This week’s most ridiculous ‘trans-centric’ publication comes from Equity, the ‘UK trade union for creative practitioners’.
It’s “Guidelines for Entertainment Professionals Working With LGBT+ Performers” may sound innocuous enough (if not a little patronising), but inside is an epic testament to the absolute power of the current trans lobby (see page 4 before you judge my use of that term…).
By page 3 (the contents page) it is shockingly clear where the focus of the Guidelines lies.
Not only is it apparent at this early stage that is is a LGBT(+) Guide that has forgotten the LGB (and most of the +) but the charmingly Orwellian page 8 “What you can, and should not, say to LGBT+ performers” is a wondrous demonstration of the absolute monolithic sledgehammer of an entity that is ‘transgender’. It’s somewhat ironic that a trade union that supports actors should be encouraging compelled speech.
Page 4 is an explicit betrayal of the LGB of the title, if you were in absolutely any doubt that this was anything other than gender ideologist propaganda then the involvement of All About The Trans surely crushes it…
“All About Trans is an On Road Media project that positively changes how the media understands and portrays trans people.”-All About The Trans
…and they certainly delivered on their objectives because the “Equity: Guidelines for Entertainment Professionals Working With LGBT+ Performers” is indeed ALL ABOUT THE TRANS!
There is no mention of how to support lesbians, gay men, or bisexual people; to be clear this is a publication with the sole purpose of ensuring that nobody is in a position to question any element of the centring of trans identified performers. The last section of the summary emphasises the impenetrable ideology. Simply “don’t ask”.
The rest of the publication continues in this predictable manner. Particular low points include the shockingly inaccurate and frankly rather offensive definition of differences in sexual development as categorisable as neither male or female…
…The description of transexual is imbued with similarly poor taste…
…Clearly it doesn’t matter how transexuals may identify themselves, only how the contemporary trans lobby view them, basically; submit or be assigned to the past. Non conformity is soooooo yesterday.
Even the contrast between the definition of ‘Lesbian’ and ‘Gay’ manages to show partiality…
…Why is only one defined as a same sex attraction? Could this be to better explain why you may find yourself employing a male performer that identifies as a lesbian?
Why the mention of romantic attraction for bisexual, pansexual and heterosexual? Do Lesbians and gay men not engage in romance? Why are pansexual the only orientation that apparently forms ‘enduring’ attractions? The bias in the definitions is astounding, both incongruous and grotesquely partisan in its vulgarity. LGB performers have been betrayed.
‘Gender-neutral’ toilet fans will however not be disappointed, for as befits any such respectable trans-centric publication page 7 delivers the following:
Women repeatedly speak of their discomfort or even disgust in sharing facilities with males, indeed many male allies speak of their discomfort at the thought of having to invade women’s facilities and yet here in a post-Weinstein, post-#metoo age we have a publication from the ‘UK trade union for creative practitioners‘ calling for ‘gender neutral’ toilets for “the duration of the production, or in perpetuity”.
Where is the guidelines for not treating women as the eternally flexible concept that must always forfeit our comfort for that of others? We don’t even get a toilet pedestal to ourselves let alone the mighty plinth of gender ideology. Why is this blatant gender ideology propaganda allowed to masquerade as LGBT+ guidelines when it is clear this is a one sided, fanatically myopic observance of a minuscule amount of performers?
In my twenties I was a (musical) extra on a couple of made-for-tv films and from what I could tell being a professional performer largely involved getting cold and/or sunburnt, standing around for hours on end repeating the same lines whilst being filmed from different angles, followed by a rushed refreshment break where the least of your worries were what pronouns the wardrobe staff used. That such a publication as these Guidelines has to exist for such a small group of people is frankly preposterous, we must continue to call out such publications.
It seems that each week new examples of these overtly trans-centric publications appear. If you enjoyed the “Equity: Guidelines for Entertainment Professionals Working With LGBT+ Performers” you may also enjoy such other trans-centric publications as the Cambridge University How To Spot TERF Ideology .