Crowl, on the other hand, portrays Eve as remarkably well-adjusted after being so coldly rejected by her wife in what is a surprising but welcome departure from most transgender dramas. Whereas most such movies zero in on problems directly arising from their characters’ struggles to transition, Eve is unique in that she seems to have transitioned perfectly fine and is in a position to help Alyssa overcome her illness. This is a far cry from the guilty liberal idea so deeply entrenched in much of cinema (and that I described in my review of They Will Have To Kill us First) that transgender people, like other minority groups, are eternal victims of eternal problems and that there is not much one can really do besides patronize and pity them. In a cultural milieu where the word “empowering” is tossed like confetti at the smallest achievement, Crowl’s Eve genuinely is.
To be honest, I’m very proud of this from a kind of selfish point of view, precisely because I did consult on the script and because the writers listened – and, to be fair, had a holistic view of the transition from the get-go.
She seems to have transitioned perfectly fine. It’s her wife who hasn’t.