She’s the He - Minority Mindset

The independent comedy film titled “She’s the He,” debuted at SXSW on Sunday, features high school seniors Alex and Ethan who devise a plan during their final week of school to disguise themselves as transgender individuals in order to gain access to the female locker room. This storyline might appear to be borrowed from controversial attacks against transgender rights during the MAGA era, and that’s exactly the intention – to make a statement about such issues.

Siobhan McCarthy, a newcomer in the director and writer roles, conceived the idea around February 2024, approximately one year prior. This spark was ignited upon finding out that “She’s the Man,” the 2006 Amanda Bynes comedy, had a profound impact on many trans youth much like it did for them. This discovery led to a discussion with their friend, Will Geare (a collaborator from “She’s the He”), about the trans narratives they both yearned to see as youngsters.

McCarthy posed a hypothetical scenario to EbMaster, wondering what might happen if the common conservative concern about trans individuals using restrooms was actually acted upon. He asked, ‘How would that play out?’

McCarthy completed the preliminary script for “She’s the He” within a short span, and by July, filming commenced with an almost entirely diverse cast and team comprising transgender, nonbinary, and queer individuals. This was made possible through McCarthy’s extensive reliance on the limited circle of professional transgender individuals in the industry.

As a dedicated movie enthusiast, I can tell you it was no easy feat to not only assemble such an impressive group of transgender actors for our film – a rarity in itself – but to also find the perfect individuals to fill each role. After all, that’s what every movie strives for: casting the right people to breathe life into their characters.

Trans actor Emmett Preciado (“Good Trouble”), for instance, got the part of the tough, bullying high school quarterback, Jacob, thanks to a suggestion from friend and trans actor/activist Ian Alexander, recommended by McCarthy. Later, when queer actress Malia Pyles (“Pretty Little Liars: Original Sin”) was cast as the most sought-after girl in school, her boyfriend, trans actor Jordan Gonzalez, proposed Misha Osherovich (“Freaky”) for the vital central role of Ethan, a character who feigns being trans before discovering she genuinely is. McCarthy didn’t meet comedian Nico Carney, who eventually played Ethan’s sidekick Alex, until just a week before filming commenced.

In McCarthy’s words, “I wasn’t sure about his acting skills. All I knew was his stand-up comedy. But when we started rehearsing the first day and he performed his initial scene, for the first time, I could let out a sigh of relief because I realized we had a movie.

Following the standing ovation for “She’s the He” at Austin, McCarthy chatted with EbMaster about the motivations behind the movie, the challenging process of creating it amidst the 2024 presidential election, and their aspiration for the film (currently without distribution) to grace movie theaters.

What was the first impetus to make you want to tell this story?

The situation was complex. It turned out to be a visit back to my childhood home, during which I stumbled upon my old high school. This brought forth memories of my youth and the detachment I felt from those experiences. Since I wasn’t fully aware of my trans identity at that time, everyday aspects seemed confusing. For instance, even when someone expressed love for me, it didn’t resonate as deeply because it was conveyed from a perspective that didn’t align with my true gender identity. Reflecting on this, it was challenging not to recall the films I grew up watching and how they managed to pierce through the veil of my disassociation.

Like what?

Amanda Bynes’ movie, ‘She’s the Man,’ has been in the spotlight again recently. Upon rewatching it, many transgender individuals have shared their thoughts on social media platforms like Twitter and TikTok, expressing a desire for narratives similar to those in the film that truly resonate with the trans experience, specifically Shakespearean gender-swapping stories.

The sequence of events unfolded within a day, concluding with a discussion between myself and my co-editor, Will Geare, regarding aspects we wished we had captured, as they too are transgender. I made a light-hearted remark, musing about hypothetically exploiting conservative apprehensions towards trans individuals using public restrooms, wondering what such a scenario might resemble. This idea originated as a humorous exchange between us. Within the same day, I penned down an entire script of this concept. Will reviewed it, offered feedback, and I revised it accordingly. We continued this process for approximately three days until the first draft was complete. This happened thirteen months prior to the present moment.

Did you know right away that everyone in the cast would be queer, trans or nonbinary?

In that instance, I firmly stood my ground because I believed that the movie wouldn’t succeed if heterosexual, cis actors were chosen for the roles of Alex and Jacob, the two main characters who symbolize many men from my upbringing. Trans men, due to their personal experiences, often possess a deep understanding of the toxicity sometimes encountered by cis boys, which enables them to portray these complexities more authentically. While I’m not implying that cis men lack this understanding, I felt it was crucial for me to communicate effectively with my cast that I would be working primarily with trans men, as they share a similar perspective with me.

You were shooting and editing in the thick of the 2024 presidential campaign, which became so centered on anti-trans messaging. What was it like to have that in the background as you were putting your movie together, especially since the Republican talking point about trans kids in locker rooms was one of the main inspirations for the film?

The experience was incredibly burdensome. It’s challenging to fully express the emotional impact that those communications had on all the individuals associated with this film, as we aimed to create a production focusing on trans joy. With only six weeks until South By, I found myself needing to overhaul the movie. Every week during that period felt like the pressure was intensifying. Each week, there was a new development or a fresh proposal for a bill that threatened my rights, the rights of children I care about, and the rights of my friends.

During those challenging times, what truly sustained me and likely many others as well, was recognizing the remarkable resilience of our community in the face of oppression. We were inspired by generations who have fought valiantly against overwhelming adversity. However, this strength also brought a sense of fear, as it cast doubt on the future of our film project. Each day, we faced threats from the nation’s leader, telling us that our voices, our work, and even our basic rights to exist were not wanted or valued. Working on a movie that featured numerous trans individuals and addressed the very issues being hurled at us was beyond terrifying. I am overjoyed to be here today, but those times were indeed difficult.

What is your hope for this movie? Where would you love this movie to live to get to the audience you want to see it?

This movie aims to present a perspective similar to “Bottoms” and other queer films gaining mainstream recognition, while ensuring it authentically represents the trans community. Our intention was to create a film that resonates with both trans individuals and cisgender audiences alike. Essentially, we wanted to enlarge the sphere of our childhood movies by incorporating trans characters, thus breaking down barriers and promoting understanding. We eagerly seek theater distribution as we believe there’s strength in visibility – witnessing numerous trans characters on screen alongside mainstream blockbusters like “Mission: Impossible” sends a powerful message that we belong and are just like everyone else.

This film came together so fast. I can imagine a lot of your decisions were made on instinct, but it reminded me so much of the independent queer movies from the 1990s. Was that something you were going for?

Without a doubt, those films hold a profound place in my consciousness. “But I’m a Cheerleader” was instrumental in shaping who I am as an individual. Many of the choices made during the production process seemed to be driven by intuition. I was responsible for animating every scene, composing the music with my brother, and editing the film alongside Will. Given the tight deadline, much of this project needed to be a product of my own ideas. However, as it began to take shape, we realized that our subconscious references to ’90s queer cinema were natural, as both Will and I grew up immersed in that genre.

The animated notebook scribbles throughout the film also evoked “Heartstopper” for me. Was that consciously on your mind?

I’ve been thinking a lot about ‘Heartstopper’, it was incredibly comforting for me as a member of Gen Z, and it reminds me more of 90s queer films rather than TikTok trends. I aim to make this movie reflective of queer history, catering to my generation and young people. There’s a lack of representation for those growing up in Gen Z or Gen Alpha, so I want this film to address that gap. The film will also have a collage-like aesthetic, as it mirrors my personal experience of absorbing information from various media sources growing up.

Finally, I’ve been coming to SXSW since 2012, and as a cis gay man, this was the first year I felt anxious getting onto a plane flying to Texas. I can only imagine what that would feel like right now for a trans filmmaker bringing their overtly, right-there-in-the-title trans film. How is the current climate affecting how you think about the stories you want to tell and how you want to tell them?

It’s hard for me to ignore the inner voice that suggests I should halt sharing trans stories, that I should be silent, and that I should conceal any references to transness except for those visible only within our community.

This often brings to mind the comparison with the debate on being perceived as cisgender and conforming to mainstream expectations. A legislator in Texas has proposed a bill that would criminalize identifying as transgender, claiming it’s fraudulent to present as a gender other than your biological one. If enacted, one would need to blend so seamlessly that their trans status remains hidden – a standard not suitable for us and not a life we wish to live.

Despite being surrounded by my diverse group of friends, who openly embrace their identities, life remains challenging for all of us as we navigate our fears. It’s difficult to be in this state, not just here, but also in this nation that instills fear at every turn. Admittedly, I am frightened, yet I belong to a generation accustomed to political upheaval. My first opportunity to vote coincided with the election of Donald Trump [in 2016]. This tumultuous political climate has been my only reality, and though it’s terrifying, there is a strange sense of contentment in never knowing anything less daunting. Growing up against these odds has molded us into brave individuals, and I aspire that it has emboldened me enough to continue sharing trans and queer narratives. However, the power isn’t solely mine; it lies in various aspects of our culture, media, and politics. As I showcase my debut film at South By, I can’t help but wonder if I’ll ever create a movie like this again.

This interview has been edited and condensed.

2025-03-10 20:18