Candis Cayne adjusted her laptop, a laugh bubbling up. “Oh my God, I’m going to move to better lighting. This is not cute!” The screen swiveled, revealing a walk-in closet overflowing with vibrant kaftans and a dizzying collection of high heels. A Spanish lesson awaited, a recent pursuit sparked by a simple desire – to avoid sounding like “a total dumb American” in her California neighborhood.
But the reason ran deeper. A quiet anxiety had taken root, a thought of needing an escape. “Ummmmm, I was just thinking about where I would wanna live if I had to flee the country,” she confessed, another laugh tinged with a surprising seriousness. “Spain! Spain will work.” It wasn’t a whimsical fantasy; it was a pragmatic consideration in a shifting political landscape.
At 54, Candis Cayne has lived her entire life as a US resident, moving between Hawaii, Los Angeles, and New York. Yet, the prospect of a future in her own country felt increasingly uncertain with the return of policies she feared. The echoes of history were stark: dictators and oppressive regimes often begin by marginalizing immigrants and the LGBTQ+ community.
She finds solace in California’s progressive environment, determined to remain and support those facing greater hardship in other states. But a question lingered: “Do you fight from out of the country? That’s difficult but it’s better than, you know, being labelled a crazy person and thrown in a cell.” It was a sobering start to a conversation initially meant to focus on her latest role.
The role is Penny, a comforting presence in the new film *Witchy Ways*, a low-budget but charming sapphic romance. Cayne, herself a devotee of crystals, tarot, and all things witchy, found a natural resonance with the character. She recalled a winter solstice ritual with trans friends, a powerful gathering fueled by feminine energy and a shared intention.
For Cayne, the allure of the occult lies in its ability to offer perspective. “You can look outside yourself, your reality, your political drama…and focus on something spiritual, based in nature.” It’s a balm, she believes, especially vital for trans youth navigating a world that often feels hostile. A reminder that the world is vast, mysterious, and ultimately, transcendent.
Her career trajectory has been groundbreaking. In 2007, she shattered barriers as the first trans actress to play a recurring trans character on primetime television, in *Dirty Sexy Money*. For a time, she was a sensation, the second most-searched actress on IMDb. But the financial crash and a writers’ strike abruptly ended the show’s run, leaving her adrift.
The industry didn’t know what to do with her. Agents hesitated, fearing backlash from other clients. “Nobody knew where to place me,” she remembers. The landscape began to shift with Laverne Cox’s breakthrough role in *Orange Is The New Black* in 2013, opening doors for other trans actresses. Shows like *Pose* and *Transparent* followed, offering nuanced portrayals of the trans experience.
Cayne found herself part of a growing wave, appearing on *Nip/Tuck*, *Drop Dead Diva*, *RuPaul’s Drag Race*, and even *Grey’s Anatomy*. She became a visible presence, a symbol of progress. But she also witnessed a troubling trend: a recent pullback in opportunities for trans actors, fueled by political pressures and a reluctance to embrace diverse stories.
Reports indicate a significant decline in returning trans characters on television. Auditions have dried up. “There’s nothing being written for trans people,” Cayne stated, her voice laced with frustration. In response, she co-founded Mary, It’s Mary Productions, determined to create her own content and empower other trans artists.
Her journey took root in 1990s New York City, a vibrant and tumultuous era. She recalls a unique sense of community, a haven for artists and outsiders. The AIDS crisis cast a long shadow, but the city pulsed with creativity and a fierce spirit of self-expression. She frequented legendary gay bars like Barracuda, immersing herself in the city’s queer culture.
It was in New York that she honed her craft, appearing in cult classics like *Wigstock: The Movie* and *To Wong Foo, Thanks for Everything! Julie Newmar*. She moved among luminaries like RuPaul, Debbie Harry, and Leigh Bowery, driven by a singular ambition: “I was just hungry and I just wanted to work and be a star.”
Now, decades later, she’s playing Penny, a character whose gender is simply a part of who she is, not the defining characteristic. “I do feel honoured that I was at the forefront of this trans movement into film and television,” she said, a quiet pride in her voice. As her Spanish lesson beckoned, she offered a playful farewell. “Ciao. Oh… That’s Italian.”
