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Jennifer Finney Boylan on Trump's 'two sexes' executive order: 'I woke up surprised to learn that I was a man again'

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Jennifer Finney Boylan on Trump's 'two sexes' executive order: 'I woke up surprised to learn that I was a man again'

On the Shelf

Cleavage

By Jennifer Finney Boylan
Celadon Books: 256 pages, $29

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“I hope people don’t think it’s a book about the history of breasts,” laughs Jennifer Finney Boylan via Zoom from her New York City apartment ahead of the publication on Tuesday of “Cleavage: Men, Women, and the Space Between Us.” Her latest memoir comes on the heels of President Trump’s executive order proclaiming that the U.S. government will recognize only two genders — male and female.

“I call the book ‘Cleavage’ because, to some degree, it’s about a separation: before and after,” she says. “Cleavage is a wonderful word. It’s what linguists call a contronym because its definition contains its own opposite. It means division, but it also means coming together. It also means the space between things.”

Boylan also toyed with the titles “Both Sides Now,” after the Joni Mitchell song, and “He’s Not There,” a “bookend” to her first memoir about coming out as trans, “She’s Not There,” in 2003.

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“When I came out 25 years ago, nobody had yet been given formal instructions on how to hate me,” she says. “In some ways, things are easier 1738668740. The path that was, for me, so obscure is now fairly well-blazed. But in some ways, things are harder because with increased visibility comes increased blowback.”

Boylan talked to The Times about Caitlyn Jenner, religious hypocrisy, her trans daughter and “Emilia Pérez.”

This interview has been lightly edited and condensed for length and clarity.

How does it feel to have your book coming out at the current political moment?

That’s the question, isn’t it? Is it the very best time to publish a book about the transgender experience or is it the very worst? I’m hoping it’s a good time because the topics are in the news. On the other hand, there are a lot of topics in the news. I hope people will take a moment to consider the stories that I tell because storytelling, I believe, is the best method for opening hearts and enabling people to have empathy.

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What’s your response to Trump’s “two sexes” executive order?

I woke up in my own bed surprised to learn that I was a man again and my wife was back in a heterosexual marriage. What’s odd is that nothing seemed to have changed, at least nothing close at hand. Maybe that’s the lesson to follow: They can make all the laws and proclamations they want, but nothing is going to change the truth. It’s not for someone who has never met me to declare that they know my soul better than I do. I think I’ve become a pretty good expert on who I am over the years.

It does make me feel sad because what we’re facing, among other things, is a failure of imagination. To understand transgender people requires a certain amount of imagination and willingness to understand the lives of people who are different from ourselves. It makes me a little cross because it doesn’t seem to me to be such a heavy lift.

The language you use to describe your pre- and post-transition existences is pretty frank and plain. Are you worried at all that it could be used as ammo for far-right extremists who deny the existence of trans people?

They can bend anything out of shape. Everyone knows what I’m talking about when I say pre-transition and post-transition. I recognize that there are lots of ways of looking at this. There’s not a singular transgender experience. The wonderful thing is that we have so many different ways of being us.

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I talk about my own experience the way I see it and the way I think is easiest for people who don’t know anything about the transgender experience to understand. How I talk about these issues to a general audience might be a little different from the way I discuss it with a group of my peers. My main desire is to tell a story and to provide people who’ve never thought about this stuff with a way in.

Right-wing folks will bend whatever I say out of all sane context, but in the end, do they understand that conservatism ought to mean leaving people alone? Do they understand that the command from the Bible is to love one another even as I have loved you? Do they understand that Jesus himself said, regarding trans people, let those who can accept this who can. “Some are eunuchs because they were born eunuchs, some are eunuchs because they were made eunuchs by others, and there are some who were made eunuchs in order to better serve God. Let all who can accept this who can” [Matthew 19:12]. You want to quote scripture, you want to bend my words around — have at it. But in the end, all we can do is try to love each other and understand each other. I’m going to be saying that as I’m carried off to whatever prison they have in store for me.

On that note, what do you make of Bishop Mariann Budde calling for mercy and the backlash that has ensued?

Oh no, not a backlash to mercy! What a controversial thing to say, that we deserve mercy and that the job of the president of the United States is to protect the vulnerable and the needy in this country. What an incredible controversy, that an episcopal bishop should be calling on us to have mercy and to love one another. We’ve reached a world in which the idea of mercy is political. It’s going to be a long four years.

It was a great sermon and it’s a shame that we didn’t hear more of that during the campaign because Mr. Trump, in addition to being a deeply unserious person, is a cruel person, and his policies are designed to pick on the weak and to get everybody else to hate each other.

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You also write that “People coming out as trans now aren’t apologizing for who they are. They aren’t begging for forgiveness or understanding.” Do you think that will recede in light of more anti-trans bills?

If anything, I think people will have an increased sense of fury that their desire to be themselves should be anybody else’s business. I can understand if people are a bit more careful about who they share that information with because we are under attack as never before.

As a mother to a trans daughter, what advice or words of wisdom and solace do you offer to trans kids growing up now?

When my daughter came out as trans, she didn’t want my counsel. That should surprise no one — doesn’t that sound like what your 20-something daughter would want to do? [Trans kids’] experience is different enough from mine that it’s maybe not my place to be giving people advice about how to live their lives. When I do give advice, it’s pretty general. I use the acronym TRUE: T stands for therapy or talk. Find someone to talk to. Don’t keep it all inside. R stands for read. There are a lot of good books about the trans experience now. I didn’t write all of them, but I did write most of them. [laughs] U stands for you. Be yourself as best you can. You shouldn’t try to be Jenny Boylan. You shouldn’t try to be Caitlyn Jenner, God knows. E stands for euphoria. Find your bliss, with the caveat of accepting that you might not be able to have everything you want right now. Now I’m sounding like a parent.

It’s not an easy life. Right now it feels like it’s harder than ever.

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What do you make of Caitlyn Jenner’s continued support of Trump, especially in light of the “two sexes” executive order?

I don’t understand it. She’s supporting someone who has just declared her male. The ultimate goal is to erase us from society. To support him only suggests that she’s more concerned with issues having to do with her personal wealth and privilege than she is with the lives of people like herself. Or it might be that she’s as dumb as a bag of hammers.

Everybody on [“I Am Cait,” the E! docuseries that followed Jenner’s transition and starred Boylan] put our reputations on the line to open her heart. As I write in the book, “no one could accuse her of becoming the transgender Encyclopedia Brown.” It’s a shame.

And I wanted to ask you about Karla Sofía Gascón’s historic Oscar nomination for “Emilia Pérez” — have you seen it?

I haven’t, but it’s on my to-do list. I wrote a piece for the Washington Post about “Will & Harper” and I was delighted by that film. I’ve seen a lot of transgender documentaries and films and they’re almost always horrible so I can rarely watch them anymore. What’s almost as bad is how frequently these movies that I think really misrepresent our experience are loved by a broader, [cisgender] audience. I need to buckle in and watch that movie. I’ve heard great things about it.

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Boylan will be discussing her new novel at Vroman’s Bookstore in Pasadena on Feb. 25 at 7 p.m.

Movie Reviews

Film reviews: ‘Marty Supreme’ and ‘Is This Thing On?’

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Film reviews: ‘Marty Supreme’ and ‘Is This Thing On?’

‘Marty Supreme’

Directed by Josh Safdie (R)

★★★★

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Entertainment

Josh O’Connor plays a sensitive stripper on ‘SNL’ and Lily Allen’s ‘Madeline’ has a surprise

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Josh O’Connor plays a sensitive stripper on ‘SNL’ and Lily Allen’s ‘Madeline’ has a surprise

“Saturday Night Live” hosts typically make their mark on the show, either by boosting the sketches they’re in with charm and good timing or making a lesser kind of mark by awkwardly revealing why they aren’t right for live sketch comedy.

So what are we supposed to make of British actor Josh O’Connor, who hosted “SNL” for the first time and left almost no impression at all?

O’Connor, known for playing Prince Charles in “The Crown” and for performances in “Challengers” and the new Netflix movie “Wake Up Dead Man: A Knives Out Mystery,” seemed game enough, but throughout most of the show he had little opportunity to do much more than blend into sketches centered around characters he was not playing.

He played supporting parts including the Tin Man in a revamped “Wizard of Oz” sketch involving the male characters deciding they actually want a “big old thang” instead of their original wishes, a fellow student in a sketch about a 12-year-old college prodigy (Bowen Yang), Rudolph the Red-Nosed Reindeer in a Christmas characters piece that was a take on Variety’s “Actors on Actors,” and an awkward brunch attendee.

Only in a few sketches, including a “Dating Game” parody featuring Ashley Padilla as a rowdy 84-year-old contestant; a hospital sketch in which he played a bad intern; and one in which O’Connor and Ben Sherman played sensitive male strippers at a bachelorette party did he have lead roles. And they weren’t particularly memorable characters or portrayals. Only when he kissed fellow cast members at the end of sketches (Yang and Sherman) did things seem to liven up.

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In fact, it felt more like a spotlight episode for Yang — who played the Wizard; the fast-talking, high-attitude Doctor Please in the hospital sketch; and the 12-year-old college student — and for musical guest Lily Allen. Allen’s scathing performances of “Sleepwalking” and “Madeline” from her new breakup-with-David Harbour album were high drama. The latter song featured a big surprise: Actor Dakota Johnson spoke from behind a scrim as the titular character and then appeared next to Allen when the song ended. Another Allen song, “West End Girl,” was the subject of an entire brunch sketch in which cast members sang about their feelings to the tune of the music. Allen showed up as herself but filling in as a waitress at their table.

It’s hard to say if the material just misfired for O’Connor or if he’s just an awkward fit for “SNL,” but unfortunately what stood out in the episode had little to do with him.

In addition to the sketches, this “SNL” episode included a Christmas-themed “Brad and His Dad” animated short.

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Ready for another President Trump-centered cold open? Sorry, you got one anyway. James Austin Johnson once again aced his impression of Trump with a stream-of-consciousness ramble for reporters aboard Air Force One that White House Press Secretary Karoline Leavitt (Ashley Padilla) attributed to exhaustion. “I took an Ambien and an Adderall, let’s see which one wins,” said Trump before inappropriately fixating on Leavitt’s lips and denying that affordability is a problem. “Economy is very strong,” he said, “from the billionaires all the way down to the poor millionaires.” Trump addressed attacks on Venezuelan ships, saying, “We’re doing pirate now, argh,” and promising that attacks would move from the sea to the air, leading to a visual joke of Santa Claus and his reindeer on radar being shot out of the sky.

O’Connor’s monologue focused on two things those unfamiliar with his acting should know about him: that he has a reputation as a “soft boy,” someone who embroiders, scrapbooks and gardens like an “average 65-year-old woman.” The other is that he resembles chef Linguini from the Pixar film “Ratatouille,” and though a rumor that he wanted to play the character in a live-action version was unfounded, he would very much like to play that character. “For what it’s worth,” he said, “I would kill as Linguini.”

Best sketch of the night: You ate how many nuggets this year?

Even though it’s already well-trod meme material (including an almost identical comic strip’s premise), “SNL” was still able to squeeze some juice from Spotify’s Wrapped, a year-in-review feature that returned for another round earlier in the week. Uber Eats has a year-in-review, too, and you absolutely don’t want your significant other to see what fast food you’ve ordered and whether you’re in the top 1% of nugget eaters. If your Uber Eats age is “52 and Fat,” it may not be knowledge you wish to have. The mock commercial does a great job balancing the shame we feel about the awful foods we eat with the amount of data we could learn about those habits, if only anyone ever wanted to see that.

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Also good: These kind male strippers give the best empathy hugs

A bachelorette party at a cozy cabin is interrupted by two hired male strippers, Augie and Remington (Sherman and O’Connor), who ask for consent before entering and are soon removing their cardigans to reveal another layer of cardigan. The men dance to an emo version of “Pony” before revealing that one of them has a Zohran (Mamdani) tattoo on his stomach. They give lap dances, but one of them gets overstimulated and cries. “I was just thinking about the Supreme Court,” he moans. Not the most original sketch idea, but the specific details of the characters and Padilla’s smitten reactions as the bachelorette saved the sketch from overstaying its welcome.

‘Weekend Update’ winner: Superheroes, Santa and your boss all want you to behave

Jane Wickline did a nice job with a surprisingly violent original song about stopping the biggest threat facing the world: not AI, but the grown-up child actors from “Stranger Things.” But it was Marcello Hernández who got big laughs recounting what Christmas is like for his Cuban family. It includes dealing with new boyfriends of family members pretending to be who they aren’t. “You don’t like the food, Kyle, you like having sex with my cousin!” Hernández wandered a bit, straying to talk about “Home Alone” and uncles who give unsolicited sex advice, but the heart of the segment was impressions of his father calling to encourage his son as different characters including Santa Claus, Spider-Man and his boss, Lorne Michaels.

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Movie Reviews

Not Without Hope movie review (2025) | Roger Ebert

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Not Without Hope movie review (2025) | Roger Ebert

Joe Carnahan was a sagacious choice to co-write and direct the engrossing and visceral survival thriller “Not Without Hope,” given Carnahan’s track record of delivering gripping and gritty actioners, including early, stylish crime thrillers such as “Narc” (2002) and “Smokin’ Aces” (2006), and the absolutely badass and bonkers Liam Neeson v Giant Wolves epic “The Grey” (2011).

Based on the non-fiction book of the same name, “Not Without Hope” plunges us into the stormy waters of the Gulf of Mexico for the majority of the film, and delivers a breathtaking and harrowing dramatic re-creation of the 2009 accident that left four friends, including two NFL players, clinging to their single-engine boat and fighting for their lives. The survival-at-sea story here is a familiar one, told in films such as “White Squall,” “The Perfect Storm,” and “Adrift,” and the screenplay by Carnahan and E. Nicholas Mariani leans into well-worn tropes and, at times, features cliché-ridden dialogue. Still, this is a well-paced and powerful work, thanks to the strong performances by the ensemble cast, some well-placed moments of character introspection, and the documentary-style, water-level camerawork by Juanmi Azpiroz.

Zachary Levi (the TV series “Chuck,” the “Shazam!” movies) is best known for comedy and light action roles. Still, he delivers solid, straightforward, and effective dramatic work as Nick Schuyler, a personal trainer who helps his friends Marquis Cooper (Quentin Plair) and Corey Smith (Terrence Terrell), two journeyman NFL players, get ready for another season. When their pal Will Bleakley (Marshall Cook) shows up at a barbecue and announces he has just been laid off from his financial firm, he’s invited to join the trio the next morning on a day-trip fishing trip from Clearwater, FL., into the Gulf of Mexico. (The casting is a bit curious, as the four lead actors are 10-20 years older than the ages of the real-life individuals they’re playing — but all four are in great shape, and we believe them as big, strong, physically and emotionally tough guys.)

We can see the longtime bond between these four in the early going, though we don’t learn much about their respective stories before the fishing trip. Kudos Carnahan and the studio for delivering a film that earns its R rating, primarily for language and intense action; the main characters are jocks and former jocks, and they speak with the casual, profanity-laced banter favored by many an athlete. (Will, describing the sandwiches he’s made for the group: “I got 20 f*cking PB&Js, and 20 f*cking turkey and cheese.”) There’s no sugarcoating the way these guys talk—and the horrors they wind up facing on the seas.

The boat is about 70 miles off the coast of Clearwater when the anchor gets stuck, and the plan to thrust the boat forward to dislodge it backfires, resulting in the vessel capsizing and the men being thrown overboard. Making matters worse, their cell phones were all sealed away in a plastic bag in the cabin, and a ferocious storm was approaching. With title cards ticking off the timeline (“13 Hours Lost at Sea,” “20 Hours Lost at Sea,” “42 Hours Lost at Sea”), we toggle back and forth between the men frantically trying to turn over the boat, keep warm, signal faraway ships, battling hunger and thirst, and the dramas unfolding on land. Floriana Lima as Nick’s fiancée, Paula, and Jessica Blackmore as Coop’s wife, Rebekah, do fine work in the obligatory Wait-by-the-Phone roles.

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It’s terrific to see JoBeth Williams still lighting up the screen some 40 years after her “Big Chill” and “Poltergeist” days, delivering powerful work as Nick’s mother, Marcia, who refuses to believe her son is gone even as the odds of survival dwindle with each passing hour. Josh Duhamel also excels in the role of the real-life Captain Timothy Close, who oversaw the rescue efforts from U.S. Coast Guard Sector St. Petersburg. At one point, Close delivers a bone-chilling monologue about what happens when hypothermia sets in—“hallucinations, dementia, rage…eventually, it breaks your mind in half”—a point driven home when we see what’s happening to those men at sea. It’s savage and brutal, and heartbreaking.

Given this was such a highly publicized story that took place a decade and a half ago, it’s no spoiler to sadly note there was only one survivor of the accident, with the other three men lost to the sea. Each death is treated with unblinking honesty and with dignity, as when the natural sounds fade at one point, and we hear just the mournful score. With Malta standing in for the Gulf of Mexico and the actors giving everything they have while spending most of the movie in the water and soaked to the bone, “Not Without Hope” is a respectful and impactful dramatic interpretation that feels true to the real-life events.

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