Trans on Trial: the tragi-comedy of gender ideology

Ann McElhinney, the producer of a new filmed drama based on the landmark case Mermaids vs The LGB Alliance, on why supporters of transitioning children are on the back foot - but not gone yet.

On April 16, the UK Supreme Court unanimously ruled that the terms 'woman' and 'sex' refer to biological sex, defined as someone born female. It’s obscene that it took years, hundreds of thousands of pounds in legal fees and a court ruling to state the obvious, but there you have it. We live in bizarre times.

This win came at great cost to the sane among us. Reputations were destroyed, careers ruined and, of course, children and adult bodies were permanently mutilated and destroyed. And in the worst cases, lives were lost as the mutilated realised they had been duped by a destructive ideology propelled by a social contagion.

And so we thought this was a perfect time to release the filmed version of our staged reading of our play Trans On Trial. The play consists entirely of (insanely) verbatim testimony in the Charity Commission case of Mermaids vs The LGB Alliance. I say insane because there is no other way to describe those who deny reality.

The case was taken by Mermaids, a registered charity in the UK that pushes the child trans madness. Mermaids tried to have the charitable status of The LGB Alliance removed because they are 'gender critical'. This basically means they are not in favour of biological men being in women's spaces, the prescribing of puberty blockers and the genital mutilation of children because 'they were born in the wrong body'.

At the centre of the case are two lefty lesbians who were so horrified by the explosion of children, predominantly girls who were being encouraged by teachers and the medical establishment to believe they had been born in the wrong body and were being medicalised and mutilated as a result. The majority of the girls were tomboy and/or lesbian. Rather than accept them as such, teachers and authority figures told them they were really boys, that they were born in wrong bodies and that they were special and heroic if they embraced their new gender.

The play, like many tragedies, is also deeply comedic. It's clear that those pushing the trans ideology had never had to face hard questions and never had to seriously justify what they were supporting and doing to young people.

They didn't realise that in a tribunal or court of law, talking points and cliches wouldn’t work. They would have to back up their talking points with science and facts. This leads to incredible linguistic contortions that are very, very funny as they try to justify their insane ideology. It is also sad and poignant when you hear the two heroes, the lefty lesbians Beverly Jackson and Kate Harris, plead the case for keeping confused children safe. Too often, the pro-transing radicals refuse to debate, refuse to answer questions. But in this case they had no choice. They had to, under oath, justify their deranged ideology. Their incoherence made it clear that the Supreme Court could, eventually, only come to one conclusion.

Clip: Kate Harris, founder of the LGB Alliance, squares off on the definition of ‘lesbian’.

The UK is leading the world in ending this Frankenstein moment in history, but it is not over. Schools all over the UK and the rest of the Western world continue to legitimise transing children and hiding their handiwork from parents. Formerly respected scientific and medical institutions continue to gaslight the world by promoting biological lies. And world leaders continue to be pathetic cowards finding it impossible to define what a woman is. Much work must be done to expose the liars. This play, written by Phelim McAleer and directed by David Atkinson, is a modest step in exposing some of the worst of UK elites making fools of themselves in their efforts to defend the indefensible.

Please enjoy the play and share with everyone.

Click here to watch the full play Trans On Trial.

Ann McElhinney is one of the producers of Trans On Trial play, which was filmed in front of a live audience in London.