Moderators: Elvis, DrVolin, Jeff
Heaven Swan » Tue May 01, 2018 12:40 pm wrote:liminalOyster » Tue May 01, 2018 11:54 am wrote:Im curious based on these replies which seem to take a very controversially positioned blog as fact -- that piece has a number of seeming factual errors and wild jumps in logic -- have people read some accounts of the show from other sources? I found a few straightaway that completely contradict the basic facts presented here.
Please post references.
How long have y’all been around and how did you get started?
A few of us genderqueers were nervous about the backlash of Laverne Cox’s gift of visibility to trans people, and started talking about mutual protection. Late 2014 is when the name “Degenderettes” first went around. The first official members were a handful of feminists who liked to shoot guns together, along with myself and some other highly visible genderqueers who needed to surround ourselves with friends who gave no fucks. The aesthetic got passed around pretty quickly, and we were on a national scope by 2015.
Those baseball bats are pretty rad! Why did you start making them?
It had been a rough year of mounting transphobic harassments for us all. I had already invested in a baseball bat so I could, y’know, feel more like Beyoncé. Then the Pulse shooting happened, and I impulsively bought a dozen more blem bats off eBay to hand out at an upcoming trans march. I was imagining, like, a choreographed color guard routine with bats instead of wooden rifles, to declare we were still alive and not afraid of being visible. We didn’t end up bringing them to that march because we figured the cops would be extra jumpy and try to start a real Compton’s Cafeteria Anniversary Riot, which I worried would endanger the kids and elders marching with us. (One cop did pick a fight with us over a simple “bash back” banner, so it’s probably good we didn’t bring the bats.) A month later some local Degenderettes saw the forgotten bats in my workshop and took them for home defense. A few other members chipped in to buy our broke members bats too, and soon I had a dedicated bat-painting station in my workshop and was selling them over the internet.
originally made for the Degenderettes Color Guard bat-spinning dance troupe — now you can have one too!
we make these from BLEM BATS to keep them cheap, so they may come with queerly shaped pommels and unfinished ends, but they can still hit a baseball right good
lovingly hand-painted by The Degenderettes using fancy-ass GLOSS ENAMEL so they still look beautiful even when they're beat to shit
if you need a bat flag that isn't pictured (especially a 33" of an existing 26" listing), email us at degenderettes@gmail.com
The Degenderettes
April 28 at 4:33pm ·
This has been awful. Please hold each other.
Our art show at the SF Public Library has brought so much hope to so many people; it brought us to tears to hear reviews from elders, youth, even children, who’s spirits were uplifted by the exhibit. The SFPL was targeted this week by our enemies and we know how brutal anti-trans trolls are, so please understand that when the SFPL removes a piece or two, it is because they have to. SFPL serves so many functions, from being a formidable institution of learning, to being an access point for immigrants and non-English speakers, to hosting our community’s events, to just being a safe place for our homeless youth to charge their phones. Having the SFPL is more important to the Degenderettes than just getting to exhibit our protest mementos in their halls.
We could hardly care about the T-shirt, but the fallout from the removal of that single piece of artwork has hit our community hard. Our harassers have been emboldened. What was originally a protective act from a non-binary person to their trans women friends is being wielded to polarize our community and demonize the existence of trans women in general. To all of you who are angry on our behalf and have asked how you can help, thank you. Remember who benefits the most from our community’s pain. Focus on helping those of us who are hurting.
Wherever our harassers’ rhetoric has steered the conversation by the time we post this, the damage falls hardest on the people who have to read endless transphobic opinions during their smoke break and, somehow, swallow it up and go back to work. The SFPL will be okay. Even the Degenderettes, as a group, have so much support now that, yes, we’ll be fine too. Please go hold your confused queer elders, your trans men partners, your non-binary coworkers, the butches at the bar - we have all taken hits this week. And please, please please please, check on a trans girl today. Some just need you to buy them lunch and hear you say that you’ve got their back - others need something more: a new job, help with rent, a safe place to retreat. Listen to them, stand by them.
At the end of the day a T-shirt is just a T-shirt, and the Degenderettes purpose - if it can be distilled - is just that we can all live another day.
- Degenderettes, NorCal Chapter
Julia Serano
Jan 30
Thoughts about transphobia, TERFs, and TUMFs
For many decades now, transgender communities have used the term “transphobic” as a catch-all adjective to describe language, actions, attitudes, and/or people that delegitimize or disparage us. The word certainly serves an important purpose, as it allows us to identify the many things out there that undermine or injure us. But much like other analogous terms (e.g., misogynistic, racist, homophobic, etc.), it seems to create a one-size-fits-all category that includes everything from inadvertent and relatively minor infractions, to intentional and serious attempts to dehumanize and disappear us. From a trans perspective, such a category makes some sense, as we are hurt by all of these things, whether big or small, purposeful or unintentional. But there are contexts in which such differences may be quite relevant — e.g., when considering what the appropriate activist response to a specific instance of transphobia should be.
Upon considering this, as I was writing the essay Detransition, Desistance, and Disinformation: A Guide for Understanding Transgender Children Debates, I used three different terms to differentiate between underlying sentiments or motives that often drive expressions of transphobia. I have found them useful on subsequent occasions, so I recently added these terms to my online trans, gender, sexuality, & activism glossary. That new entry reads as follows:
Trans-antagonistic, Trans-suspicious, Trans-unaware: terms I have increasingly used since the mid-’10s (e.g., see here) to make distinctions between various types of anti-transgender attitudes or positions. Some expressions of transphobia stem from people simply being “trans-unaware” — i.e., uninformed (or under-informed) about transgender people and experiences. Other individuals may be downright “trans-antagonistic,” in that they are fundamentally opposed to transgender people for specific moral, political, and/or theoretical reasons. From an activist standpoint, this distinction is quite pertinent: Trans-unaware individuals tend to be “passively transphobic” (e.g., only expressing such attitudes when they come across a trans person, or when the subject is raised), and may be open to relinquishing those attitudes upon learning more about transgender lives and issues. In contrast, trans-antagonistic individuals often actively promote anti-trans agendas (e.g., policies, laws, misinformation campaigns) and are highly unlikely to be moved by outreach or education (unless, of course, they undergo a more comprehensive philosophical transformation). The “trans-suspicious” position acknowledges that transgender people exist and should be tolerated (to some degree), but routinely questions (and sometimes actively works to undermine) transgender perspectives and politics. For example, a trans-suspicious individual might treat me respectfully and refrain from misgendering me, yet simultaneously express doubt about whether certain other people are “really trans” or should be allowed to transition. While they often consider themselves to be “pro-trans” (on the basis that they tolerate us to some degree), their strong cisnormative and cissexist biases lead them to spread much of the same misinformation, and push for many of the same anti-trans policies, as their trans-antagonistic counterparts (e.g., see here). In a world where trans-antagonistic and trans-unaware attitudes are pervasive, trans-suspicious arguments tend to strike the average cisgender person as relatively “objective” or “reasonable” by comparison (although trans people readily see through this veneer).
The distinction between the trans-antagonistic and trans-suspicious positions was central to my “Detransition, Desistance, and Disinformation” essay, as I was attempting to articulate (to a largely trans-unaware audience) why trans-suspicious views from the likes of Jesse Singal and Alice Dreger (both discussed in that essay) are so invalidating from a trans perspective. While these writers tolerate trans people to some extent (e.g., they are not calling for us to be entirely excluded from society), they clearly value cisgender identities, bodies, and perspectives over transgender ones, and they are inherently suspicious of anything transgender people say about our own lives (unless, of course, it aligns with their cisnormative presumptions). Hence, they push for many of the same policies (e.g., pro-gender-reparative therapies and anti-gender-affirming approaches to healthcare) and spread much of the same misinformation (e.g., psychological theories that have been rejected by most trans health professionals) as their trans-antagonistic counterparts, despite the fact that they seem relatively benign to outsiders.
While I did not address it in that essay, I believe that considering the distinction between trans-antagonistic and trans-unaware transphobia can also be fruitful. On the surface, these occurrences may resemble one another — they both might involve individuals misgendering me, or using certain slurs, or suggesting that I’m not a “real woman.” All of these acts may feel equally invalidating to me. But from an activist perspective, it matters whether these individuals might possibly change their ways (e.g., upon learning more about transgender people and perspectives), or whether they subscribe to some overarching ideology (e.g., religious fundamentalism, TERF) that precludes transgender people and perspectives, and thus are unlikely to ever change their ways (unless they first reject the ideology in question).
Heaven Swan » Tue May 01, 2018 7:47 pm wrote:Thanks Jack for your thoughtful contributions and thanks to everyone who showed common snse and compassion by being shocked and outraged at this ghastly display of violent misogyny.
Important to remember—that there is not one single case of a woman killing a trans woman, it is men that murder them. Yet, transwomen routinely threaten to rape and kill women that protest allowing transwomen into our private spaces based on them being biologically and physically male. (If you would like to see proof of this, please visit terfisaslur.com. These threats are well documented and there are a lot of them).
This art exhibit is nothing more than a bunch of weapons that are being displayed as intimidation at women for refusing to acknowledge biological males as women and refusing to quietly allow them into our private spaces, onto our sports teams, etc.
In our country, 3 women are murdered every single day by males closest to them. Men routinely target women for violence because we don’t behave in the way that they want us to, like Elliott Rodgers, and most recently, Alek Minassian.
This art exhibit is nothing more than men threatening women who refuse to bow to their demands. It is almost unbelievable that a group of men are being permitted to display axes and baseball bats in a library as weapons to be used against women that have never threatened or attacked them.
It is not violence or threat of violence to transwomen that makes women want to distance ourselves from transwomen. Take a look around your library. Those t-shirts with our fake blood on them, the bats and the axes. THAT is why women want to keep our spaces private to only women.
A bunch of weapons displayed by men for use on disobedient women is offensive.
(Edited Excerpt from a letter to the library director)
Blue » Wed May 02, 2018 8:20 am wrote:Thank you for your posts on this topic Heaven Swan. I wasn't really paying attention to this blip of a sub-sub-culture until I saw that exhibit and the people defending it. Women as punching bags for sport, same as it ever was. Just this time it's fake women doing the damage.
It's not a matter of this simply being attention seeking trolls being offensive (in a public library in one of America's largest cities). Imagine if the exhibit t-shirt said "I punch niggers" or "I punch spics." Would it still be considered art? I think not. And for them to claim it lifts the spirits of children? W.T.F.
Bad enough men continue to beat, rape, kill and oppress the other half of the world's population as "men" but now they want to do those things as "women." Their claimed victimhood at the hands of women is based on them not being able to control this absurd situation. I'm a woman now and you better fuckin let me be the leader of your fuckin group and treat me like a woman or I'm gonna beat you with a baseball bat!
Heaven Swan » Wed May 02, 2018 7:15 pm wrote:Blue's a good name for you because you "blue" the "left-wing" crypto-misogynists here out of the water with your kick ass comment. Ha.
JackRiddler » Tue May 01, 2018 8:47 pm wrote:I define gender as a kind of conditioning, largely oppression or brainwashing, that actually varies greatly by culture and subculture. Oh yes, many, many, many people are "gender binary" if you will, or rather do not fit and are uncomfortable with their culturally assigned gender profile based on their biological sex. Possibly a majority. They get sanctioned and ostracized and diagonosed and medicated and bullied and beaten for not conforming, or not being able to conform. It's a societal wrong and it demands many very real victims. But the number who have turned the women they call "TERFs" into some kind of dangerous demon-spawn are a vanishing minority. Some have commandeered a few relative high grounds of the cultural propaganda machinery. I don't want to exaggerate their influence and power at all. To get attention, a few resort to stunts like those advertised (I think that's the right word, actually) by the Degenderettes. In the SFPL exhibit I see yet another one of 14 million troll moves in the present attention ecology. It's true that such stunts mimic or ape misogynistic violence, but they also help to distract from the source of 99% of it (which is not from transgender people).
"Lines Got Blurred": Jeffrey Tambor and an Up-Close Look at Harassment Claims on 'Transparent'
by Seth Abramovitch May 07, 2018, 6:30am PDT
In his first interview since facing accusations of inappropriate behavior on set, the veteran actor — now back onscreen in 'Arrested Development' — opens up about what he did ("I was mean, I was difficult") and what he claims he didn't do ("the other stuff, absolutely not") in one of the most complex cases of the #MeToo era.
The 10:15 to Katonah arrives from Grand Central Terminal precisely on schedule at 12:03 p.m. Standing across from the train platform on a chilly Monday in April is Jeffrey Tambor, the 73-year-old veteran actor best known for a trio of roles on groundbreaking series: The Larry Sanders Show, Arrested Development and, most recently, the critically adored and zeitgeisty family dramedy Transparent. It’s in this picturesque suburban hamlet just 47 miles north of the chaos of midtown Manhattan that Tambor and his wife, Kasia, 49, raise their four children who range in age from 8 to 13. And since being fired three months ago from Transparent, it’s here where Tambor has been exiled in what will surely go down as the darkest chapter of his four-decade career.
Moments later, he is in a coffee shop on the town’s main street. “I love diners,” says Tambor, freshly shaven and neatly dressed in a pinstriped shirt and a zippered navy pullover. “I used to live on 100th and Second Avenue, on the Upper East Side. And I practically lived at a diner.”
The conversation continues like this for a few minutes, a stiff exchange of pleasantries, during which Tambor twists a plastic straw, shredding its paper sleeve. He pauses. “I have to tell you something,” he says, his fingers trembling. It’s obvious before he says it: He’s nervous. “This is the first time I’ve talked about this, ever,” he says. “And possibly the last time. I used to teach acting, you know, and I’d always say, ‘Announce where you are.’ So this is me doing that.”
Where Tambor is right now is uncharted territory. He is about to become the first high-profile subject of the sweeping #MeToo movement to sit for an in-depth interview about his alleged sexual harassment scandal. His is a dizzying tale entangled in Rashomon-like perspectives and political trip wires. And at the center of it all stand three figures: Tambor and his two accusers, Van Barnes, Tambor’s former assistant, and Trace Lysette, an actress on the series.
That Barnes and Lysette are both transgender women is not insignificant. After all, Transparent — led by Tambor’s twice Emmy-winning performance as Maura Pfefferman — was only recently being held up as a beacon of social progressivism, lauded by activist groups like GLAAD for igniting a global transgender movement. In the blink of an eye, however, all that has changed, as Tambor — who admits to having lifelong anger issues but denies sexually harassing his accusers — watched his image go from that of LGBTQ folk hero to fugitive.
Tambor learned that he’d been fired in a text message from Jill Soloway on Feb. 15. That was the day Amazon — still reeling from the exit four months earlier of its top content executive, Roy Price, over sexual harassment claims — announced it would not be renewing Tambor’s option after an internal investigation. Soloway, the show’s 52-year-old creator and showrunner — whose father’s transition inspired the story — followed up that text with a phone call a few minutes later. Tambor was at his local gym at the time, sweating on a recumbent stationary bicycle. “I don’t remember the whole conversation,” he says. “But I do remember her last words were: ‘Do you need help with a statement?’” He went into shock: “If you can picture a man outside a gym for forever, in his workout shorts and everything, just staring.” Tambor had been preparing himself for “a slap on the wrist” for what he says were his temperamental outbursts on the set. Never did he think his biggest career triumph would end in such unceremonious disgrace.
The path to the firing began four months earlier, when, inspired by the #MeToo declarations she was seeing on social media, Barnes — a gregarious, 43-year-old blonde who relocated from rural Missouri to Los Angeles for the opportunity of working for Tambor — typed her own #MeToo account on her personal Facebook page. “Oh hell yeah! ME TOO!” Barnes wrote on Oct. 16, 2017. “[I was] even told [by Tambor] that ‘for that kind’a money and after all that time of working for him that I should be sleeping with him if I want a Hollywood-industry-appropriate pay grade.’”
The post, which never mentions Tambor by name, referred to an employer who gave her “butt pats,” made “‘why aren’t I taking care of him sexually’ comments” and subjected her to “listening to his porno.” Wrote Barnes: “I was depressed and thought about suicide when I left that job.” The post rapidly circulated among the transgender community and beyond. On Nov. 8, 2017, Amazon Studios confirmed that an investigation into Barnes’ claims was in its “early stages.” Tambor released a statement that day dismissing Barnes as a “former disgruntled assistant ... I am appalled and distressed at this baseless allegation.”
One person who read Barnes’ post with interest was Lysette. A striking brunette with fair skin and aquamarine eyes, Lysette, who prefers not to disclose her age, grew up in Dayton, Ohio — she choreographed a dance routine for her high school cheerleading squad — then moved to New York City, where she began transitioning to female. She later found work at a Manhattan strip club, where she never let on to the clientele that she was transgender. After a bad breakup led to a suicide attempt — she slit her wrists on a side street walking home from the strip club one night — Lysette was admitted to Bellevue Hospital’s psychiatric ward. After her release, inspired by the success of the transgender actress Laverne Cox on Orange Is the New Black, she continued to pursue her acting dreams. By 2013, she was flying to Los Angeles to audition for the role of Davina on Transparent, a trans woman who takes Maura under her wing. “We met with many, many trans actresses and writers in our outreach,” says Soloway of that early hiring sweep. (Since creating Transparent, Soloway has started self-identifying as “gender non-binary”; the pronoun “they” is preferred instead of “she.”) The part ended up going to another actress, Alexandra Billings, but Lysette impressed Soloway enough to have her own character written into the show — a yoga teacher and stripper named Shea.
According to Lysette, then a Hollywood neophyte, the unsolicited advances from Tambor started early on. “They began as flirtation — kisses on the forehead, which was awkward,” she tells THR. “But part of me was like, ‘OK, maybe he just thinks of me as a daughter figure or something.’" Lysette says the unwanted affection spilled onto red carpets. “I would kiss him on the cheek and it would land on my lips,” she recalls.
It wasn’t until the filming of the third episode of season two, “New World Coming,” that Lysette felt Tambor had crossed a clear line. While shooting a breakfast scene in skimpy pajamas, Lysette says she was told by Tambor, “My God, Trace, I want to attack you sexually.” (Billings, who was also in the scene, confirms her account to THR). Recalls Lysette, “We were like, ‘What? Who says that?’” A few minutes later, she says, Tambor “waddled over to me in his pajamas and put his feet on top of mine, and started these little, like, thrusts on my hip. They were discreet and insidious and creepy. I felt his genitals on me. And I pushed him off.”
On Nov. 16, Lysette detailed that incident in a statement to THR. “Given the circumstances of my life,” she wrote, “I was used to being treated as a sexual object by men — this one just happened to be famous.” She went on to express her hope that Amazon would “find good in this, and use this as an opportunity to re-center the other trans characters in this show. Don’t let the trans community suffer for the actions of one cis male actor. Remove the problem and let the show go on.”
That Tambor is cisgender, or identifies as his birth sex, was a sticking point for many in the trans community from the start. At a season one screening at the Directors Guild of America, an audience member said Tambor’s performance was “like watching blackface” and that he should be replaced by a trans actress. The suggestion mortified Tambor, literally. “I just made like a possum and played dead,” he recalls. “I remember turning to my right and Jill was in tears.” As the show grew in popularity and acclaim, so did the “elephant in the room,” as Tambor puts it. “Because the revolution got bigger. So the very thing we were doing, the awakening to this movement, made the disparity [of my non-transness] more apparent.”
After Lysette’s claims went public, Tambor convened an emergency meeting with his wife, Poland-born actress Kasia Ostlun, and his reps, including Gersh’s Leslie Siebert, his agent of 30 years. “My advice to him was be truthful,” Siebert recalls. “Tell people your understanding and your truth. That’s all you can do.”
They crafted a second statement, this one taking on a measure of culpability. “I find myself accused of behavior that any civilized person would condemn unreservedly,” it read. “I know I haven’t always been the easiest person to work with. I can be volatile and ill-tempered, and too often I express my opinions harshly and without tact. But I have never been a predator — ever.”
The following day, Tambor received an email from Faith Soloway, 54, Jill’s older sister and a writing producer on Transparent. “I can quote it verbatim because I’ve looked at it for five months,” Tambor insists. He would not show the email to THR, but a source confirms its content. “It said, ‘We are in a coup. You are fucking fantastic. You have changed the world. We have changed the world. We will get through this. Love, love, love, Faith.'”
Faith Soloway confirms having sent the email. "Things were happening so quickly, with people being accused and held accountable by the #MeToo movement," she says. "In the moment I felt that Jill and Jeffrey were under attack. I knew that some people disapproved of Jeffrey, a cisgender actor, playing Maura and I was upset that Jill, as the show's creator, hadn't had the opportunity to address the issue privately [before it went public]. As the story broke, I also sent messages of support to Trace and Van, and after the allegations were presented, I never disbelieved them. I still, hope everyone can learn and heal from this.”
The message sent a “shock wave” through him because it led him to believe that “something was up, over and above me. Some dots were not connecting.” Suspecting he was being set up to be ousted because he is cisgender, Tambor released a third, more pointed statement on Nov. 19. “What has become clear over the past weeks,” he wrote, “is that this is no longer the job I signed up for four years ago ... Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to Transparent.”
Despite having been widely interpreted as such, the statement was never meant to be a definitive resignation letter, Tambor maintains, adding he “chose those words exactly to be a little abstract.” That evening, he says, he received an email from Jill Soloway (which Soloway confirms she sent). “She wrote these words: ‘They have been after Maura from the beginning.’”
Soloway responds: “While much of the trans community immediately embraced the show, some vocally opposed the casting of a cis man, Jeffrey, in the lead role. This sentiment has persisted in parts of the community — coming up again on social media in the wake of these allegations. It was a text I wrote in frustration after pouring my heart into this show for years. I wanted to tell a story that brought power and visibility to trans people, and to my own family’s journey into understanding, acceptance, and pride.”
In it, Soloway — frantic and highly emotional over the beloved series’ implosion — asked Tambor if he would be “open to a third way.” Soloway suggested that, going forward, Tambor appear in the series only in flashback, as Mort Pfefferman, Maura’s pre-transition self. It was a not ideal but potentially workable concession to those who felt Tambor’s performance was an offensive example of “transface,” as some critics referred to it. Of course, the plan did nothing to address the Pandora’s box of sexual misconduct allegations that had just spilled into headlines. For the sake of the show, Tambor tentatively agreed to play the pre-trans character, just as soon as he was cleared by Amazon of the more ominous charges.
But that would not happen. Tambor was interviewed for nearly 10 hours during the inquiry, in two marathon sessions. “My lawyer was present,” he says, obviously reluctant to get into the details. “They asked me questions, and I responded to the questions. And that’s pretty much what I want to say about that.” Others were interviewed, as well. Staffers were asked whether Tambor had ever kissed them on the lips — which was something he often felt comfortable enough to do in their cozy work environment. “It’s a really loose set,” says one high-ranking producer who asked not to be identified. “Everybody behaves in a sensual manner because it’s a show about sex. Everyone says things like, ‘You’re so hot, oh my God. I had a dream about you last night.’” As Jay Duplass, who plays Maura’s music producer son, Josh, on the show, once put it, “Your job as an actor is to be emotionally present ... Or in the case of Transparent, have a ton of sex.”
Lysette never wavered on her story, telling investigators that she reported the thrusting incident promptly and that no action was taken. "I told plenty of people," she says. "I told people outside of Transparent, I told people inside Transparent.” One of those people was her roommate, Zackary Drucker, a 35-year-old producer on the show, who is also a trans woman. Drucker did not pass on the information.
“Trace and I shared many, many conversations during our time as roommates,” says Drucker. “Since I don’t have a clear memory of this conversation, it didn’t register to me as something I was meant to, or needed to, report in the context of our professional relationship.”
Barnes, meanwhile, had been laying low from the press; she’d signed a nondisclosure agreement with Tambor as part of her employment. But, on Feb. 26, a few weeks after Tambor was fired, Barnes’ lawyer told her the NDA was no longer in effect, and she gave an interview to THR. “I was barely at minimum wage, which was a clear abuse,” Barnes said, claiming she had to endure Tambor’s severe mood swings and round-the-clock demands. Despite Barnes’ reputation for having a raunchy sense of humor — “She’s the dirtiest fucking talker in the world,” is how one staffer puts it — Tambor’s alleged offensive talk and occasional “butt pats” made Barnes increasingly uncomfortable. “Toward the end, he had proposed to me that I be his mistress,” she said. “His actions have jeopardized many people’s jobs, especially many transgender people struggling to find work in Hollywood. ... He has done this to himself.”
Barnes continued speaking out on March 7, when she appeared on Megyn Kelly Today to add a startling new detail to her accusation: that Tambor had once watched her sleeping naked. She said it happened, bizarrely, when Barnes, Lysette and Tambor were living together under the same roof in Drucker’s parents’ home in Highland Park, northeast of downtown L.A., where Barnes was house-sitting over the summer. Lysette, still based in New York at the time, was occupying one of the bedrooms. Before production on the second season began, there was a two-week window until Tambor’s Pacific Palisades rental home would be ready. “He said, ‘You’re house-sitting, aren’t you? Do you mind if I stay with you?’” Barnes recalls. “I thought it was really weird. Here’s a guy of means, but he can’t afford a hotel for two weeks?”
Tambor confirms sharing living quarters with Barnes and Lysette — “My arrangements hadn’t come together. In retrospect, I should not have stayed there and just waited for my house to become ready” — but insists Barnes’ claims that he observed her sleeping naked are completely fabricated. Asked to address other specific allegations, including the propositioning and physical touching, he grows reticent. “I don’t want to characterize them,” he says. “What I said was that she was a disgruntled assistant. I think that was generous of me. I dispute her account. I did raise my voice at times, I was moody at times, there were times when I was tactless. But as for the other stuff, absolutely not.”
Siebert admits to having been aware of her client’s mercurial reputation. “He’s guilty of being an asshole at times, and being, you know, temperamental and moody,” she says. “And he feels awful about it and apologizes, and he’s working on himself. But in the 30 years I’ve worked with him, I’ve never been told about any behavior like what these women are accusing him of.” Tambor acknowledges the occasional outburst on previous shows — he references one “blowup” with actress Jessica Walter on Arrested Development for which he later “profusely apologized” (a rep for Walter says, “Jessica does not wish to talk about Jeffrey Tambor”) — but that something about Maura, his obsessive determination to make her as authentic as possible, brought out the worst in him.
“I drove myself and my castmates crazy,” he says. “Lines got blurred. I was difficult. I was mean. I yelled at Jill — she told me recently she was afraid of me. I yelled at the wonderful [executive producer] Bridget Bedard in front of everybody. I made her cry. And I apologized and everything, but still, I yelled at her. The assistant directors. I was rude to my assistant. I was moody. Sometimes I didn’t talk at all. And this is where the reader says, ‘So what?’ You know? ‘You’re coming in from the Palisades, you drive in, you get a good paycheck, you get to play one of the best roles in the world. So. What.’” He stares down at his barely touched lunch, a grilled ham and cheese sandwich propping up a pile of french fries. “But I was scared, because I was a cisgender male playing Maura Pfefferman. And my whole thing was, ‘Am I doing it right? Am I doing it right? Am I doing it right?’ To the point that I worried myself to death.”
Soloway and Tambor have not spoken since Feb. 15. That’s the day Soloway issued a statement expressing “great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on Transparent is an example of the leadership this moment in our culture requires.” Tambor issued his own rebuttal, saying he was “profoundly disappointed” in the “deeply flawed and biased” investigation’s outcome and “even more disappointed in Jill Soloway’s unfair characterization of me as someone who would ever cause harm to my fellow castmates.”
Tambor is still wounded by what he characterizes as his abandonment by Soloway. “I said to her, ‘Since you know the truth, would you make a public statement on my behalf?’ It’s my biggest disappointment that she hasn’t.” To that, Soloway responds: “I never told him I was going to accuse Van or Trace of being liars. He knew that nobody could do that. And I was really working with him to help him understand that a simple apology would go a really long way. I was hoping to get him there.”
Soloway’s own thinking on Tambor has evolved since the controversy broke. “I was hoping, in those early days, before Trace’s initial statement came out, that it all could have been a big misinterpretation — that one person’s harassment is another person’s dirty joke.” Eventually, Soloway realized the #MeToo movement was a “global tsunami — there’s nothing I could have done to stop it.” As for the allegations, Soloway contends that “it’s not a simple case of did he do it or didn’t he do it. Nobody said he was a predator — they said he sexually harassed people. He made enemies, and I don’t think he realized he was making enemies. You have to be very, very careful if you’re a person in power and treat people very appropriately.”
As for the future of Transparent, Soloway has begun to feel “a tiny bit like we are going to be OK.” The writing staff has begun discussions on how to tackle the show’s fifth — and, Soloway reveals, final — season. “Hopefully it sets the Pfeffermans up with some sort of beautiful reclaiming,” Soloway says. “I think we’re going to get there with some time.”
Since going public, Lysette and Barnes have taken different paths: Lysette is still pursuing acting in L.A. and has become politically active, speaking at events like the Las Vegas Women’s March and attending Time’s Up meetings. Barnes has returned to Missouri and enrolled in cosmetology school. “I have turned a new leaf!” Barnes wrote in an April 26 Facebook post. “This did not come with any assistance from my previous employer Transparent, nor Amazon or the fake feminist Jill Soloway, who found reason to fire our perpetrator, & instead of offering me financial reparations to upright myself again, offered me a Go Fund Me.”
As for Tambor, he has only just begun to emerge from what he calls a “fugue state.” When speaking about Maura, he almost exclusively uses the terminology of death and grieving. He’s currently reading two books on the subject, The Five Invitations: Discovering What Death Can Teach Us About Living Fully and The Bright Hour: A Memoir of Living and Dying. He breaks down in tears five separate times over the course of this interview, making note of it each time he does. “She was like a friend,” he says of Maura. “That may trigger eye rolls, but she was very real to me. And I think in many ways much more awake than I.” He says he still has regular conversations out loud with Maura and is deeply disappointed that she won’t ever get “to find her significant other.”
Despite his troubles, he still has a job on Arrested Development, the Netflix comedy in which Tambor plays the patriarch of another dysfunctional California clan, the Bluths. Its fifth season premieres on the streaming service May 29 in order to qualify it for the Emmy voting window. The scandal provided an unwelcome distraction during the final months of production, which began in August 2017 and wrapped in December. Nevertheless, Netflix chief content officer Ted Sarandos tells THR that it was a smooth shoot and Tambor will be in attendance at upcoming media appearances, including a May 17 premiere event in Hollywood. “In making and promoting seasons four and five of Arrested Development,” Sarandos says, “Jeffrey has always been totally professional.” So far, Tambor has earned support from fellow castmember David Cross (“A number of us stand behind him, ... and I am one of them,” Cross told amNew York in an interview) while another, Alia Shawkat, who also appeared on Transparent, told IndieWire she was “surprised” by the allegations but “supports the voice of the victims.”
Later that afternoon, after mixing with the locals at a nearby bookstore cafe — he offers one young man, an aspiring actor, some advice about an upcoming audition — Tambor turns back to the matter at hand, pledging the lessons he needed to learn have been learned. “People change,” he insists. “It’s already changed my behavior on set. Just walking in here today, into this cafe, I hadn’t seen the owner in a long time. I mean, do you hug? Do you not hug? When you see fans ...” He trails off. “You know what I do feel? More present. Everything’s just clearer to me.”
Tambor spends as much time as he can with his children, whom he’s attempted to shield from his ordeal. His favorite activity is reading bedtime stories to his 8-year-old twins Hugo and Eli. “I know Goodnight Moon pretty well,” he says. “And there’s this other book about a bear hunt. I’ve read it to every generation of child. They go on a bear hunt and they say, ‘Uh-oh, there’s mud! You can’t go over it, you can’t go under it. Got to go through it.’ And I can’t think of anything more typical in my life right now.”
“I can quote [the email] verbatim. It said, ‘We are in a coup. You are fucking fantastic. You have changed the world. We will get through this.'"
May 7, 3:45 p.m. Updated to clarify that Trace Lysette was not a member of her high school cheerleading squad, but did choreograph a dance with the team for a halftime show.
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