'that's the bad guy'

I'm really annoyed at the way that it seems the media and the pro film industry are portraying me as the bad guy for standing up for my copyrights. Here's what I gather from the back channels: people in Wellington are really concerned about the long-term viability of the previously vibrant arts industry. They're accusing me of advertising something and then not following through, cancelling dozens or hundreds of potential jobs that might have been unlocked for the creative sector. I challenge that view on two fronts: 1. Within a week of The Big Smoke, I was very clear that I wasn't keen to be Tina. I saw that as a screen test, and I thought I wasn't all that great. 2. I never said that the film couldn't be done; I simply said that I wanted to be paid fairly for my first draft, and that literally anyone else could take that and run with it. Given the way that the mainstream Wellington gay scene has fought me for years, it's hardly surprising that I'm not open to their notes. My snippy comments about Sandpit reflect that I hated that vibe. - Things that aren't payment: a scholarship and a room in the halls of residence that I'd still end up paying for. 😠 VUW's inducements simply aren't interesting to me, hence why I'm studying elsewhere. I don't view it as a chance to bring knowledge back or to get a second chance... the attitude that the new generation of classical composers have is exactly the same as the crap that made me leave. They're condescending, and people aren't aware that I'm doing all that clever stuff unless they read my scores, which to me is a total insult. Come 2025, I'll still continuously refuse to further my studies because I do not want to connect with my 'friends' that only like me after I wrote the IP that they covet. - Things that aren't payment: an invitation to write another draft for money. That's really not the protocol in other countries. I think NZ is hide-bound by shitty notes from the NZFC or South Pacific Pictures. That's my belief. - If people in Wellington were actually concered about my wellbeing, they'd actually write and actually meet me as Joel did. I still see the guitar scene as a surrogate family, but personally it's not my focus this year. Joel mentioned that he's playing at Guitar Society in June, so I'll be there for that (probably). But no, it's not going to inspire me to want to play. I'm actually deliberately taking a break from guitar, and nothing can persuade me to ditch Question Time and ditch my politics! 🤣 - Those transgender laws that are being discussed probably seem rather abstract to my peers, but to me they're absolutely affecting my life as much as the War on Drugs. The lack of explicit protections regarding hate speech, alongside the muddy legislation in the Human Rights Act that doesn't explicitly include gender minorities as a protected class means that a bunch of rich arseholes were allowed to spend years insulting me and attempting to force me to stop wearing the clothes (and to change my name). My mental health team has never discussed such things. Those bigots ruined my life, and now I'm supposed to help save their jobs? How is that fair? - I mean, these rich classical stalkers really should have liaised with my nurse or one of the consulting psychiatrists rather than building their own personality profiles. Several of those people seemed uncomfortable with transness, thinking that it was 'fake' or just a symptom of mania because they lacked the courage to visit the club. From my perspective, I spent most of high school and uni being told that I was gay and autistic, when actually I'm trans and bipolar. Labels matter, and I'm as aware of those as most editors, but my tactic of misgendering people comes from being misgendered. It's like the mirror neurons in that story... when I do that, my non-binary allies feel some of the pain that I've been facing.