
Non-binary battle as worker fired for calling colleague ‘he'
The case went to the Fair Work Commission after the fired worker claimed wrongful dismissal, but the matter was kept under wraps because the conciliation conference was confidential.
The identities of the two people at the centre of the pronoun controversy and the name of their employer is not publicly available information, but details leaked out after lawyers started talking about the implications of the case.
The West Australian understands the legal fight erupted after an exchange at a leadership training course in February, when the man said 'he' while introducing the younger co-worker to the room.
Another staff member corrected him and the man apologised to the worker — a biological male who identified neither a man nor a woman.
The non gender-specific employee had earlier told the man that they wanted to be referred to as 'they' and the pronoun was written on their name badge.
Relations between the pair remained overtly cordial for the duration of the training day. They sat next to each other and were partners in various role-playing scenarios.
The older worker was later informed by his manager that a formal complaint had been lodged, and a written apology was required.
He refused, claiming nobody could be compelled to call a colleague 'they'.
He later told a Fair Work hearing that if one person had the arbitrary right to use a particular pronoun then another person had the right not to.
The decision to not apologise exacerbated an already harsh backlash from co-workers, many of whom were in their 20s and had sided with their non-binary colleague.
The company launched an investigation in March and the older worker was shown the door.
He claimed his dismissal was unlawful and sought legal advice, intending to take the matter to the Federal Court.
The matter was shuffled to Fair Work, where he was told he risked a violent social backlash if he pursued the matter in open court. It was with that in mind he reached a confidential settlement with his former employer.
The case is unusual because it is not tinged with religious overtones. The sacked worker's refusal to say sorry in writing was not motivated by faith, rather from a belief he was being bullied into accepting a position on gender politics.
Lavan Legal partner Bruno Di Girolami, who specialises in workplace law, said the case was 'new legal territory'.
'This situation would broadly fall within equal opportunity legislation,' Mr Di Girolami said.
'Those laws say that you cannot be discriminated against based on gender or intersex status. So, if a company had a policy that employees would not be called 'they' or 'them' then that would likely be actionable by a transgender or non-binary employee on the grounds it is discriminatory, but each case would turn on the facts.'
Lawyers who spoke to The West Australian about the case said there did not appear to be a legal right for someone to be called 'they' or 'them' and it was up to individual companies to articulate pronoun convention.
It is understood that the company who employed the 63-year-old did not have a pronoun policy.
Gender politics have dominated headlines over the past few days courtesy of transgender woman Roxanne Tickle going to court to prove that female-only spaces were illegal if they excluded trans women.
Gay and trans rights advocates Equality Australia has thrown its weight behind Ms Tickle's fight with Giggle app founder Sall Grover.
Ms Grover had rejected Ms Tickle from the female-only networking app on the grounds the applicant was born a man. The Lesbian Action Group has thrown in behind Ms Grover.
Equality Australia's application to get involved in the case will be decided on August 4, when Ms Grover's appeal is heard.

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9 hours ago
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Sydney Morning Herald
17 hours ago
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He realised he wasn't making society safer – he was an agent of terror, whose arrests often broke up families over small, recreational amounts of dope. He realised the police with whom he worked were frequently corrupt. He didn't spare himself from that judgment either. He quit the force, became a pastor in an 'X-rated church' that preached sex and free love, and met and fell in love with a stripper called Candi, whose appetite for marijuana was prodigious. And that was when Cooper had a full-scale Damascene conversion. He grew his hair, got a bunch of tattoos, took to the reefer … and in 2007 released a mail-order DVD, Never Get Busted Again, in which he shared his insider knowledge to help people evade arrest, and if arrested, escape conviction. 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In a statement of claim lodged in the Federal Court last December, McCallum alleged that he had been denied his moral right to be credited as sole director of Never Get Busted, for which he had been hired in January 2020 by producers David Ngo and Daniel Joyce, of Adelaide-based Projector Films. McCallum claims he was effectively locked out of the editing process in late 2023, which is roughly when he became aware that the credits listed on had been changed from 'directed by Stephen McCallum' to 'directed by Stephen McCallum and David Ngo'. About that time, he also noticed that a sizzle reel on Vimeo had changed from 'directed by Stephen McCallum' to 'directed by David Ngo and Stephen McCallum'. In a cross-claim filed in April, Projector alleges that McCallum stopped working full-time on the film in early 2022, and had only minor involvement with it from mid 2023. Invited to Sundance, the 'rarest of air' McCallum was prompted to act in late 2024 when a version of Never Get Busted, which had originally been conceived as a four-part series, was invited to screen in the TV strand at Sundance in January 2025. Advance material listed the director as David Ngo. The show's landing page on the festival website listed no director at all among the credits, instead identifying Ngo and Williams-Weir as 'showrunners'. But body copy under the heading 'meet the artist' referred to the work as 'the directorial debut' of David Anthony Ngo. Nowhere did Stephen McCallum's name appear. For a rising Australian filmmaker, appearing at Sundance is the kind of leg-up that can launch a career from Struggletown to the big leagues. 'Sundance is the rarest air that there is in some ways for a filmmaker,' Ngo told me this week. 'It was certainly something I've dreamt about since I was a kid, watching Tarantino and Soderbergh and Robert Rodriguez and those sorts of films get launched there.' McCallum – who made his feature debut in 2017 with the bikie movie Outlaws (aka 1%) – no doubt dreamt about it too. And he wasn't prepared to let the opportunity of being there slip through his fingers. So when he realised he was being cut – or at the very least demoted – from the Never Get Busted story, he wrote to Sundance to object. He didn't get much joy, with the festival saying it didn't get involved in credit disputes, so he flew to Utah, bought himself a ticket to the screening and Q&A session, and stood in line in the snow with a friend waiting to get into the theatre. And that, the Federal Court heard on Monday, was when insult was added to injury. 'Security was called when he sought entry into Sundance Film Festival,' Justice Shariff noted in an 18th-floor courtroom in Sydney. 'He tried to resolve this, and when he sought entry into Sundance, he was told by the organisers, 'we're calling security, you have no right of entry'.' What does a doc director do anyway? Speaking to this masthead, Ngo conceded that McCallum had helmed some important elements of the film. 'Stephen was involved with the interview part of the process,' he said, referring to the five days in March 2020 when Cooper – who fled the US in fear for his life 13 years ago and now lives in the Philippines – sat down for a series of filmed sessions in North Fitzroy, just as Victoria went into lockdown. 'Stephen was there conducting all of the interviews with Barry.' Barry Cooper, though, has a slightly different take. 'I'll tell you what I know,' he told me over Zoom. 'David and Erin made that film. David directed it, produced it, wrote it, and Erin right there by his side, doing the research. They did the film. I don't see how anybody else could take credit, unless it's just for holding a camera.' McCallum, who is now directing a TV series, was unavailable to speak for this story. To the lay observer, this might appear to be a ridiculously petty squabble. But to the parties involved, it's both a matter of principle and of vital career importance. Both sides claim there is a risk of reputational damage in not being credited properly. For McCallum, the perception that he was hired to do a job but then deemed unworthy of a credit is enormously harmful. Ngo's side, meanwhile, claims that selling the film is now at risk (though the court was told on Monday that the film has not yet been sold anywhere, Pinnacle Films has already acquired the distribution rights in Australia). 'People have put in an enormous amount of money and support along the way to make this film come to fruition, and for someone to now be trying to rip that down for their own personal reasons, I think it's disgraceful,' Ngo said. The battle isn't yet over The list of documents produced in this case is incredibly long, on both sides. So long that Shariff was moved to comment upon it on Monday. 'It seems there's no love lost between the parties given the wealth of material that's been filed,' he said. Shariff urged both sides to consider a second stab at mediation (the first failed) rather than proceed to trial in September, where it is set down for three days (the judge was dubious it could actually be finished within that time frame). 'I shudder to think of the costs that have been incurred,' he noted. 'What did it [the movie] cost to finance, $950,000 or something?' Shariff indicated in his ruling on Wednesday that he was 'satisfied that Mr McCallum has established that there is a serious question to be tried as to whether he has an entitlement to relief, which I do not regard as weak but equally I cannot presently assess it to be strong'. Following Shariff's order, and until the matter goes to trial, Ngo has proposed that the film's opening credits will now read: directed by Stephen McCallum; writer and director David Anthony Ngo; a documentary by David Anthony Ngo and Erin Williams-Weir. If the case does go to trial next month, what will be at stake is not just who made the film, but the question of what directing a documentary actually entails. Is it writing and asking the questions of a subject while filming them, as even Ngo concedes McCallum did? Is it developing the idea, writing the treatment and script, lining up interviews and overseeing the edit, as Ngo insists he did? Or is the person who turns hundreds of hours of archival and interview material into a coherent narrative the one who deserves greatest credit – and if so, is that an editor (in this case Julian Hart, who also assembled The Tinder Swindler) or executive producers John Battsek (an Oscar winner for Searching For Sugarman) and Chris Smith (Tiger King), who gave extensive notes and fundamentally helped shape the final story? 'I personally believe that the fundamental role of a director is to be the lead storyteller,' Ngo said. 'That comes down to overseeing, particularly in documentary, the research, the writing, the creative decisions of whom to interview, how to interview, gaining trust, access. 'I wrote every outline,' he continues. 'I wrote every paper cut. I spent two years-plus working with the editors back and forth on calls. I have worked tirelessly on the project for the last six years.' There's a lot more at stake than just this film, too. The four-part series that was originally envisaged also exists, with a wealth of material and stories beyond what's in the feature. And Ngo and Williams-Weir have the rights to tell Cooper's story in a narrative feature form too, which is what they originally had in mind.