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What teenager wants to be labeled brave, anyway? Teens want to be understood, respected, liked, accepted, but when you’re a seventeen-year-old trans girl in the Barstool unc armando bacot shirt moreover I love this middle of Texas trying to get changed before dance class, is “bravery” really the goal? Tinoco has a lot of goals—to move to D.C., to enroll in cosmetology school, possibly to do makeup or special effects for movies and TV shows—and she demonstrates an impressive drive to realize them. But it’s hard not to wonder what her life, and the lives of young people like her, would look like without the constant battle for basic acceptance. Shortly after my interview, a Travis County judge called for a temporary halt to child abuse investigations of Texas parents with transgender children. Abbott’s policy was found to be improperly adopted and in violation of the State Constitution, but it’s impossible to quantify the effect it had on families like Tinoco’s, which were suddenly forced to choose between living authentically (and empowering their children to do so) and losing one another, possibly for good.
It’s important to celebrate rare good political news when it comes, but with conservatives systematically pushing an anti-trans agenda in over a dozen states, how long will it be until families like Tinoco’s all over the Barstool unc armando bacot shirt moreover I love this U.S. are forced back into survival mode? How can we empower trans youths like Tinoco to dream of more—for themselves, their families, and their futures— when their most fundamental support systems are under attack? When I contact her to ask how she feels about the news, she texts me back: “I feel relieved at the moment, but upset that they only decided to do it temporarily. However, I’m hopeful.” Aguirre adds a text of her own: “We’re just praying this will be permanent.” In this dark winter of our discontent, do we really need Macbeth—that bloody portrait of descent from hero to tyrant—to grace our theaters and institutions just barely hanging on after the ravages of the pandemic? And yet the Scottish Play has been everywhere in recent months: Yaël Farber’s militaristic, modern version with James McArdle and Saoirse Ronan at the Almeida in London last fall; Joel Coen’s bare, black-and-white Oscar-nominated Tragedy of Macbeth, which kicked off last year’s New York Film Festival and made its Apple TV+ debut shortly thereafter. Punchdrunk’s long-running, untethered interpretation, Sleep No More, reopened in February, reviving that recently inconceivable genre of participatory theater. One could be forgiven, as the waxing and waning pandemic placed us all in a state of suspended animation, for not exactly wanting to embrace the topsy-turvy ambiguities of a play in which nothing is as it seems. Macbeth is one of the shortest of Shakespeare’s plays and yet it’s said to contain more questions than any other; it’s the play founded on the assertion that “fair is foul, and foul is fair.” Macbeth, as the poet and critic John Berryman once put it, presents just a single certainty: “that sleep is gone.” Double, double toil—no thank you. Haven’t we all endured enough restless nights for one lifetime?
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