Arts & Entertainment
Nonbinary physician fights COVID-19 without legal protections
LGBTQ healthcare workers are stepping up, saving lives
Dr. Scott Nass and Dr. Ly Pham are LGBTQ physicians on the front lines of the pandemic fight, but only one is protected from workplace discrimination. While Nass is fortunate to be a gay cisgender man practicing in California, Pham is a queer nonbinary doctor working in Louisiana without legal protections.
“Shreveport is a level one trauma center similar to Baltimore,” said Pham who uses singular they pronouns. “The hospital was fairly busy before COVID [but the pandemic] added another layer of stress and anxiety.”
Adding to Pham’s stress is the feeling that LGBTQ people are tolerated but not fully accepted into the larger Shreveport community. While HRC reports both Shreveport and New Orleans ban discrimination on the basis of sexual orientation and gender identity, Louisiana has had a tumultuous history with attempts to mandate a statewide ban.
“I get misgendered all the time,” Pham said before describing a usual day when they arrive at the hospital around 8 a.m. “Mostly by patients coming in and some coworkers. But I’m here to treat the patients and not educate them because they’re in a crisis right now and need to be treated and admitted to the hospital.”
Pham says they allow their patients to interact with them in a way that is emotionally damaging because they feel harms need to be triaged during a crisis. Louisiana governors have sought remedies to this preventable situation.
However, in 2018 the Louisiana Supreme Court struck down Gov. John Bel Edwards’ (D) executive order protecting LGBTQ state employees and contractors from workplace discrimination, according to a report by The Advocate.
The resulting tally from Freedom for All Americans shows Louisiana is one of 28 states where an LGBTQ worker, including essential medical personnel during a global health crisis, can legally be fired or face other negative action on the basis of sexual orientation or gender identity.
“The case of healthcare workers helps illustrate why it is in everyone’s interest that people are able to work regardless of factors that have nothing to do with their ability to do the job,” said Jon Davidson, Freedom for All Americans Chief Counsel. He is also an LGBTQ attorney who attended the Supreme Court arguments on this issue. “I hope the court sees this is not just important to the employees affected, but for society as a whole.”
But not every state will be equally impacted by the ruling.
Davidson explains a Supreme Court ruling on the Bostock v. Clayton County, Altitude Express v. Zarda and Harris Funeral Homes v. EEOC cases determining if Title VII protections “on the basis of sex” includes sexual orientation and gender identity won’t affect the 22 states that already have LGBTQ-inclusive nondiscrimination protections.
In April, Virginia Gov. Ralph Northam signed into law the Virginia Values Act, expanding nondiscrimination protections in his state to include sexual orientation and gender identity and making it the first state in the South with such inclusions.
“We need every healthcare worker possible saving lives,” Davidson emphasized. “So having protections is both important to keep qualified people in their jobs and it is also important that LGBTQ workers not be worried about who might learn they are LGBTQ. If you have to hide your partner [or who you are] because you’re afraid your employer might find out and you might be fired, that’s unacceptable.”
He added it was “just outrageous and cruel” for healthcare workers to endure such uncertainty during a crisis.
HRC, the Movement Advancement Project and other national policy trackers have noted California, where Dr. Nass encountered the initial waves of the deadly virus, has passed a series of increasingly inclusive statewide measures over the years. Their legislative efforts culminated in the recent Gender Nondiscrimination Act in 2011.
As a result, though Nass also finds the pressures of the pandemic to be “incredibly stressful,” he has not faced the added stress of having to conceal his orientation.
“When I’m not working, I am sheltering in place at home with my husband,” Nass said. “A police officer in Los Angeles who is also on the front lines of the pandemic.”
While their lives are at risk, their jobs and identities are not. However, the situation is very different outside of California.
Pham currently shelters-in-place with their fiancee, who uses both female and nonbinary pronouns and identifies as queer in orientation. The couple bought a two-person hammock so they can lie together under the trees and daydream about a future when they can travel. They are also planning their wedding and an eventual move to Los Angeles.
“It’s spring,” Pham said. “And we are appreciating nature and the flowers blooming and a time to slow down.”
But the rest period doesn’t last long for the physician who graduated in the midst of a global crisis. Pham has been out as an LGBTQ person since attending medical school at the University of Texas in San Antonio. Although Texas is another state without LGBTQ-inclusive workplace protections, Pham was able to find mentors who helped them through their personal journey from self-described butch lesbian to nonbinary as well as through their professional journey from student to physician.
Pham details the rest of their current daily routine with almost machine-like precision.
“I park in a parking lot that is gated using my badge,” Pham said. “There I put on my surgical mask that I have in my car. Parking is in the back of the hospital. I walk to the front. There is only one entrance to the hospital. I try to keep six feet from anyone else and I try to see if anyone else is walking toward the entrance.”
“Everyone feels a little more distant than usual,” agrees Nass in less constrained cadence when discussing his own routine, which begins at 6:30 a.m. “And I’ve worked on speaking more with my eyes now that no one can see me smile under the constant masks.”
Pham is a little more reserved beneath their mask as workplace interactions usually lead to misgendering without reasonable recourse, especially during the crisis.
They arrive at a screening station where they answer a hospital worker’s questions and get their temperature checked. When they pass the checkpoint, they get a sticker on their badge.
“Different colors for different days,” Pham explains. “Before I even get to my office, I usually swing by the ground floor and pick up my N95 mask and face shield, if I’m seeing COVID patients.”
But Pham admits it’s hard to know which patients are COVID positive, so they wear an N95 mask whenever they see patients. They also wipe down their keyboard, desk, chair, mouse, phone — everything in their work area.
Nass may be fortunate when it comes to workplace protections, but his personal equipment seems a little less protective than Pham’s, who works in a larger hospital and more closely with COVID patients.
“I stop at the front desk of the hospital to get an ear-loop mask,” Nass explains. “Not the most protective kind, but those are kept even more securely in particular patient areas.”
Nass notes “on administrative days” he doesn’t usually see much of anyone as access into the office space has been limited to reduce the risk of spreading the virus.
“I am not assigned to take care of confirmed COVID-19 patients in one of the two units we’ve designated for that,” he said. “But we have started to treat every patient, and each other, as though we may be carrying the virus.”
And this may be sound advice, though reminiscent of the early stages of the HIV/AIDS epidemic. In March, when PPE distributions were no match for the steady influx of patients in New York City, Kious Kelly, a gay nurse working at Mount Sinai hospital, contracted COVID-19 and died from it.
Kelly’s sister, Marya Patrice Sherron, told BuzzFeed News of a homophobic comment posted to a GoFundMe page set up to help with funeral expenses.
“It was a very, very, very hateful and insensitive comment suggesting that [his death] didn’t matter because he was a gay male.”
Pham faces similar insensitivity from nonbinary erasure even as they struggle to save lives during the crisis.
Pham’s hospital has a dedicated COVID team where they work when they are on call. Pham said in the beginning stages of the crisis it took a week to get test results back so they weren’t certain who was infected and who wasn’t. Now, with better testing, the turnaround has been 24 hours or less.
“We know definitively if they are positive or negative faster, instead of just suspecting that they are,” Pham said. “It helps us triage better.”
Pham also said this is safer for the medical staff since many of the infected are asymptomatic. As a result, everyone is tested regardless of symptoms.
“We stress the importance of social distancing because you don’t know who could test COVID positive and they could be spreading it around unknowingly,” Pham said.
At the end of their shift, Pham removes their gear by following the guidance of a hospital instructional video. They then wipe down their shield with hospital-grade wipes and they toss the mask if it has been visibly soiled.
After cleaning themselves and their workstation again, they wear a surgical mask down to their car. They then clean themselves and the interior of their car with alcohol again. When they get home, they keep a six feet distance from their fiancee and toss their clothes into the washing machine before jumping into the shower.
When it is safe, the two of them can finally relax together and reconnect by cooking, watching Netflix or daydreaming in their shared hammock.
Nass similarly ends his day with a trip to the washing machine and shower before collapsing on the couch with his husband and Boston Terrier. In the hour or two before he falls asleep he catches up on “The Magicians” or “Schitt’s Creek.”
“Sometimes I eat dinner,” he said in a rare consideration of his own health.
“LGBTQ healthcare workers are stepping up to save lives in this crisis,” said Hector Vargas, the executive director of GLMA: Health Professionals Advancing LGBTQ Equality, an LGBTQ medical professionals advocacy organization. “It’s long past time we step up for them to make sure they’re protected under the eyes of the law.”
Friday, Feb. 20
Center Aging Monthly Luncheon with Yoga will be at noon at the D.C. LGBTQ+ Community Center. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.
Trans and Genderqueer Game Night will be at 7 p.m. at the D.C. Center. This will be a relaxing, laid-back evening of games and fun. All are welcome! We’ll have card and board games on hand. Feel free to bring your own games to share. For more details, visit the Center’s website.
Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Hotel Zena. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
Saturday, Feb. 21
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
LGBTQ People of Color will be at 7 p.m. on Zoom. This peer support group is an outlet for LGBTQ People of Color to come together and talk about anything affecting them in a space that strives to be safe and judgement free. There are all sorts of activities like watching movies, poetry events, storytelling, and just hanging out with others. For more information and events, visit thedccenter.org/poc or facebook.com/centerpoc.
Sunday, Feb. 22
Queer Talk DC will host “The Black Gay Flea Market” at 1 p.m. at Doubles in Petworth. There will be more than 15 Black queer vendors from all over the DMV in one spot. The event’s organizers have reserved the large back patio for all vendors, and the speak easy for bar service, which will be serving curated cocktails made just for the event (cash bar.) DJ Fay and DJ Jam 2x will be spinning the entire event. For more details, visit Eventbrite.
Monday, Feb. 23
“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam at [email protected].
Tuesday, Feb. 24
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook.
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100 percent cis. For more details, visit genderqueerdc.org or Facebook.
Wednesday, Feb. 25
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Asexual and Aromantic Group will meet at 7 p.m. on Zoom. This is a space where people who are questioning this aspect of their identity or those who identify as asexual and/or aromantic can come together, share stories and experiences, and discuss various topics. For more details, email [email protected].
Thursday, Feb. 26
The DC Center’s Fresh Produce Program will be held all day at the DC Center. To be more fair with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
Sports
US wins Olympic gold medal in women’s hockey
Team captain Hilary Knight proposed to girlfriend on Wednesday
The U.S. women’s hockey team on Thursday won a gold medal at the Milan Cortina Winter Olympics.
Team USA defeated Canada 2-1 in overtime. The game took place a day after Team USA captain Hilary Knight proposed to her girlfriend, Brittany Bowe, an Olympic speed skater.
Cayla Barnes and Alex Carpenter — Knight’s teammates — are also LGBTQ. They are among the more than 40 openly LGBTQ athletes who are competing in the games.
The Olympics will end on Sunday.
Movies
Radical reframing highlights the ‘Wuthering’ highs and lows of a classic
Emerald Fennell’s cinematic vision elicits strong reactions
If you’re a fan of “Wuthering Heights” — Emily Brontë’s oft-filmed 1847 novel about a doomed romance on the Yorkshire moors — it’s a given you’re going to have opinions about any new adaptation that comes along, but in the case of filmmaker Emerald Fennell’s new cinematic vision of this venerable classic, they’re probably going to be strong ones.
It’s nothing new, really. Brontë’s book has elicited controversy since its first publication, when it sparked outrage among Victorian readers over its tragic tale of thwarted lovers locked into an obsessive quest for revenge against each other, and has continued to shock generations of readers with its depictions of emotional cruelty and violent abuse, its dysfunctional relationships, and its grim portrait of a deeply-embedded class structure which perpetuates misery at every level of the social hierarchy.
It’s no wonder, then, that Fennell’s adaptation — a true “fangirl” appreciation project distinguished by the radical sensibilities which the third-time director brings to the mix — has become a flash point for social commentators whose main exposure to the tale has been flavored by decades of watered-down, romanticized “reinventions,” almost all of which omit large portions of the novel to selectively shape what’s left into a period tearjerker about star-crossed love, often distancing themselves from the raw emotional core of the story by adhering to generic tropes of “gothic romance” and rarely doing justice to the complexity of its characters — or, for that matter, its author’s deeper intentions.
Fennell’s version doesn’t exactly break that pattern; she, too, elides much of the novel’s sprawling plot to focus on the twisted entanglement between Catherine Earnshaw (Margot Robbie), daughter of the now-impoverished master of the titular estate (Martin Clunes), and Heathcliff (Jacob Elordi), a lowborn child of unknown background origin that has been “adopted” by her father as a servant in the household. Both subjected to the whims of the elder Earnshaw’s violent temper, they form a bond of mutual support in childhood which evolves, as they come of age, into something more; yet regardless of her feelings for him, Cathy — whose future status and security are at risk — chooses to marry Edgar Linton (Shazad Latif), the financially secure new owner of a neighboring estate. Heathcliff, devastated by her betrayal, leaves for parts unknown, only to return a few years later with a mysteriously-obtained fortune. Imposing himself into Cathy’s comfortable-but-joyless matrimony, he rekindles their now-forbidden passion and they become entwined in a torrid affair — even as he openly courts Linton’s naive ward Isabella (Alison Oliver) and plots to destroy the entire household from within. One might almost say that these two are the poster couple for the phrase “it’s complicated.” and it’s probably needless to say things don’t go well for anybody involved.
While there is more than enough material in “Wuthering Heights” that might easily be labeled as “problematic” in our contemporary judgments — like the fact that it’s a love story between two childhood friends, essentially raised as siblings, which becomes codependent and poisons every other relationship in their lives — the controversy over Fennell’s version has coalesced less around the content than her casting choices. When the project was announced, she drew criticism over the decision to cast Robbie (who also produced the film) opposite the younger Elordi. In the end, the casting works — though the age gap might be mildly distracting for some, both actors deliver superb performances, and the chemistry they exude soon renders it irrelevant.
Another controversy, however, is less easily dispelled. Though we never learn his true ethnic background, Brontë’s original text describes Heathcliff as having the appearance of “a dark-skinned gipsy” with “black fire” in his eyes; the character has typically been played by distinctly “Anglo” men, and consequently, many modern observers have expressed disappointment (and in some cases, full-blown outrage) over Fennel’s choice to use Elordi instead of putting an actor of color for the part, especially given the contemporary filter which she clearly chose for her interpretation for the novel.
In fact, it’s that modernized perspective — a view of history informed by social criticism, economic politics, feminist insight, and a sexual candor that would have shocked the prim Victorian readers of Brontë’s novel — that turns Fennell’s visually striking adaptation into more than just a comfortably romanticized period costume drama. From her very opening scene — a public hanging in the village where the death throes of the dangling body elicit lurid glee from the eagerly-gathered crowd — she makes it oppressively clear that the 18th-century was not a pleasant time to live; the brutality of the era is a primal force in her vision of the story, from the harrowing abuse that forges its lovers’ codependent bond, to the rigidly maintained class structure that compels even those in the higher echelons — especially women — into a kind of slavery to the system, to the inequities that fuel disloyalty among the vulnerable simply to preserve their own tenuous place in the hierarchy. It’s a battle for survival, if not of the fittest then of the most ruthless.
At the same time, she applies a distinctly 21st-century attitude of “sex-positivity” to evoke the appeal of carnality, not just for its own sake but as a taste of freedom; she even uses it to reframe Heathcliff’s cruel torment of Isabella by implying a consensual dom/sub relationship between them, offering a fragment of agency to a character typically relegated to the role of victim. Most crucially, of course, it permits Fennell to openly depict the sexuality of Cathy and Heathcliff as an experience of transgressive joy — albeit a tormented one — made perhaps even more irresistible (for them and for us) by the sense of rebellion that comes along with it.
Finally, while this “Wuthering Heights” may not have been the one to finally allow Heathcliff’s ambiguous racial identity to come to the forefront, Fennell does employ some “color-blind” casting — Latif is mixed-race (white and Pakistani) and Hong Chau, understated but profound in the crucial role of Nelly, Cathy’s longtime “paid companion,” is of Vietnamese descent — to illuminate the added pressures of being an “other” in a world weighted in favor of sameness.
Does all this contemporary hindsight into the fabric of Brontë’s epic novel make for a quintessential “Wuthering Heights?” Even allowing that such a thing were possible, probably not. While it presents a stylishly crafted and thrillingly cinematic take on this complex classic, richly enhanced by a superb and adventurous cast, it’s not likely to satisfy anyone looking for a faithful rendition, nor does it reveal a new angle from which the “romance” at its center looks anything other than toxic — indeed, it almost fetishizes the dysfunction. Even without the thorny debate around Heathcliff’s racial identity, there’s plenty here to prompt purists and revisionists alike to find fault with Fennell’s approach.
Yet for those looking for a new window into to this perennial classic, and who are comfortable with the radical flourish for which Fennell is already known, it’s an engrossing and intellectually stimulating exploration of this iconic story in a way that exchanges comfortable familiarity for unpredictable chaos — and for cinema fans, that’s more than enough reason to give “Wuthering Heights” a chance.
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Calendar: February 20-26
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