Channel 4’s latest trans documentary has certainly achieved an impressive amount of commentary from within trans communities. Like it or loathe it, we all have something to say about My Transsexual Summer. I suppose that’s because this particular programme – running unusually as a series rather than a one-off show – has been really pushed by the broadcaster. You can’t really miss that it’s happening, and as such many people are painfully aware of how likely it is to shape the general public’s perception of trans lives and trans issues.

That level of public consciousness has no doubt shaped the fury emerging from some quarters. I’ve seen outrage at the employment of numerous cissexist tropes (as Paris Lees noted in the Guardian, anyone playing the Trans Documentary Drinking Game whilst watching My Transsexual Summer is guaranteed to get utterly sozzled very quickly), the dodgy narration from a clueless cis woman, and the frequent use of the word “tranny” by documentary participants. The latter issue in particular has predictably reignited debates about whether or not (and how) offensive language can be reclaimed.

Others (including Lees) have welcomed the show as a positive step forward. I agree with those who point out that the show breaks new ground in enabling trans people to speak for themselves in a public/media setting. The best parts of episodes one and two do tend to involve group conversations in which the show’s participants have the rare opportunity to discuss their unique challenges within the safety and comfort of a trans space (other good bits included Dr Bellringer’s justification of genital surgery and the revelation that some trans men keep their clitoris post-phalloplasty…imagine, a functioning penis and a functioning clitoris! Dude!)

My own problem with the show is that these moments of brilliance are inevitably compromised by the ciscentric, cissexist editing process. I’ve already mentioned the narrator: the show would be a considerably stronger, warmer portrayal without the presence of her patronising, occasionally transphobic twaddle. Then there’s some of the things the participants are required to do. In the first episode, they’re expected to take pictures of one another (an activity some are clearly uncomfortable with), leading to this gem of a comment:

The photographs are ready. Now they’ll be able to judge themselves, and each other.

Congratulations Channel 4: you’ve managed to touch upon everything that’s wrong with internalised transphobia, judgemental “more stealth-than-thou” attitudes within trans communities and the cissexism within the wider world in one fell swoop!

The worst part of the editing process though is the identity erasure undertaken for the sake of telling a safe, easily digestible story to a cis audience. Maxwell – the jolly Jewish fellow from the show – has written about this process extensively on his blog:

What I see is the inevitable privileging of narratives that do not challenge dominant paradigms of normative gender. What I see is programming that will make you think “oh I feel so sorry for them, maybe I might think about how those people get a tough ride”. What I don’t see is anything that is going to make people think or feel any differently about what gender is or how it limits us all in one way or another.

What we see are lovely endearing transsexuals (who I still consider to be my good friends) struggling though ‘typical’ transitions and don’t get me wrong these stories are hugely important, I do not underestimate how important these stories are but where are all the queers!?

These narratives are totally valid but I believe they need to be seen in context and juxtaposed with a more diverse representation. A representation that was there in the house but somehow didn’t make it to our television screens.

Where is Fox talking about being mixed race, about his art and about how he sees himself as two spirit?

Where is the exploration of Donna’s male and female identities as she navigates the personal relationships that mean so much to her?

Where is the discussion about how I reject gender binary and sexuality and still live an observant Jewish life at the same time?

The film-makers’ approach also ensured that the word “tranny” was employed in a deeply problematic context:

The responsibility was not on us to act or behave in a certain way- our job was to turn up and be ourselves. TwentyTwenty and Channel Four bear the responsibility for broadcasting footage without providing any context whatsoever. Donna ‘I’m pretty manly for a Tranny’ is a superbly articulate young woman who’s reasons for using the T word were not broadcast, instead they used endless footage of her and the other women putting on make up.

Maxwell and the other participants have been attacked extensively for their use of the word, with detractors arguing that they should have been more careful. Maxwell is now wondering if he did the “wrong thing”. Yet I’m inclined to agree with his initial assessment: if the editors had any sense, if they listened to the numerous community members they corresponded with, if they gave a shit, then they would have thought quite seriously about how they used the small amount of footage in which the word is uttered.

I can understand why some feel that My Transsexual Summer represents a step forward, a positive move in spite of its failings. I see hope in the brave, strong participants, and in the few moments when their voices are heard loud and clear. If we’re to have a truly decent, representative mainstream trans documentary though, those voices have to be centred rather than sidelined. We’ll continue to see poor programmes produced as long as cis filmmakers have the power to re-contextualise our stories whilst erasing our gender(s), sexual orientation, and race/ethnicity.