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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Do you see yourself as British or English? The answer could help define modern politics

The rise of English identity has left a glaring space in politics for an English nationalist party. Who is going to fill it?

Political scientists call it the “Moreno question”. In the 1980s, the Spanish academic Luis Moreno Fernández came up with a test for identity, which was originally applied to gauge interest in Catalan independence. In its English incarnation, it asks voters to grade themselves from “I feel more British than English” to “I feel more English than British”. Unsurprisingly, Ukip does best among those who describe themselves as “English, not British”, while Labour’s vote rises the more people see themselves as British. In the biggest group – the 47 per cent who see themselves as equally English and British – the Tories lead.

The Moreno question helps us make sense of three interlinking trends in modern politics. First, the stark fact that in the 2015 election, a different party won in each nation of the United Kingdom: Labour in Wales, the SNP in Scotland, the Tories in England and the Democratic Unionist Party in Northern Ireland. Second, Ukip’s lack of success north of the border: the Herald reported in July that Ukip’s only elected representative in the country, David Coburn MEP, had been forced to take on the role of treasurer at his local branch in Fife because it has so few members. Third, Labour’s declining performance in its historic northern heartlands. Many voters there want a party with a distinctively English flavour and don’t feel that Labour is it.

Devolution has had many unexpected consequences, but the rise of an English identity is one of the least explored. Because of its demographic dominance, mainstream politicians have long argued that it would be unfair to give England its own parliament. Labour is particularly resistant to the idea because it would magnify the Conservatives’ power. As it is, the principle of “English votes for English laws” will exclude the SNP and Plaid Cymru from the grand committee-stage hearings on grammar schools, because education is a devolved matter.

However, the last general election showed that there’s a problem with English voters feeling ignored. In Worcester, the Tory MP Robin Walker told me in April 2015 that arguments about the SNP holding Labour to ransom cut through on the doorstep. “There is a real concern if [voters] are saying, ‘The proceeds of the mansion tax are all going to go on nurses in Scotland. That doesn’t help us,’” he said. Many English voters felt that the SNP would be a successful lobby group at Westminster for Scotland’s interests. Where was their equivalent?

For John Denham, the former Labour MP who now leads the Centre for English Identity and Politics at the University of Winchester, the same dynamic applied this summer in the EU referendum campaign. “Scotland got ‘Scotland Stronger in Europe’,” he tells me. “England had to put up with ‘Britain Stronger in Europe’. That was an elite campaign run by people who think Britain and England are the same thing.”

Once again, the Moreno question helps us understand a fundamental divide among English voters. Denham says that 80 per cent of people who defined themselves as “English only” voted Leave, while 80 per cent of those who called themselves “British only” voted Remain.

Denham thinks that this presents an enormous challenge for Labour in northern seats where Ukip is in second place, given that its intellectuals and leading politicians feel so squeamish about Englishness. “If Labour continues as a cosmopolitan, liberal party that doesn’t want anything to do with the politics of identity,” he warns, “it won’t reach those voters.”

Other politicians worry that if Labour doesn’t occupy this space, another party will. “As nationalists go, the SNP is pretty good,” a senior left-wing politician told me recently. “An English nationalist party could be something altogether more nasty.”

In this light, the election of Diane James as the leader of Ukip looks like a rare stroke of luck for Labour. She is a southerner, educated at Rochester Grammar School, and an MEP for south-east England. Although she is polished and professional – albeit prone to outbursts of admiration for Vladimir Putin – she seems unlikely to appeal on an emotional level to working-class white voters in the north, where the greatest potential for an English nationalist party lies. Thanks to Ukip’s Caligulan internal politics, the deputy leader, Paul Nuttall (from Bootle), did not stand and the charismatic Steven Woolfe (from Burnage) was excluded from the race after the party’s executive committee ruled that he had submitted his nomination papers 17 minutes after the deadline. (Another potential candidate, Suzanne Evans, was suspended by the party, and pretty much everyone else in Ukip seems to hate its only MP, Douglas Carswell.)

If not Labour, or Ukip, perhaps the Conservatives? Theresa May’s rebranding of the party, complete with articles on bringing back grammar schools in the Daily Mail, shows that she is pitching for Ukip-leaners. “In terms of language and biography, she has a better understanding of that struggling, socially conservative, English nationalist voter than Cameron did,” says Robert Ford, a professor of political science at Manchester University and co-author of Revolt on the Right. He believes that any party that thinks a simple economic message can sway these voters is underestimating the “emotive” nature of identity-based politics. “It’s no use going to Sunderland and saying, ‘We’re going to nationalise the trains,’ and thinking, ‘They’ll come back to us.’”

There is another option. A new party could be born, perhaps even out of the ashes of post-referendum Ukip: Arron Banks, its mega-donor, has said that he fancies the idea. With the right leader, nationalist sentiment could spread like wildfire among the “English, not British”. And, as Nigel Farage has shown, you don’t need to get elected to Westminster to have an effect.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 22 September 2016 issue of the New Statesman, The New Times