2025

This is to all the powerful Wellingtonians who can't accept my boycott as fair and valid. To a fault, you've all tried to alter my gender expression. I haven't forgiven you, and you haven't proffered any kind of real, valid apology. Newtown isn't part of Wellington, technically, but to get there then I have to ride the bus through the CBD, where it's pretty obvious that you're trying to manipulate me into being your drag queen barbie. The legal answer is that my script isn't your property, and you will find that I'm prepared to take that argument to court.

Boycotts are a classic part of the activist toolkit. It's non-violent active resistance, the kind that VUW faculty members could participate in to save their jobs. - To The Post: nothing you publish will alter my view. I don't want to film events for selfish, entitled bigots that I had to correct.

Between Sinead's bullshit and Tory's bullshit, there's not much reason to visit Wellington, and it's not my job to film people. How about paying me if you want me to film an event? If I was cisgender, you would. - I hate all your guts, liberal and conservative alike. I'm extremely sick of all these rich, queer men speaking over me, or being told to be more like them because you've heard unsubstantiated rumours about the bulge in my pants.

Let alone all the closet bis and dykes ... trans people don't have rights; you lot do. - As for the musicians who think that I could get paid more as a muso: absolutely not. As an editor I was only getting paid $30-40 an hour at RNZ, but the shifts were pretty cruisey, and that was for an entry-level gig. If people paid me seriously to film things, we're talking like $500 for a half-day, and $800 for a full day. Anything more than 2 hours is a half-day, and that only includes one pass of editing. If you give me notes to revise the cut, then that's extra. That's a fair quote, and that is why the wealthy violinists and theatre dorks need to take a hint and either pay me fairly or step off.

Like, yeah, maybe I could make $60 an hour to teach, but I would only ever have a small handful of students because that is all I have ever been able to accomplish. There isn't an endless pool of Asian people that want to play classical guitar, and there's at least a dozen or so of Jane's students that live in the Wellington region. Since I came out, I've only had one regular student. It's hard enough as a man, but as a trans person it's virtually impossible to convince most parents to send their teenaged kid to visit a trans person (no matter how good I am at my craft). Weeded Out wasn't totally based in truth, but that's what would happen if I was to go and visit their houses. Plus I don't have a driver's licence anymore because when I went to VTNZ in 2019 to get a new one, there were extra hoops to jump through. Teaching isn't a possible pathway to an income. I don't have that advantage or opportunity, while editing and journalism have become a path to an income. All the journos actually seem to like me - now that they've gotten used to me - and they're actually willing to stick their necks out for me. - As I have repeatedly said, paying me for Weeded Out would've been a fair and valid way to absolve your guilt, and to assist me in my career. You could have made that feature and 'saved' your jobs, while giving me enough money to live something more than a subsistence lifestyle. I also feel like y'all missed the point of negotiations. They're iterative, and given the animosity between us, attempting to backtrack to the earlier price after I proved sole credit was sneaky and part of a Machiavellian pattern to force me to be a 'they' that's more palatable and mostly wears men's garments. Attempting to offer me the opportunity to direct was pathetic. You should've plainly allowed me to meet you and discuss my low-budget version, rather than telling me that I was going to 'have to' make a high-budget version where I had no creative control. The negotiation is over because I'm not willing to licence my story until the book that I am writing is complete and in the galleys. That is a totally fair statement, and the reason that it is fair is because I wrote every single line of the screenplay. - James and Cassandra lost. They have to accept that. Cass and James aren't allowed to ask me to perform, film or write for them. Tory and Nadine lost. They have to either apologise or accept my boycott. Sinead needs to get on the phone and bloody hire me if she thinks that I can help improve the quality of ThreeNews, and hiring me will come with conditions that include publishing those transphobic articles that Stuff either wrote or syndicated.

There's a bunch of them between 2019-2022 or so, and I bet that my trans allies can probably remember several more than the ones that I complained about. I refuse to accept any kind of Weeded Out/Tina outcome, and that is because she is an original character that I created. As she exists in multiple media, she isn't just a film character, but an actual piece of IP in her own right. - You cannot legally expect Weeded Out to exist. I refuse to film events until the issues that are underlying my boycott are resolved.

AMPP was a test, and it was also an audition. Now, the time has come to pay me, because that's how Michelle made an income for quite a long time. Lots of cisgender people are able to do so, and Six is more like an exception. Given how high and mighty you 'liberal' shits have been about the Abuse in Care saga, and the bullshit apologies that have been proffered, it seems illogical for you to state that I'm not entitled to an apology and compensation for past injustices.

Improve my life by paying me for the stuff that I want to do: documentaries, writing, editing, filming, arranging. STOP asking me to sing for my supper or to play guitar. That would be appropriate.