculine, he did not choose to be, and presenting as a girl is uncomfortable. In the future, Sam's father regretfully recalls, "I used to tell her it's a phase. When you're older, you will look back and laugh at yourself for acting this way. Guess I was wrong." As the episode proceeds, Sam continues to be bullied by those around him and defends himself as much as possible, developing a friendship with a boy named Dom. The pair bond over cars, and Sam helps him win a drag race. When Dom asks Sam why he doesn't act like a girl, Sam answers, "'Cause this is just the way I am. I don't know what that makes me. It just feels right... I'm not trying to be anybody else. Just me." Assuming that Sam is a lesbian, Dom asks whether he likes girls. Sam says no, he doesn't. He says that he likes Dom, and kisses him without consent. Dom, disgusted and clearly viewing Sam as something other than a girl, jumps away and yells, "I'm not some queer!" He threatens to bash Sam's head in, and then leaves. Sam being cornered at school. The next time Sam attends school, he is attacked by a group of boys, who pin him down and try to smear lipstick on his face. Dom sits nearby, and does not intervene. Sam is then institutionalised, strapped to a bed, screaming for his father to get him out. His resistance to "treatment" results in him being subjected to electric shock aversion therapy which leaves him with a brain injury. Sam in the correctional institution. Dom finds him in the institution, dressed in feminine clothing and barely able to speak. Sam manages to say, "Make me free," which is apparently all of the encouragement that Dom needs to smother him with a pillow, killing him. How did Dom know that Sam was requesting to be killed, in this moment? Why didn't he carry Sam out of the hospital and at least try to get him medical care elsewhere, or take him to his father's home? Why not assume Sam was begging to be freed from the torturous hospital? Why assume his impacted speech and limited physical movements indicate a life unworthy of living, making death the only solution? Why assume he cannot live on as a disabled person, or possibly recover from the torture someday? Well, the answer to all of those questions is simple... Sam was brought into existence just to die. Specifically, to die in a traumatic, tragic way. He is a plot device, a source of mockery and disgust, with his gender condemning him to death. He never had a chance. Dom, who has supposedly come to respect Sam's masculinity and indeed wants him to be free, gives him a totally respectful death by dumping his body in a lake... as though he is a piece of trash... still wearing the red dress he would never have willingly worn in real life. This definitely isn't Vámonos . Entry last updated: 14 Mar 2026