Jaclyn Moore is the main producer of the recently released Peacock series Play as Peopleand a transformed woman, writer, journalist, and former broadcaster of Dear Europeans. Allowing his biography to express itself, it is clear that he is busy in the world of media and entertainment. As a trans writer myself, I was happy to connect with him to talk to him her work — mainly refers to how her gender and sexual identity play out in how she feels (and feels) in a variety of work situations.
Below, we examine transitional representations in the media, meaning being one of the very few people in your work room, letting us know how we tell stories, the questions we ask, and — perhaps most importantly — how it feels. be part of the story of our community.
Hannah SchneiderA: We have similarities and also some differences — I am a reporter for lesbian health issues and a writer, and I know you are a writer, but I think we have had a different writing experience in the subject matter. matter. I know the experience of being one of the only trans writers in the room — are you? If so, I am curious about how that affects your work.
Jaclyn Moore: I am still often the only trans writer in the room. None, unfortunately, that most of us. Few of us get to do these things [such as work in media and the entertainment industry], and that is why it is such a responsibility. Or, at least, I feel a similar responsibility to try not to pull the ladder behind us, and instead to try to strengthen it, to try to set several steps, and the escalator, and the ramp, making it easier and more accessible. , and as much as possible by having most of us.
I am so lucky I have been able to do what I have always wanted to do, which is to tell stories that are important to me. I’ve been telling stories that really bothered me, or I’ve tried all the time. Since I changed, I feel like I was able to tell stories that I was afraid to admit were very important to me because before I left, I was afraid they would give me away. I have known this about myself for a long time, longer than I have been out, as I normally think.
HS: I know I plan to ask a lot of questions about being trans, but I have other questions about you as well.
JM: Oh, that’s right. I find out why, as a community, we sometimes become like, “That doesn’t define us,” but it will be in the first line of my memory – it’s how the world sees me. Being a trans is a big part of who I am, whether I like it or not, and I love it. I think it’s weird.
I think there is something very profound about people going through the world from so many perspectives on living experience. I think that is one of the magic tricks. There is a level of sympathy among trans people because, in many ways, our life experiences are, I feel, like Joni Mitchell’s song: I feel like I’ve seen sex from both sides now.
HS: My reporting as a health writer associated with being overweight and trans gives me a lot of insight into the blessings in questions that some people don’t ask. One question I have for you is, how do you think your life experience gives you unique strength as a producer and writer?
JM: I think a big part of being a good writer is being compassionate; be able to put yourself in many different sets of shoes and clearly document your own living experience, but also be able to capture the live experience of people who are not you. That doesn’t mean you have to go and tell any story you want to tell, but I think a good writer can bring humanity to a whole bunch of different people. And I think that’s true for most life events, right?
I was a sex worker for a long time. I think that is also an experience that has helped me a lot in my writing; much of that work is putting yourself in someone else’s shoes, reading a room, feeling their strength, and trying to come up with what people want and what they need.
In many ways, I think that knowledge translates directly into storytelling because you need to be able to capture many different perspectives. That’s where the drama comes from — where different perspectives meet.
HS: That is true. The way in which compassion grows within a person has great potential. So, for your job, what the producer does do? I feel like I get a different definition every time I talk to a producer.
JM: What the producer does varies because there are so many different types of manufacturers, and most of them have the same name. So it confuses. There will be 10 main producers on the show, or more sometimes in the film, on the television show, and they all do things differently. They can be soft producers who manage the budget. They could be the creative producer who helped develop the project in its early days. My job as a major producer on television shows is to help make the document showable. So that means working with directors, working with the clothing departments, working with the beauty departments, working with the production structure, and getting all of us in the same vision; that’s a lot of showrunner, too, so that you tell a cohesive story, and then all those things work together.
But that is just one version of being a producer; I think that version of what I do, I think, again, benefits from being able to see things from multiple perspectives and to be able to put ourselves in other people’s shoes.
HS: Absolutely. And also, a lot of gender is following the document of what to do.
JM: That is a very wise and deep statement. For everyone, gender is performance. It doesn’t matter what version of sex you have. When I was pretending to be a boy, I used to play the male version, and now I do the female version, but the same is true for cis women. Non-sexists and agents implement any version of gender representation that they feel is realistic.
HS: I certainly relate to that. For me, the vagina was always about “Am I doing a good enough performance of this?” and masculinity is okay, it is still a document but a document that I am happy to have now.
Turn slightly left, but I was looking at your IMDB page and saw that you were from Cleveland, Ohio. I am from Indiana — can you identify yourself as a Westerner?
JM: Yes, I would. I have a difficult relationship with the Midwest and Rust Belt. I don’t feel like it’s an easy place for cross-border people to exist, but the amazing thing is that I feel like there are a lot of similarities between the Rust Belt experience and the trans experience. There is a natural tolerance to both; The rust belt has seen a better day and still exists.
HS: That is true. You would not have been in my family without my Grandmother’s Great Depression remind you that there is a history that came before you — that you are part of a story that began a long time ago. As I move around the world as a lesbian, I feel the same way: I feel that I am part of a story that is much older than I am, and I have to respect that history.
JM: Yes, that makes perfect sense to me. I often think of our brothers and sisters, and aunts and uncles, and them / the old people in the quail community, and the ways in which our stories relate to theirs or the ways in which we need to draw inspiration from them. Because the truth is, being a trans in 2022 in America is a very strange thing.
There is a large part of our country, and I would say the Western world, which fully tries to define cross-border people as threats, predators and predators. It can feel heavy. Personally, I am comforted by the way our ancient elders overcame many seemingly insurmountable obstacles, such as the HIV / AIDS epidemic.
HS: Yes, remembering that a lot happened in front of us and a lot of it was made by women of color and queer elders reminds me that we are tolerant. That brings me to one of my last questions, which is: What is it like to interact with other wonderful people when creating such a period. Play as Peoplewhich aims to tell short stories?
JM: Being in a room where I’m a bunch of bullies, and based on the stories we tell, I think it ‘s our job to be like, “No, I want to tell a story about a dirty, sexually abused woman, a cross-border woman, who is still charming and worthy of love, and hard and difficult. ” That is because the room I am in is the only room that will be able to do that.
It is my job to allow, at least in my opinion, our characters to be aggressive in a way that direct characters and cis are regularly allowed to be aggressive and still deserve to be told, who deserve to be at the center of the frame. Our industry has begun to allow many different types of people to be aggressive, and they still deserve to be at the center of the frame. And I feel like stupid people, and trans people in particular, are often not given that status. We are often released to be best friends or to be holy and beyond blame.
I do not cast any shadow that has done so, but it is because, to a certain extent, it is a work that tries to disprove our fundamental humanity. I think our humanity manifests itself, and I would like to tell funny, aggressive, complicated stories, because they are funny and overbearing. We are filthy, like everyone else.
Interviews are edited at length and transparency.
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