Pop-Culturalist.com

Comedy classics like Mean Girls, She’s the Man, and Clueless have shaped generations with their humor, heart, and unforgettable characters. But while these films have stood the test of time, they’ve rarely made space for trans stories, leaving an entire community without the chance to see themselves in the genre they grew up loving. She’s the He changes that—blending the wit, irreverence, and charm of the classics while centering a perspective that has long been overlooked.

Making its SXSW 2025 debut, She’s the He is a bold and refreshing take on the teen comedy, directed by Siobhan McCarthy and starring Misha Osherovich and Nico Carney. The film follows best friends Ethan and Alex, who pretend to be trans women to stop rumors about their sexuality—only for Ethan to realize she truly is trans. What begins as a misguided scheme becomes a journey of self-discovery, friendship, and defying expectations. With sharp humor and undeniable heart, She’s the He flips familiar tropes into something new, relevant, and deeply resonant.

Pop Culturalist was lucky enough to chat with Siobhan, Misha, and Nico about how She’s the He reclaims the teen comedy genre, the power of authentic trans storytelling, and the delicate balance of humor and emotional depth. From its laugh-out-loud moments to its most poignant scenes, they prove that inclusion isn’t about changing the formula—it’s about expanding it to reflect the world as it truly is.

PC: Siobhan, She’s the He is filling a much-needed gap in the industry, offering queer and trans people the opportunity to see their stories represented in a way that, like life, is nuanced, layered, and deeply personal. It challenges the notion that these narratives must always center around trauma, instead creating space to explore and celebrate different facets of identity. I love how you’re reclaiming this genre in a way that feels both familiar and distinctly fresh. What inspired this film, and what influences helped shape your perspective in bringing it to life?
Siobhan: This film is about reclaiming the 2000s comedies we all grew up with—movies that didn’t necessarily include trans people in their narratives. So many of our references were Mean Girls, Clueless, and She’s the Man—all films Gen Z grew up loving. We wanted to take that and create a space where trans people could also see themselves in these stories, expanding the bubble of who gets to enjoy these classic coming-of-age movies and making them more inclusive for our community.

PC: That’s such a beautiful North Star for the film. Nico, this is your feature film debut as an actor. What was it about this script and character that resonated with you and made you want to be a part of this project? How much did the comfort of your character’s humor help you step into his shoes?
Nico: I actually got the script a week before heading out there. I read it super quickly—it’s one of those scripts that flies by because it’s so funny. This is a trans buddy comedy, and it just felt so right for me at this point in my career. I was excited to read something so specific, something that made me laugh and was genuinely about trans people.

Getting to play this dummy seventeen-year-old boy was so much fun. He’s super playful. On my first day, I put on my costume and thought, “This is going to rock because this guy dresses as lovely as he talks.” It all just fit. Siob created such a great environment on set and gave us so much room to play on top of an already strong script. It felt very natural. I think we all gelled really quickly as a cast, which led to performances and chemistry that feel effortless on screen.

PC: It definitely does. I was surprised to learn this is your first feature. Misha, your character development process often involves extensive research beforehand, and your theater background has really helped you interpret scripts. But in a genre that encourages improvisation, I’d love to hear how you find the intersection between preparation and being present—responding to what’s happening in the moment and playing off your scene partner. Were there any new discoveries you made because of the flexibility of this genre?
Misha: The word “play” is the most important thing, right? I actually had to take a leap of faith and trust not only Siob but also Nico, who has a background in comedy, improv, and stand-up. I was very grateful to be the “straight they” in this one because I had someone generating a lot of the comedic energy, and my job was to respond and be present. Honestly, it was a lot of listening. I learned very quickly on set that I could be as prepared as I wanted, but sometimes that can limit you. You have to be present, and listening—especially to Siob and Nico—was essential.

PC: Siobhan, there’s such a delicate balance you’ve achieved as a filmmaker—both in tone and visual aesthetic—where moments of joy and humor seamlessly coexist with more dramatic, heartfelt beats. How did you go about finding that?
Siobhan: So much of this film was developed as a reference to those older movies, but also as a balance between newer Gen Z work and ’90s comedies. There’s an animation layer woven throughout the film that, in some ways, references newer pieces like Heartstopper. Also, growing up Gen Z, we’ve been constantly fed an endless pipeline of imagery, which really inspired the collage-like nature of how the film comes together.

I happen to be the voice behind the animation, score, edit, script, and direction, but I think the aesthetics at play are broader than just my own taste. I hope it resonates with a younger audience because it pulls from all sides of the internet—the same internet we all grew up immersed in. That feels so quintessential to being queer, especially when you’re searching for identity online and finding pieces of yourself in different corners of the digital world. I hope that creative voice and tonal balance reflect the reality of queer life, where one moment, we’re seeing someone who looks like us making us smile or laugh, and the next, we’re confronted with something heartbreaking happening to our community. I wanted the film to embody that duality because, for so many of us, that’s just life.

PC: Nico and Misha, this film doesn’t work unless the audience believes in the friendship between your two characters. How did you go about building that connection off-screen so that it translated on-screen?
Misha: We had so little time to get to know each other beforehand because we were both brought into this so quickly. The movie came together very fast. It was pure luck that Nico was available. It was even more pure luck that I was available. We had to take that leap of faith together. Besides listening and playing off each other, it was about trusting that the script was beautifully written. The dialogue already had such natural, human-like banter. I just took that leap of faith and said, “Let’s play.”

Nico: We got along pretty naturally right away. During the month we were filming, I was staying pretty close to where Misha was, so I’d often pick her up, and we’d be late to set because Misha likes to take her time. [laughs] I’m kidding. But spending that extra time together really helped. We got to know each other and talk before the start of the day. Also, a lot of our scenes were just the two of us, and that in itself helped us bond.

Misha: We were together for twenty days.

PC: Nico, with this being your feature film debut, what was the most surprising part of the overall experience? Are you itching to do it again?
Nico: Definitely. I left feeling so inspired. We had so many people on set who were there because they believed in this project and wanted to create something that truly reflected our community. It made me want to seek out other people who are making their own work—and to make my own as well. That’s one of the beautiful things about festivals like this. Indie films showcase just how much talent is out there. When all the red tape and bureaucracy are stripped away, we can actually create meaningful art and cool stuff. I would love to do more.

PC: Siobhan, a similar question for you—this is your directorial debut. What was the most surprising part of the experience, and what’s your biggest takeaway?
Siobhan: The most surprising thing to me was the performers. I set out to make a film with a majority trans cast, including trans actors playing cis roles—something that’s still rare in Hollywood, especially for a first-time feature. Learning how to make a movie that doesn’t necessarily have a precedent was incredibly difficult. But it would have been so much harder if I hadn’t had truly the best cast I could have ever hoped for.

I mean, these two have incredible chemistry throughout the film, but the entire cast really blew me away. So much of the work was collaborative. As Misha said, Nico is naturally hilarious and brought so much comedy to the piece, but we also have Malia [Pyles], who, in my opinion, has some of the funniest lines in the film—many of which she improvised on the day. So much of this film didn’t just come from me; it came from every single person on set. It was shaped by the queer and trans people who were there, not only making it a beautiful experience but also a beautiful representation of transness. I don’t think I could walk away from this without emphasizing just how important collaboration is, and how vital it was to listen to every person on set—because that’s what made this movie.

PC: There’s something really special about working with a cast and crew who share similar experiences and the sense of comfort that brings. Misha, how did that environment allow you to push your performance and take more risks?
Misha: I actually think it provides a lot more clarity. Every actor gears up for those big emotional scenes—in this case, I had a couple. Every time, I’m pulling from my trans trauma and life experiences, revving my engine until it’s almost burnt out. Sometimes, the performance overshoots it, or it’s not quite there. But then I look around and realize I have a trans-experienced director and co-star. My shoulders relax, and I can just be human. Inevitably, those quieter, smaller takes—the ones that feel natural and real—are the ones we end up using. After I’ve gotten the actor bullsh*t out of my system, it’s so reassuring to look around and feel held by a set, a cast, and a director who understand. That’s not something a trans actor can usually say about Hollywood.

Nico: So many parts of this movie required a delicate hand, and it was really comforting to know that everyone on set understood that—what it meant and what it looked like. For example, when I first read the script, I thought, “Okay, I’m going to be in a dress for a bit. That’s something to think about.” One of the first things Siob said to me on a call was, “Let’s talk about that part. Are you comfortable with it? If you ever need to take a minute, we’ll make space for that.” From the start, I felt like that was a priority.

Then we got to the costume fitting, and our costume designer was also trans. That was another moment of, “Great. We’re in good hands across the board.” Every department understood the nuances of how we were costumed, how we were shot, and how that could feel. It can be destabilizing when you don’t know how something is going to come across or when you’re not having a great day in terms of how you feel about yourself. But knowing that the camera crew understood that experience—and would do something about it—made all the difference.

PC: Misha, speaking of those emotional beats, there’s one in particular—Ethan’s conversation with her mother—that I think will have audiences weeping. Can you share a bit about your process for getting into that emotional headspace?
Misha: Do you want the honest answer? I have a process, and it’s a great one. I’m a trained actor, but I wasn’t able to use it on this film because I was completely caught off guard by how much dysphoria I felt de-transitioning for the first half of the movie. I’m a smart actor. I’m a hard worker. Siob knows this—I’ll analyze, prepare, and rehearse a scene into the ground. But when I got to set, I was floored. I didn’t realize how much going back to boy Misha or boy Ethan would affect me—every cell in my body felt it.

By the time I did this movie, I was already well into my transition in my personal life. So unfortunately, in the sense that it was a really dark place to be in, but fortunately, in terms of the safety on set, I was actually going through those emotions in real time that day. Through Ethan’s words, I was able to express frustrations I was feeling myself—that experience of not being allowed, or not feeling allowed, to exist in the body you know you’re supposed to be in. That’s tough. So this performance was far more instinctive and emotionally raw than a lot of the more technical acting work I’ve done before.

PC: That scene will help spark a lot of conversations and change lives, which is the power of this medium. You all got to experience the premiere earlier this week at SXSW. I’d love to hear about the audience reaction and what you each hope they took away.
Siobhan: I really do hope this is a movie for everyone. I want to expand this genre—one that has always been inclusive in many ways—to bring our community into the fold. I hope this film continues its journey and speaks to anyone and everyone, but especially to trans people and kids who are having this experience.

In many ways, the film was written with love toward my own family—people who may need to see a movie like this or who maybe had needed to see something like this when I first came out. But it’s always a balancing act—we’re making a film that’s funny and filled with joy, while also telling an incredibly important story. And I do think this is an incredibly important film for trans people to see right now.

Nico: I echo all of that. And from my experience as a stand-up comedian, I often have trans people come up to me after shows saying, “Oh my God, I’ve never been to a comedy show where people talk about this without making trans people the punchline.” It always means a lot to me to provide that kind of space. I know there are so many people out there craving this kind of representation. I’d love to know that this film reaches trans people and gives them a movie that reflects them—one that’s uplifting, that doesn’t end in tragedy, but instead on a happy note. It’s mostly funny, but it also has those heartfelt, honest moments.

People also underestimate how much transitioning affects not just the individual but their entire family and everyone around them. It’s an all-encompassing experience. There are so many well-meaning parents out there who deeply love their kids but don’t always know how to navigate these conversations. They feel guilt, confusion, or shame about the way things have played out. That scene you mentioned is so moving because it’s so real—it’s how a conversation between a trans child and their parent could actually go. It gives parents the space to have their own emotional release, to cry, to feel seen, and to let go of any shame they might be carrying. And then, at the end, they get to laugh and leave the theater feeling good. I imagine people will walk away from this film emotionally wiped from all the laughing and crying.
Misha: I saw so much of that in the audience today. And I’d also say—trust trans people. Trust us as actors, as creators, as filmmakers. Siob built this with a queer and trans crew. Nico has been doing comedy. I’ve been acting. Trust us to make bigger projects.

I’d consider this film a success, but of course, there will be fumbles along the way. You have to trust trans and queer artists to have a full breadth of experiences and opportunities—because that’s how we grow, how we get bigger budgets, and how we make more projects. Cis, straight people get to make all kinds of movies—sh*tty rom-coms, bad Christmas movies, blockbusters, and Oscar-winning films. They get the chance to try and fail and keep going. We deserve that, too. Trust us with the budgets, with the resources, with the space to create. Because how do you change culture? Through pop culture. So trust us now.

Make sure to follow Siobhan (Instagram), Misha (Instagram), and Nico (Instagram).

Mermaid Screenings at SXSW:

• Mermaid at SXSW Film & TV Theater @ The Hyatt Regency – Mar 8, 2025 (2:45pm — 4:30pm)
• Mermaid at Alamo Lamar 5 – Mar 11, 2025 (11:15am — 1:00pm)
• Mermaid at Alamo Lamar 6 – Mar 11, 2025 (11:15am — 1:00pm)
• Mermaid at ZACH Theatre – Mar 13, 2025 (2:45pm — 4:30pm)