My Transsexual Summer: The trouble with television

The medium’s ability to improve its own minority representation is strictly limited.

The medium’s ability to improve its own minority representation is strictly limited.

Many of my friends are talking about My Transsexual Summer, which recently began on Channel Four, featuring seven people from across the gender diversity spectrum. Some are cisgender (crudely, not trans), often with little knowledge of trans living beyond what I've told them, who say the show offers accessible, sympathetic insights into the social challenges of transition. Conversely, my trans friends, some of whom had high hopes for the series, have tended to vent frustration that (besides other things) it fails to air the experiences of those who do not simply wish to move from one side of male/female to the other but find space within the gender binary.

I won't review it from a trans perspective: Sarah Lake, Dru Marland and several others have done so, better than I could. The consensus seems to be that My Transsexual Summer has faults -- its title erases the subtleties of the participants' gender identities, and its voiceover and editing do not entirely avoid sensationalism -- but that in showing trans people together, rather than disparate, isolated individuals as in previous documentaries, it demonstrates a vibrant culture on television for the first time.

This is an incremental step forward for trans media portrayal, but still raises questions about how far TV is capable of providing satisfactory minority representation. Maxwell Zachs, of, My Transsexual Summer, has expressed some dissatisfaction with the show, whilst my own engagement with the industry has been less than encouraging.

If you didn't know (and I've had calls from media companies who'd somehow missed it), I'm transsexual, and often write about it, trying to use my experiences to open dialogue about wider trans concerns. (Apologies to my FtM friends: I've tended to focus on trans women as I don't feel as qualified on trans men.) I do this because, for years, I felt that while trans people were regularly discussed in mainstream media, used as objects of ridicule in lazy comedy shows, or attacked by certain feminists or conservatives, we were seldom allowed to frame our own stories and present counter-arguments on an even footing.

In particular, when I began apprehending myself through newspapers, films and TV, I resented the stereotypes of trans women as psychotic (Psycho, Dog Day Afternoon or Dressed to Kill) that persisted into the Nineties (in Silence of the Lambs, for one). These still hadn't quite disappeared nearly twenty years later, when I decided (independently of other groups and individuals pursuing similar aims) to work within the mainstream media towards more positive representation.

After I'd written about six instalments of my Transgender Journey series for the Guardian, which aimed to reduce the decades-long gap between transgender theory and the broadsheet press, I got an email from someone at a company who'd produced films, and programmes for the BBC and Channel 4. This person had read my blogs and proposed meeting about a possible TV drama about people in transition.

Perfect: I'd attempted something like this before writing the Guardian column, as I thought that a colourful, humorous narrative with engaging characters could potentially challenge preconceptions about trans people for a far wider audience. I felt that although I'd created a plausible world with interesting characters, I was average at dialogue and weak on plot. (The inevitable consequence of watching too many obscure French films where no-one speaks and nothing happens.) Now, I might be part of a well-balanced writing team with two promising young playwrights, and we could aim at a cultural landmark equivalent to Queer As Folk or The L Word.

Friends in/around the industry warned that lead-in times are always long; sure enough, we struggled to arrange the meeting. Finally, after fifteen months, resolution: the project had been shelved as "Sky have a drama coming up about a pre-op transsexual hitwoman". As far as the producer was concerned, this programme -- which had annoyed trans bloggers even before it was cast -- meant no market space for anything trans-related, no matter how different, for the foreseeable future. Perhaps, I thought, I'm best out of this.

Writers being disillusioned with the infrastructures of screen media is nothing new: think of Bertolt Brecht or Clifford Odets' disastrous inability to deliver what Hollywood producers required (the latter providing inspiration for the Coen Brothers' Barton Fink), or Jean-Paul Sartre's unwillingness to compromise for director John Huston on Freud (1962). But the television industry's incapacity to foster formally or politically radical content is even more pronounced than its cinematic counterpart, for numerous reasons.

With so many channels broadcasting around the clock, the listings are full of unscripted programmes -- sport, reality TV, panel shows -- which are relatively cheap or have fixed budgets. This has the effect of making television appear a world where writers are neither needed nor wanted, but it happens because the financial and visual demands of written serials are so high. (Charlie Brooker explains the costs brilliantly here.) As audiences will apparently change channel unless the pace is utterly relentless, a programme like Tony Hancock's Radio Ham, set in one room, is no longer tenable, so screenwriters must create fast, action-packed and above all short scenes across a number of locations, keeping firmly within budget.

This is not bad in itself: these constraints offer interesting challenges to writers, and when met successfully, produce fantastic shows. (The first episode of Shameless is a case in point.) The key limitations are not those of form, but content: what really puts off writers with specialist knowledge are producers' prejudices about what viewers will accept or understand which, coupled with their methods of audience testing, remain the greatest barriers to any big improvements in coverage of minority subjects.

Circumventing these gatekeepers is far harder than in writing (where bloggers have successfully challenged editors' beliefs about what people will or won't read). For My Transsexual Summer, a number of trans people, including CN Lester, and Paris Lees of pressure group Trans Media Watch, consulted with Channel Four: the broadcaster's willingness to listen is encouraging, although all the above blogs explicate the number of compromises necessary to get this show -- imperfect but still significantly better than what came before -- to air. At this point, given its financial and political structures, the limited level of improvement in trans representation on TV shown by My Transsexual Summer is probably the best we can expect.

Juliet Jacques is a freelance journalist and writer who covers gender, sexuality, literature, film, art and football. Her writing can be found on her blog at and she can be contacted on Twitter @julietjacques.

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Tetris and sleep deprivation: how we can help emergency workers cope with trauma

First responders are at serious risk of developing PTSD during events like the Paris attacks. 

Some people seem able to deal with anything. They save a stranger from bleeding out in a bombed restaurant, protect passers-by from heavily armed gunmen, pull dead and dying people out of collapsed buildings, and they keep going because it is their job. These people are first responders.

When trauma goes on for days, as it has recently in Paris, however, the odds of them bouncing back from the violence, death and injury they are witnessing rapidly diminishes. They are at greater risk of developing a severe stress reaction known as post-traumatic stress disorder (PTSD). One study found that the worldwide rate of PTSD among first responders is 10 per cent, much higher than the 3.5 per cent rate among those not involved in rescue work.

Tetris to the rescue

So how best to address the problem? Research is in its infancy, but there are some promising studies. Emily Holmes’ group at the University of Cambridge has been looking at the benefits of playing Tetris, a video game, after a traumatic experience. The idea is that this could block the consolidation of traumatic memories so they don’t “flash back” later on.

For the study, her team first traumatised people by showing them distressing footage from public safety videos. The next day they invited them back into the lab to reactivate the memories with still images taken from the videos. One group then played Tetris for 12 minutes while the other sat quietly. Over the following week, the group who played Tetris had about 50 per cent fewer unwanted memories from the films compared to the group who didn’t.

The team concluded that playing Tetris helped individuals because it soaks up their visual processing capacity, making it harder for the brain to consolidate the visual parts of a traumatic memory.

Since it takes about six hours for the brain to cement a memory, the key is to play the game soon after trauma or within six hours of re-activating the traumatic memory. How long the helpful effects of playing Tetris will last and whether it will translate into helping people after real-life trauma is still unknown.

Talking it through

Other techniques, such as “updating”, taken from a highly-effective talking treatment for PTSD, may be more practical and easier to implement.

Like a detective, updating is a technique that focuses on finding new information and linking it to the case, the past memory. This is necessary because when the brain and body are in survival mode during trauma, the mind finds it difficult to encode all the relevant facts. Often key pieces of information that could make the memory less traumatic are lost. Updating links new information to someone’s memory of their trauma to make it less upsetting.

But can updating help to reduce unwanted memories after trauma?

We carried out a study, published in PLOS ONE, in which we traumatised people by showing them terrifying films of humans and animals in distress. We then divided our participants into three groups. One group watched the films again but were given new information about how long people suffered and whether or not they lived or died – essentially, they were updated. The second group watched the same films again but without the new information. And the third group watched films of humans and animals who were not in distress. The updated group had fewer traumatic memories and PTSD symptoms than the other two groups.

Updating is now being used by some UK emergency services. First responders will gather after critical incidents and update their memories of what happened before they go home.

Sleep deprivation

There are other techniques that may be helpful. One study found that depriving people of sleep may be useful in the aftermath of trauma.

But the same study found that a week after the trauma, people who had been deprived of sleep had the same number of unwanted memories as people who had slept well afterwards. Consequently, it remains unclear whether there would be any long-lasting benefits using this method. There are, however, certainly health risks linked to lack of sleep.

Still looking for a solution

To develop preventative interventions, we need to study newly-recruited emergency workers who haven’t yet suffered on-the-job trauma and follow them over time, spotting which “coping styles”, present before trauma, may predict their reactions afterwards.

For example, some people naturally react to stressful life events by dwelling on them, thinking about why they happened for hours on end. This strategy, called rumination, has been linked to PTSD in people who survived car crashes.

If rumination predicts PTSD in first responders, then preventative interventions could train people to spot when they are dwelling on an event and refocus their attention to the task at hand.

When we have identified which factors heighten emergency workers’ risk of developing PTSD, programmes can be developed to target those vulnerabilities. Only then can an intervention, directed at first responders most at risk of developing PTSD, properly protect them in their line of work.

The Conversation

Jennifer Wild is a Senior Research Fellow in Clinical Psychology at the University of Oxford

This article was originally published on The Conversation. Read the original article.