THE ‘PROBLEM’
While the transgendered community has received a significant increase in visibility and representation in television in recent years, the trend is only just beginning. To date, few trans characters are portrayed as “dynamic” in media, with most media having a cisgendered (skewing toward people whose biological gender matches their identity) bias (Conrad 1). There is an increasing population of trans people who wish to have greater representation in their media, and the outlook is currently positive given the greater tolerance of LGBT people in mainstream American culture (Wellborn 66). However, this process is merely beginning.
According to Hart, the four stages of media representation for social groups is non-recognition, ridicule, regulation and respect. Transgendered characters experienced non-recognition for most of media’ history, in that “the group simply does not appear at all in media offerings” (Hart 598). In the 1970s and beyond, trans people experienced ridicule, where “the group is stereotyped” – here, trans people were ridiculed as swishy crossdressers and ‘shemales’ whose existence brought sexual anxiety and horror to cisgendered people (see: Sean Young in Ace Ventura: Pet Detective) (Hart 598). In the third stage, regulation, “members of the social group are presented as protectors of the existing social order” – this stage has appeared in many instances where trans people are an afterthought, and their struggles are not respected (Hart 598).
However, we are just now entering a stage of respect for trans characters in television, with shows like Orange is the New Black, TransParent and Sense8 showing virtuous, respectable and even heroic trans characters. While these are high quality shows with fantastic representation of trans characters (many of whom are actually played by trans actors and actresses), there is still a long way to go. Currently, there is still a dearth of programs featuring trans actors and actresses playing trans characters, as well as trans characters who have not, or are not yet, transitioning. The issue of transitioning is an important one in trans culture, and a spectrum exists on how much physical transitioning a trans person needs to experience (Wellborn 74). Many trans individuals do not have the money, time or inclination to perform physical surgeries to make their exterior look more like they feel inside. Most depictions of trans women focus on glamorous trans women (like Laverne Cox, Jamie Clayton or Caitlyn Jenner) who can afford to, and have, undergone successful physical operations to become biological women. However, as these are the major examples of trans women in media, the representational deficiency of non-operated trans people is quite low, if not nonexistent.
SUMMARY
Male-to-Female-to-Me would be a weekly single-camera comedy show in the vein of comedies like Orange is the New Black, TransParent, Girls, Master of None, Louie and more. It would focus on a trans woman named Elise, a poor standup hoping to make it in New York City. Elise is a pre-op trans woman who is still biologically male and has only just started their discovery that they are trans. The course of the series would deal with her both trying to make it as a standup comedienne, addressing her newfound issues with being trans, contemplating the complexities of the transitioning issue, considering hormones, operations, and so on. All of this would be compounded with the typical interpersonal relationships and family drama that comes with a half-hour sitcom of this stripe. Story arcs could deal with her standup friends who are still struggling with dealing with the transition, a budding relationship with a man who wrestles with his own feelings about whether to consider Elise a woman, and more.
The pilot episode, for instance, would begin with Elise looking at herself in a mirror, in a dress, looking otherwise quite masculine. We would hear Elise coming out to her audience in a standup routine, to a cold response and strange stares. The pilot would then deal with her awkward, but humorously confusing conversation with her parents as she announces her transition; they are, if anything, too supportive and overbearing in their help, albeit clueless. She then has brunch with her friends, who try to get their heads around the issue, asking her about transitioning, etc. Some friends would not ‘get it’ or respect her identity, and would leave her. She then has another standup routine, fueled by her new confidence, and it has a more positive response (though one that indicates she has a way to go as a standup and as a woman). The pilot would end with her waking up in bed next to a man she had a one-night stand with (the first as a woman). A smile grows across her face as the pilot cuts to credits.
TARGET DEMOGRAPHICS/NETWORK FIT
Male-to-Female-to-Me would attempt to capture much of the same demographics as the prestige cable/streaming site service crowd, like HBO, AMC, Netflix and Amazon Studios. These would be 18-34 millenials with disposable income, left-leaning political values, and a similarly awkward sense of humor and style as the characters. Young, rich city dwellers with open minds are the ideal demographic this show would appeal to. Of course, it is hoped that Male-to-Female-to-Me would also resonate with the trans members of these demographics, as it would provide much-needed representation for a segment of trans people that age who are not represented in mainstream media. For instance, I believe that this would be a fantastic fit for HBO; the comedic and aesthetic approach would be extremely filmic but raw, with the look of an indie film, somewhat similar to the looks of Girls and Master of None. HBO, if given this show, would have a show that fits the mood of many of their other sitcoms/dramedies (Girls, Togetherness) while also competing with Netflix and Amazon’s greater trans representation with Orange is the New Black, TransParent and Sense8. Male-to-Female-to-Me would fit these molds of quirky, indie sitcoms with dry humor and a touch of bittersweet pathos (like FX’s Louie), while offering the perspective of a trans lead character. Of the shows already mentioned, only TransParent offers a trans character as a sole lead – the other shows feature trans characters as supporting characters in an ensemble. Male-to-Female-to-Me would add to that show’s central focus by, ideally, casting an actual trans actress instead of a cis actor playing a transwoman.
DAY/TIME
If this were to air on a network, it would likely be one of the prestige cable companies, and would air on a weekend night (Saturday or Sunday). This fits with the adult themes of the programming, and also fits these late-night primetime slots that are perfect for consumption of these and other shows in the same timeslots (e.g. Girls). However, it is most likely that this kind of show would end up on a streaming site like Netflix or Amazon, in which case the day and time would not be strictly relevant, just release date.
CASTING AND REPRESENTATION
As previously stated, it is our intention to cast an actual trans actress in the lead role of Elise. She would be the only trans regular cast member, in order to emphasize the outsider nature of how Elise feels as a newly-minted trans woman. We would, however, like to regularly feature many trans supporting and guest characters, particularly trans men and women of color, to allow Elise to contrast her experience with other trans people. Her friends and family would likely be white and cisgendered, and we would draw from those casting pools, but only in order to bring up conversations that these kinds of hip, young millennials will have (cis white millennials being particularly attuned to white privilege and social justice). If organic, however, we would ideally like to have women and people of color form a substantial part of the supporting cast.
SPONSORS
Sponsors for this show would likely be hip, trendy brands, like clothing brands (American Apparel, Urban Outfitters, etc.) geared toward hipsters and tech-savvy millennials. These companies are already aware of 18-34 educated millennial city dwellers as a demographic with an appealing disposable income, and the trans audience within that subsection has not been appealed to directly yet.
PRODUCT PLACEMENT
The hip millennial setting of New York’s gentrified urban culture provides many opportunities for luxury items to be featured as product placement. Technology such as Apple, Samsung, and more would be provided on the show in the form of laptops, smartphones, headphones and more, to reflect the tech-savvy nature of these city-based young people. Elise’s suburban family, meanwhile, could drive a beautiful sedan or SUV provided by Lexus, Kia or Honda, or another comparable car company. (Possibly even a Tesla Roadster.) Artisanal brands would likely be used by the young characters, giving opportunities for artisanal beers, coffees and more to be featured, like Starbucks and the like. Elise could use KitchenAid appliances in her apartment as she cooks, or eat at McDonald’s. Characters could shop at hip clothing stores (like the aforementioned Urban Outfitters and American Apparel) during conversational scenes. Characters can prominently hold bottles of Naked juices, Intelligentsia coffee, or prominent soda and alcohol brands like Pepsi and Budweiser. Prominent guest actors can show up as other prominent standups (Louie CK, Marc Maron) to provide visibility to new shows, films or other projects they are releasing around the airtime of that episode.
PROMOTION
Promotion would chiefly occur online – many young people use the Internet and streaming sites (Netflix, Youtube, etc.) more than regular programmed television for their media consumption now. Trailers would be shown on Youtube and advertised across social media, and large social media campaigns through Facebook, Twitter and Instagram would be used to get the word out among young people. Trans people can be particularly reached through media campaigns on Tumblr, and promotion for the show can be funneled through social justice campaigns and pushes for activism through social media to trans communities.
RISK/REWARD FACTOR
Even though the transgendered community is gaining more and more respectability and tolerance within modern American culture, the prospect of a trans-led American sitcom that heavily features trans issues is still a risky sell. It might be possible that many mainstream viewers would not relate to the struggles of a trans woman, especially one that is front and center of her own show, and is not physically transitioned so as to ‘soften the blow’ of discomfort that cis men, for example, might have against people like Elise. Laverne Cox’s popularity as a trans actress is often attributed to her beauty, which she got through rigorous work and operations, as she fashioned herself as a style icon. Elise will be decidedly unsexy in that traditional way, as she will be figuring herself out and, eventually, rejecting the idea that she has to physically transition in order to be accepted as a woman. To that end, this will be a very socially challenging show.
However, the potential rewards for airing a show like Male-to-Female-to-Me would be numerous. Regardless of the ratings and the eventual quality of the show, the social justice prestige that the show would garner for its brave tackling of issues like these would gain substantial media attention, which can translate to good ratings and better returns from advertisers. Furthermore, it is an endeavor that would enable advertisers and producers to feel that they are on the right side of history; taking such a ‘brave’ stance on trans issues would help increase their profile and credibility in an increasingly progressive media landscape.
References
Campisi, C. (2013). Homonationalism on TV?: A Critical Discourse Analysis of Queer and
Trans* Youth Representations on Mainstream Teen Television Shows (Doctoral dissertation, Université d'Ottawa/University of Ottawa).
Conrad, A. (2015). Towards a Truer Representation: Transphobic Casting Politics and the Cis-
Gaze in Film.
Fink, M., & Miller, Q. (2014). Trans Media Moments Tumblr, 2011–2013.Television & New
Media, 15(7), 611-626.
Hart, K.P.R. (2000). Representing gay men on American television. Journal of Men’s Studies
9(1): 59-79.
Wellborn, C. (2015). REACTIONS OF THE TRANSGENDER COMMUNITY REGARDING
MEDIA REPRESENTATION (Doctoral dissertation, UNIVERSITY OF TEXAS AT ARLINGTON).
