Daniel Radcliffe Speaks Out Against J.K. Rowling’s Anti-Trans Tweets

Harry Potter fans have been offended by J.K. Rowling’s transphobic Twitter activity in the past, everyone knows that, but last weekend the beloved (well, sometimes) author found her reputation taking another big hit after sharing a number of tweets that made her views on the topic very, very clear.

Of course, many are furious at Rowling for putting forth such inflammatory comments in the midst of the Black Lives Matter movement and Pride Month and it didn’t take long for the social media conversation to take a nasty turn, with tons of people bashing the author and calling her out.

Anytime Rowling gets herself in hot water though, folks are always curious to know what Daniel Radcliffe has to say about the situation. Having brought her most famous creation to life throughout Warner Bros.’ mega successful film series, he’ll always and forever be linked to Rowling and tonight, he’s voiced his opinion on the latest storm that the author finds herself in.

Penning a letter on The Trevor Project’s website, he shared the following:

I realize that certain press outlets will probably want to paint this as in-fighting between J.K. Rowling and myself, but that is really not what this is about, nor is it what’s important right now. While Jo is unquestionably responsible for the course my life has taken, as someone who has been honored to work with and continues to contribute to The Trevor Project for the last decade, and just as a human being, I feel compelled to say something at this moment.

Transgender women are women. Any statement to the contrary erases the identity and dignity of transgender people and goes against all advice given by professional health care associations who have far more expertise on this subject matter than either Jo or I. According to The Trevor Project, 78% of transgender and nonbinary youth reported being the subject of discrimination due to their gender identity. It’s clear that we need to do more to support transgender and nonbinary people, not invalidate their identities, and not cause further harm.

I am still learning how to be a better ally, so if you want to join me in learning more about transgender and nonbinary identities check out The Trevor Project’s Guide to Being an Ally to Transgender and Nonbinary Youth. It’s an introductory educational resource that covers a wide range of topics, including the differences between sex and gender, and shares best practices on how to support transgender and nonbinary people.

To all the people who now feel that their experience of the books has been tarnished or diminished, I am deeply sorry for the pain these comments have caused you. I really hope that you don’t entirely lose what was valuable in these stories to you. If these books taught you that love is the strongest force in the universe, capable of overcoming anything; if they taught you that strength is found in diversity, and that dogmatic ideas of pureness lead to the oppression of vulnerable groups; if you believe that a particular character is trans, nonbinary, or gender fluid, or that they are gay or bisexual; if you found anything in these stories that resonated with you and helped you at any time in your life — then that is between you and the book that you read, and it is sacred. And in my opinion nobody can touch that. It means to you what it means to you and I hope that these comments will not taint that too much.

Love always,
Dan

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Well said, Dan. And if you hadn’t already seen it, Potterheads everywhere are taking to Twitter tonight to share their love for the actor, thanking him for his words and for penning such a touching letter. But it’s not only the fans, as Radcliffe’s message has touched other celebrities as well, with many of his colleagues also expressing their thanks on social media.

But tell us, what do you make of Daniel Radcliffe‘s response to J.K. Rowling’s anti-trans tweets? Do you agree with everything he says? Or do you side more with the author, or perhaps fall somewhere in between? As always, let us know in the usual place down below.

source https://wegotthiscovered.com/movies/daniel-radcliffe-speaks-jk-rowlings-antitrans-tweets/

The Breakaway State on the Cusp of Adulthood—‘Transnistra’, dir. Anna Eborn, 2019

An intimate and haunting portrait of six teenagers in rural Transnistria shows the splintered prospects and the many limitations of growing up in a melancholy landscape

FROM TRANSNISTRIA, SWEDEN, DENMARK and BELGIUM

WHAT IT’S ABOUT: A bunch of young adults spends a languid summer in the town of Camenca, in rural Transnistria, the contested republic between Moldavia and Ukraine, which seems to be frozen in time. Tanya, the only girl in the group, wants to be one of the guys, while casually evaluating each of her friends as a prospective mate, a reckless force that only a 16-year-old girl may inhabit. First, she is with Dima, then with Sasha, all exhausted by the sun and willing. Will Denis or Burulya be next? But the quieter, yet arresting presence is Tolya, a boy with an invisible disability, who brings in the subdued wisdom and grounds the kids in the socio-economic constraints of the breakaway state. As winter comes, and then spring, the group’s dynamics ebb, and flow, personal pains are revealed, and it becomes clear that chances in Camenca are not doled out equally, and only some friendships will survive a tumultuous youth.

WHO MADE IT: Anna Eborn is a Swedish filmmaker, who has been exploring the remote corners of her homeland, as well as the US and the post-Soviet space and closing in on original, yet faint voices. She first gained prominence filming Oglala Lakota Indians in South Dakota, then sought female perspectives of wisdom and experience across Europe, and finally decided to spend time with teenagers for “Transnistria,” which she, like her other projects, directed, wrote and edited. A creature of habit, Eborn worked with some of the people who had previously helped her make “Lida” about the last remaining Old-Swedish speaker in Ukraine: some producers as well as the cinematographer Virginie Surdej.

The documentary’s subjects, Tanya Lipovskaya, Tolya Bucatel, and others, are all current or former residents of Camenca in Transnistria, the former part of Moldovia which broke away after the dissolution of the Soviet Union.

WHY DO WE CARE: “Transnistria†might not be dealing with subjects who have a load of experience to share, and their relationships could appear to be superficial. However, it’s as if a layer of internalized bias has been peeled off, which allows to see the interhuman connection for what it is, without diverting attention to the unnecessary. And then, most interestingly, the viewer gets to experience how free kids grow into complacency.

The film begins as an exploration of gender dynamics in a mostly male group of friends. In the summer heat and in the proximity of a muddy river, the half-naked, heartachingly young bodies, and the blossoming sexualities within make the atmosphere of the film loaded, like the air before a thunderstorm. Tanya has a boyfriend in the big city, and yet she longs to get a bite out of the boys, trying and discarding them by one, leaving them out to fight out the grievances. The one she doesn’t put into the rotation is Tolya, who both respectfully pines for Tanya but also sees her not as a conquest but as an equal, for which she seems grateful. Meanwhile, a rumor about two of the boys being gay is started, and even though we don’t know if it’s empty or not, the fragility of the ecosystem is further disturbed. What seemed like a rather peaceful mini-society, where the queen bee Tanya reigns, starts disintegrating: the girl’s earnest manipulations are rebuked, and the boys assume the positions to fight for dominance. The narrative becomes a seance of watching the patriarchy emerge seemingly out of nowhere, along with the rigid notions of what masculinity, femininity, and relationships must be. The kids are young, free, and don’t yet owe much to the world, and yet the restrictive carapace starts forming around them as if there was no other way to survive in the landscape than by assuming a position of complicity to the power structures.

WHY YOU NEED TO WATCH: “Transnistria†is a delightfully tender yet quite ruthless depiction of what life is like for a kid in the middle of nowhere. Camenca is bleak and almost has no distinguishing characteristics, but it largely informs Tanya and the gang’s prospects. And not merely due to the status of Transnistria on the international scene: Camenca is indistinguishable from millions of 10K population towns the world over, where the latest fashions have reached via technology, yet the opportunities remain hidden from view. Tanya appears to be the most privileged in the bunch,—it’s not disclosed how exactly although she seems to have a rich boyfriend at one point—but she eventually gets to travel abroad, lives in the big city, and returns in nice clothes. However, it doesn’t mean that her existence is faultless: in a tender interaction with her younger brother Vanya, it is revealed that Tanya is cutting herself. “I don’t understand you,†he says of the scars on her wrists. “Why did you do it to yourself? You should have asked me. I could have cut them. Then you wouldn’t be so sad.†Perhaps the most profound take on the mechanics of self-harm and depression from a runt who can’t be older than 11.

Vanya is on the cusp of leaving for military school, the only surefire form of social advancement in the widely unrecognized territory. Some of Tanya’s older friends go there, too. Meanwhile, for Tolya, it’s not an option: his disability disqualifies him from the military as well as a bunch of labor options, and the pension he is entitled too involves painful, dangerous evaluation process in the grasp of carcerative psychiatry. The viewer doesn’t want to suspend hope that things may turn out well for him, too. However, the way the other boys treat him differently starts seeping in, as it becomes clear that just like Tanya’s privilege, his diversity, neuro, and otherwise, is not welcome in the state of molting to fit the surroundings.

As the narrative wraps up, the film takes on a different dimension, when from a participant, Tanya becomes a documentarist. Tolya, from being just one of the few, emerges as the real moral center of the story: like Simon in “Lord of the Flies,†stuck between the brutal savagery of the boys and Tanya’s advancements into the civilization of capitalism. Tanya and the boys will grow, live, and maybe even thrive, leaving behind the shells of their previous selves. But it’s Tolya’s magnetism, his agelessness, his ability, despite the obstacles, to observe everything around him wisely, and his unrefined, odd brilliance that’s palpable through the screen. And it’s those things that render the boy, without a future but with a truth, a prophet-like figure, a single crystal-clear voice over the wasteland, unobstructed by the speech impediment. And this is where Anna Eborn lucked out in making “Trasnistra†most: she caught the very moment in Tanya’s life, where she went from just being a girl looking for warmth to an attentive, nurturing woman, who can see something special and absolutely heartbreaking in her friend, one she cherished and sheltered throughout. And the film ends with a powerful moment when she lets him step forward for his close-up, while there is still a chance.

An inimitable, subdued, and psychologically astute portrait of youth through the Surdej’s pastel-hued lens, “Trasnistra†manages to convey a lot with characters who don’t do or say much. A perfectly framed snapshot of a summer when promises still matter and the winter that comes after, it is timeless, able to evoke nostalgia while being contemporary and to stir a longing that nothing can quite quell. “Transnistra†is a well-made proof that seasons and times change, but the only thing that remains constant is the perpetuity of youth.

Transnistra, 2019
Director: Anna Eborn

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