Will & “Harper”: Will Ferrell and Andrew Steele Are Confused Old Men

There Is No Such Thing As “Trans”

The media onslaught for the “trans” lie is unrelenting, and those who control the media know that using it to push a message is the primary way to manipulate and subvert reality.

A previous post of mine discusses this issue in depth.

Many readers have probably already seen advertisements, reviews, or internet chatter about Netflix’s Will & Harper, a pandering, maudlin documentary about a particularly unattractive, elderly autogynephile named Andrew Steele, who once worked as a comedy writer, and his friend and co-worker Will Ferrell.

This film counts as their latest comedic endeavor since it features a man in a dress whose mere appearance elicits bemusement and bewilderment from others, including his poor, shell-shocked daughters, who appear in a sad scene with their selfish father.  

Directed by Josh Greenbaum, the film opens with a short history of Will and Andrew’s relationship followed by a recounting of a letter sent by Andrew during the almost-forgotten but not-too-long-ago COVID lockdowns, a period when too many men were too extremely online and had the time to ruminate on dumb ideas (like being born in the wrong body).

In the letter, Andrew states that he is now a “trans” woman (no, he is still a man because “trans” does not exist) and now “instead of an asshole I’ll be a bitch.”

He appears to be aware that his whole schtick is simply based upon sexist stereotypes.

How many female comedy writers did he insult as bitches during his Saturday Night Live career when they dared displease or contradict him and his male ego, I wonder?

Saturday Night Live head writer Tina Fey has spoken of being called a “cunt” by Colin Quinn while working on the show. She outranked Quinn, and he surely would have spoken to a male superior in the exact same way (no, really).

Did Andrew think that was funny?

Before embarking on a cross-country road trip, Will and Andrew meet with some Saturday Night Live characters in New York City, including Fey, for drinks, and they all appear to be supportive on the surface as they reinforce the idea that he is somehow unsafe as a male in a dress because now he can’t go to bars (one bar in the film has a Confederate flag in it—watch out, these guys are probably Nazis or something!) or down dark alleys alone anymore.

He is not unsafe. Women who have to deal with men like him are unsafe.

That conversation establishes a repeated theme, which is a cudgel that men like Andrew use to force people to go along with their mental illness and perversions, and that is that men like him are the ultimate victims.   

In his empty male mind, the entire world is poised to attack him at any moment, and if anybody dare contradict his claims then that is tacit support for violence against him, even though women have been regularly attacked in public for opposing this agenda.

The most famous case is arguably the attack on Kellie-Jay Keen in New Zealand by a man named Luis Alexander Eli Rubashkyn (“Eliana Golberstein”), who also somehow found a husband in Israel. He pleaded guilty and was convicted for the attack but somehow served no prison time. Interesting!

Netflix is probably working on a sympathetic documentary about attacks on women by these men right now (no, really).

The implication of this agenda is that all good, moral people must affirm the “trans” nonsense or be labeled evil, guilty, ignorant, the list goes on.

These are narcissistic male manipulation tactics at their finest, and they are completely rooted in delusion. The media, academia, big business, and medical-industrial complex all support this fraud. These men are not the underdogs.

While driving, Will asks Andrew if he is a worse driver as a female driver. This is idiotic because he is not a female. He is male, and he will always be male.

Andrew responds by saying that is not funny and then says “But I am.”

A simple search of accident statistics reveals that male drivers are much worse than female drivers because they are more reckless, cause more collisions, and die at far higher rates, which is the reason they pay far more for insurance.

Bruce Jenner and his deadly driving are the best examples of the maxim “male drivers, no survivors.”

And yet, these men continue to project their delusion and nonsense while skin-suiting our reality because they think womanhood is nothing but a costume.

That exchange demonstrates that this fraud is male at its core.

They mock women because they hate women, and yet they demand that we accept them “as women” along with their stupid behavior and male posturing because they are somehow the real victims if their irrational requests are denied.

It is pathetic.

The most skin-crawling part of the film is when Andrew discusses getting chest implants (and he “loves his boobs”) and then confirms that he has retained his penis and testicles.

If his “gender dysphoria” (non-existent) is so bad that he needed chest implants after beginning estrogen treatment, how on earth can he stand to keep his male genitalia? Is that not even worse?

These men’s arguments are never logical because this whole thing is a lie.  

The ridiculous fear about being attacked is further shown to be false when everyone tries to be polite to both of them, even after correctly identifying Andrew’s sex as male and calling him “sir.” This occurs in places like Oklahoma and Texas, and the only real pushback occurs on social media.  

At one point, Andrew reveals that he was suicidal and came close to shooting himself, as is par for the course for these men. It appears that whatever mental illness accompanies his autogynephilia has not been properly treated, and most likely never will be if plastic surgery and estrogen persist as distractions.

The medical industry is doing men like him a disservice by taking his money and allowing him to pursue an unattainable goal.

He will never be female, and he will never pass. Even if he did pass, he would still not be a female. He can only experience life as a male, no matter what.

He appears to know this, and yet he still puts on dresses before going out to dinner with Will, where he laments that makeup does not truly hide his man-face. Then why even do any of this?

The documentary wraps up in California, and before Will and Andrew hit the beach in Los Angeles (where Will gifts Andrew a pair of nice, pretty diamond earrings because bitches just love jewelry), they stop in desolate, small-town Trona in San Bernadino County, where Andrew reveals he bought a house just so he could have a place to wear dresses.

Seriously.

That was the reason he purchased property out in the middle of nowhere. To wear dresses. Because being a woman is nothing but wearing a dress. That is his thought process.

It appears that the only individual in his personal life who rejected his nonsense is his ex-wife. It is not clearly stated that she divorced him due to his autogynephilia, or when the divorce occurred, but she does not appear in the film to support him.

What if someone else, anyone else, simply dared to tell him NO?

What if Seth Meyers, Colin Jost, or Molly Shannon just said, “You know what, dude? You’re not a woman. It looks like you just want to wear a dress. Put one on. But you’re not a woman.”

Andrew states that he was afraid that his Saturday Night Live friends would not “accept” him as Harper and simply see him as a man in a dress because they would think:

“I’m still Andrew, and now I wear dresses.”

That is the truth.

And that is why he feared that reaction the most though he did not receive it.

Tangentially, Will Ferrell has said that he will no longer wear dresses in comedy skits to get laughs as he has in the past.

One of his funniest skits features him and Chris Kattan in skirts and heels as telephone operators.

This is funny because, on its face, men in dresses look ridiculous and draw laughter from audiences, especially when the contrast with their obviously male voices becomes apparent.

This has been true since Tootsie and Some Like It Hot.  

The same is not true for women in pants. Women can wear whatever they want and still look stylish and cool, and that has been true since Marlene Dietrich and Diane Keaton.

Fundamentally, Andrew, as a comedy writer, must know that. He is simply a man in a dress, and he looks like a joke.

Will, as a comedic actor, is most likely aware of this as well.

However, he took this film as an opportunity to signal his pseudo-moral virtue since “trans” is all the rage in Hollywood (Jamie Lee Curtis’ son, Pedro Pascal’s brother, etc.), but these celebrities are particularly idiotic and tone-deaf as they do not realize that their dying industry does not retain the clout it once had (i.e., Gal Gadot’s “Imagine” video during COVID, which Will was also in).

Using this documentary to force sympathy or to paint these men as the ultimate victims just does not work.

This is because “trans” does not exist. There is no special category for those who refuse to accept the reality of their sexed body.

Nobody “transitions,” including Andrew.

When a man says that he “feels like” a woman, he needs to be told NO, by everyone.  

Nobody would affirm schizophrenia, anorexia, apotemnophilia, or opioid addiction. The same must happen here.

Adults cannot do whatever they want or identify however they want because it will inevitably lead to men in women’s prisons, sports, spaces, shelters, and bathrooms.

The detriment to women outweighs any value in affirming male perversion and delusion.

The documentary never once considers the impact this agenda has on marginalized women in prisons or shelters, women who are attacked in public for expressing opposition, women who are fired or self-censor to avoid losing their livelihoods, or children who are being mutilated and sterilized.

That is because this documentary is essentially propaganda. Nothing more.

And when this fraud collapses, as scandals like lobotomies and opioids eventually did, nobody should act like TERFs like me did not see it coming.

Because we did.