Entertainment
The trans 'Will & Grace' is here, and it's a Netflix road movie starring Will Ferrell
Will Ferrell and Harper Steele, subjects of the new Netflix documentary “Will & Harper.”
(Raul Romo / For The Times)
TORONTO — Will Ferrell is building up a head of steam.
Seated in the nondescript hotel conference room that’s been seized for our interview — a setting that lends our conversation the air of “Between Two Ferns” — the actor has taken up the subject of transphobia in Hollywood films like “Ace Ventura” and is running with it.
“The entertainment culture has taught us to have a flippant attitude that trans people aren’t real people,” Ferrell says. “It’s silly. It’s make-believe. Obviously, we’re getting closer to educating everyone—”
“Are we?” his friend, former “Saturday Night Live” colleague and now road-movie co-star Harper Steele interrupts, stopping him hilariously short. Her deadpan is laced with the ring of truth.
This is the animating question of their new documentary, “Will & Harper,” which follows the pair on a cross-country road trip as they unpack Steele’s 2022 coming out as a trans woman. Along the way, Ferrell and Steele meet Indiana Gov. Eric Holcomb, a supporter of anti-trans legislation; connect with the trans community in Peoria, Ill.; suffer hateful trolling in Texas; and experience the unexpectedly warm embrace of dive bar patrons in Oklahoma. Within the structure of an absurdist buddy comedy from the goofballs who brought you “SNL” sketches like “Oops! I Crapped My Pants” and “More Cowbell,” the film, launching Friday on Netflix, offers one of American pop culture’s most successful portraits to date of the contemporary trans experience — unafraid to answer “all the questions you’re not supposed to ask trans people.”
“You confront someone fast like Dave Chappelle and you’re going to get eviscerated,” says Steele. “It’s like going on Fox News with [former host] Tucker Carlson. Why would I subject myself to that when I’m just going to get eaten up in ways I won’t enjoy?”
(Raul Romo / For The Times)
You might even call “Will & Harper” the trans “Will & Grace.”
“The impact that a sitcom like ‘Will & Grace’ had for the queer community, gay community, is massive,” says the film’s director, Josh Greenbaum. “It’s certainly not what we would call high art, but it speaks a little bit to something we were striving for with our film. I love the expression that laughter is the shortest distance between two people. I’m a big believer in it. We talked about making sure that our film was funny and accessible and an easy on-ramp.”
As with NBC’s landmark sitcom, though — praised by then-Vice President Joe Biden for doing “more to educate the American public than almost anything anybody’s ever done,” but panned by some LGBTQ+ observers for oversimplifying queer identity for straight viewers — this spoonful-of-sugar approach cuts both ways. For Steele, who admits that she loves an “aggressive approach” when it comes to discussing trans rights, “ ‘normalizing’ is a reductive word that puts queer people in a place. It makes me feel like the goal is gay marriage, not generalized liberation.”
“Will & Harper’s” ability to walk a fine line between being edifying and didactic, entertaining and superficial, is woven into its very structure, with its stars’ connection deepening by degrees until they reach the Mojave Desert town of Trona, where Steele, in a shattering moment, reveals the depths of her past self-hatred. At every juncture, it threatens to leave important stones unturned, vital context unaddressed — and at every juncture, instead, it confronts the viewer’s skepticism head-on.
A scene from the documentary “Will & Harper.”
(Sundance Institute)
Not that they planned it that way. Jettisoning an early idea to build the film around comedy bits, Ferrell, Steele and Greenbaum found themselves subject to the vagaries of nonfiction storytelling, and thereby stumbled into the journey’s most bracing scenes. They did not expect, for instance, that a gag involving Ferrell trying to eat a 72-ounce steak in under an hour at a Texas steakhouse would expose him and Steele to uncomfortable leering from the other patrons and a subsequent flurry of social media abuse. Nor did they know that Holcomb would be at a Pacers game they attended in Indianapolis, where the governor and Ferrell were introduced courtside — leading to an on-camera reckoning for the actor about the rudiments of effective allyship.
“If we were in a moment like that again, I wouldn’t hesitate to [ask], ‘By the way, what are your views?’ ” says Ferrell. “Just because I’m OK with poking the bear a little bit more. Especially if I had some knowledge going in. Literally last night at dinner, the waiter misgendered [Steele]. He said, ‘Hello, gentlemen.’ And I said, ‘Nope.’ … That’s now how I react because it feels natural.”
Our conversation, ahead of the film’s Toronto International Film Festival screening, takes place the morning after the presidential debate between Vice President Kamala Harris and former president Donald Trump, in which Trump raised the specter of “transgender operations on illegal aliens in prison.” (“That feels like a line written in an ‘SNL’ sketch,” Ferrell quips.) But politicians’ and pundits’ use of transgender people as a scapegoat would not be possible without their historical mistreatment, or outright erasure, in popular culture. As for the roughly 60% of Americans who do not know a trans person, according to Pew, “Will & Harper” hopes to be an introduction: “Now you know Harper,” Greenbaum says.
Steele and Ferrell with “Will & Harper” director Josh Greenbaum.
(Raul Romo / For The Times)
Such positive messages will compete for attention against transphobic rhetoric from high-profile figures such as Dave Chappelle and Ricky Gervais, even on the same platform. (Netflix, which is releasing “Will & Harper,” is also home to numerous projects by the firebrand comedians in which trans people are treated as the butt of the joke.) But Steele refuses to take their comments seriously — or bend her own creative process simply to combat them.
“When egos get hurt, people troll,” she says. “And I’m looking at a lot of these people and they’re enjoying the trolling.” She hopes Algerian boxer Imane Khelif, Olympic gold medalist in women’s welterweight, “sues the s— out of J.K. Rowling” over tweets in which the “Harry Potter” author falsely described Khelif as a man. “These people, they need help.”
“I want our voice and my example to be louder, in the end,” Steele adds. “I just hope it drowns out the voice that is weaker, and that’s my method. I don’t like confronting. For one, you confront someone fast like Dave Chappelle and you’re going to get eviscerated. It’s like going on Fox News with [former host] Tucker Carlson. Why would I subject myself to that when I’m just going to get eaten up in ways I won’t enjoy?”
“Will & Harper” actively seeks to neutralize the cries of “cancel culture” from cable news anchors and stand-up comics by taking no topic of conversation off the table. With Ferrell as her curious everyman interlocutor, Steele explains her choice of a new name, discusses her physical appearance and sexuality, acknowledges her bouts of suicidal ideation; she introduces her children, visits her sister, shares her letters, diaries and most painful memories. As a result of this vulnerability, she offers a remarkable invitation to viewers who might otherwise pass judgment, or avoid the conversation entirely, out of fear that they will say the wrong thing, or cause offense, or discover that their experience is not in fact universal.
“One of the many things that I loved about her transition is her constant wanting to talk about it,” says Steele’s friend and former “SNL” collaborator Kristen Wiig, who co-wrote and performed an original song for the film. “[It fostered] this open dialogue to keep those connections, make them stronger and to really explain what she had been going through for years that a lot of us weren’t privy to.”
“Will & Harper” has helped Ferrell learn to be a more vocal ally: “I’m OK with poking the bear a little bit more,” he says.
(Raul Romo / For The Times)
The film has already succeeded in sparking that dialogue among viewers, according to Greenbaum. At one screening at the Sundance Film Festival, where the film had its world premiere earlier this year, he recalls meeting a woman and her son, a trans man, who had been estranged since his transition but reconnected when she bought them tickets to “Will & Harper” as a sort of cinematic olive branch. Steele, for her part, admits to having more nerves over “Will & Harper” resonating with trans audiences than persuading cis ones — perhaps because she understands firsthand the harm produced by Hollywood’s powerful mirror.
“Klinger probably destroyed my life,” she says of the cross-dressing “M.A.S.H.” character played for laughs by Jamie Farr. “He was literally looking to be discharged for being crazy for that. That was his whole character.” By contrast, the 1974 James Caan/Alan Arkin buddy cop movie “Freebie and the Bean” became one of her favorite movies, thanks to its thieving female impersonator. “To see a man look that beautiful was confusing,” she says.
In such confusion lay the other animating question of “Will & Harper,” and indeed of LGBTQ+ popular culture more broadly: What story would we, should we, tell about ourselves if we could tell any story we wanted? Some will argue that self-expression is the goal, others moral suasion; some will prefer soft power to storming the barricades and some the reverse. Advocates for populism will confront those for high art while the diplomats among us try to squeeze them together into our society’s narrowing middle ground. And anyone who tells you that theirs is the one true path is either uninformed or lying.
“I guess shame on me, but that was just a funny show with talented actors,” Ferrell says, of “Will & Grace,” gently pushing back on Greenbaum’s earlier assessment. “Big, landmark, statement show, in a way — yes, of course, I recognize that at the same time. But also, that’s just great ensemble comedy. Fun writing. Great premises.”
Notably, Steele doesn’t weigh in on this one. She doesn’t need to. “Will & Harper” — as “Will & Grace” was for gay men of a certain generation — is just one of countless possible varieties of trans representation. There’s no shortage of stories to tell, or unanswerable questions to ask.
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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