Trans Woman Archetypes in the Media
Media depictions of trans women, whether they take the form of fictional characters or actual people, usually fall under one of two main archetypes: the “deceptive transsexual” or the “pathetic transsexual.” While characters based on both models are presented as having a vested interest in achieving an ultrafeminine appearance, they differ in their abilities to pull it off. Because the “deceivers” successfully pass as women, they generally act as unexpected plot twists, or play the role of sexual predators who fool innocent straight guys into falling for other “men.”
Perhaps the most famous example of a “deceiver” is the character Dil in the 1992 movie The Crying Game. The film became a pop culture phenomenon primarily because most moviegoers were unaware that Dil was trans until about halfway through the movie. The revelation comes during a love scene between her and Fergus, the male protagonist who has been courting her. When Dil disrobes, the audience, along with Fergus, learns for the first time that Dil is physically male. When I saw the film, most of the men in the theater groaned at this revelation. Onscreen, Fergus has a similarly intense reaction: He slaps Dil and runs off to the bathroom to vomit.
The 1994 Jim Carrey vehicle Ace Ventura: Pet Detective features a “deceptive transsexual” as a villain. Police lieutenant Lois Einhorn (played by Sean Young) is secretly Ray Finkle, an ex- Miami Dolphins kicker who has stolen the team’s mascot as part of a scheme to get back at Dolphins quarterback Dan Marino. The bizarre plot ends when Ventura strips Einhorn down to her underwear in front of about twenty police officers and announces, “She is suffering from the worst case of hemorrhoids I have ever seen.” He then turns her around so that we can see her penis and testicles tucked between her legs. All of the police officers proceed to vomit as The Crying Game’s theme song plays in the background.
Even though “deceivers” successfully “pass” as women, and are often played by female actors (with the notable exception of Jaye Davidson as Dil), these characters are never intended to challenge our assumptions about gender itself. On the contrary, they are positioned as “fake” women, and their “secret” trans status is revealed in a dramatic moment of “truth.” At this moment, the “deceiver”’s appearance (her femaleness) is reduced to mere illusion, and her secret (her maleness) becomes the real identity.
In a tactic that emphasizes their “true” maleness, “deceivers” are most often used as pawns to provoke male homophobia in other characters, as well as in the audience itself. This phenomenon is especially evident in TV talk shows like Jerry Springer, which regularly runs episodes with titles like “My Girlfriend’s a Guy” and “I’m Really a Man!” that feature trans women coming out to their straight boyfriends. On a recent British TV reality show called There’s Something About Miriam, six heterosexual men court an attractive woman who, unbeknownst to them, is transsexual. The broadcast of the show was delayed for several months because the men threatened to sue the show’s producers, alleging that they had been the victims of defamation, personal injury, and conspiracy to commit sexual assault. The affair was eventually settled out of court, with each man coming away with a reported 125,000 British pounds (over 200,000 U.S. dollars at the time).1
In the 1970 film adaptation of Gore Vidal’s novel Myra Breckinridge, the protagonist is a trans woman who heads out to Hollywood in order to take revenge on traditional manhood and to “realign the sexes.” This “realignment” apparently involves raping an ex-football player with a strap-on dildo, which she does at one point during the movie. The recurring theme of “deceptive” trans women retaliating against men, often by seducing them, seems to be an unconscious acknowledgment that both male and heterosexual privilege is threatened by transsexuals.
In contrast to the “deceivers,” who wield their feminine wiles with success, the “pathetic transsexual” characters aren’t deluding anyone. Despite her masculine mannerisms and five o’clock shadow, the “pathetic transsexual” will inevitably insist that she is a woman trapped inside a man’s body. The intense contradiction between the “pathetic” character’s gender identity and her physical appearance is often played for laughs—as in the transition of musician Mark Shubb (played as a bearded baritone by Harry Shearer) at the conclusion of 2003’s A Mighty Wind.
Unlike the “deceivers,” whose ability to “pass” is a serious threat to our culture’s ideas about gender and sexuality, “pathetic transsexuals”—who barely resemble women at all—are generally considered harmless. Perhaps for this reason, some of the most endearing pop culture portrayals of trans women fall into the “pathetic” category: John Lithgow’s Oscar-nominated portrayal of ex- football player Roberta Muldoon in 1982’s The World According to Garp, and Terence Stamp’s role as the aging showgirl Bernadette in 1994’s The Adventures of Priscilla, Queen of the Desert. More recently, the 1998 indie film The Adventures of Sebastian Cole begins with its teenage protagonist learning that his stepdad Hank, who looks and acts like a roadie for a ’70s rock band, is about to become Henrietta. A sympathetic character and the only stable person in Sebastian’s life, Henrietta spends most of the movie wearing floral-print nightgowns and bare-shouldered tops with tons of jewelry and makeup. Yet despite her extremely femme manner of dress, she continues to exhibit only stereotypical male behaviors, overtly ogling a waitress and punching out a guy who calls her a “faggot” (after which she laments, “I broke a nail”).
In the case of Henrietta, this extreme combination of masculinity and femininity does not seem designed to challenge audiences’ assumptions about maleness and femaleness. On the contrary, Henrietta’s masculine voice and mannerisms are meant to demonstrate that, despite her desire to be female, she cannot change the fact that she is really and truly a man. As with Garp’s Roberta and Priscilla’s Bernadette, the audience is encouraged to respect Henrietta as a person, but not as a woman. While we are supposed to admire their courage—which presumably comes from the difficulty of living as women who do not appear very female—we are not meant to identify with them or to be sexually attracted to them, as we are to “deceivers” like Dil.
Interestingly, while the obvious outward masculinity of “pathetic transsexual” characters is always played up, so too is their lack of male genitalia (or their desire to part with them). In fact, some of the most memorable lines in these movies are uttered when the “pathetic transsexual” character makes light of her own castration. At one point during Priscilla, Bernadette remarks that her parents never spoke to her again, “after [she] had the chop.” In Garp, when a man is injured while receiving a blow job during a car accident, Roberta delivers the one-liner, “I had mine removed surgically under general anesthesia, but to have it bitten off in a Buick ...” In the 1994 fictionalized biography Ed Wood, Bill Murray plays another “pathetic transsexual,” Bunny Breckinridge. After seeing Wood’s film Glen or Glenda, Bunny is inspired to go to Mexico to have a “sex change,” announcing to Wood, “Your movie made me realize I’ve got to take action. Goodbye, penis!”
The “pathetic” transsexual’s lighthearted comments about having her penis lopped off come in stark contrast to the revelation of the “deceiver,” who is generally found out by someone else in an embarrassing, often violent way. A Freudian might suggest that the “deceptive” transsexual’s dangerous nature is symbolized by the presence of a hidden penis, while the “pathetic” transsexual’s harmlessness is due to a lack thereof. A less phallic interpretation is that the very act of “passing” makes any trans woman who can do so into a “deceiver.” Ultimately, both “deceptive” and “pathetic” transsexual characters are designed to validate the popular assumption that trans women are truly men. “Pathetic” transsexuals may want to be female, but their masculine appearances and mannerisms always give them away. And while the “deceiver” is initially perceived to be a “real” female, she is eventually revealed as a wolf in sheep’s clothing—an illusion that is the product of lies and modern medical technology—and she is usually punished accordingly.