A groaning 110 minutes of agenda in search of a laugh, “Lady Ballers” is an “anti-woke” transphobic comedy from the conservative media site Daily Wire. An impotent exercise in attempted “punching down” at the groups hate groups love to hate, it’s a litmus test laugher for fellow travelers.

If you’re laughing, it’s just that they’re hating on the same people you hate on. Because it’s not funny. It’s just ugly.

Even easy eye-rollers — jabs at the overload of “woke” signage in the yards of people who hug, the endlessly-expanding acronyms of “gender fluidity” — pass by as one swing-and-a-miss after another as a cast of little-known-for-a-reasons are put through their paces by a star/director who’s a sort of Charlie Day without the charm working with a script that wouldn’t pass make it past Monday as an “SNL” sketch in the writer’s room.

Remember that movie Johnny Knoxville made about crashing the Special Olympics? It’s a LOT like “The Ringer,” only not as subtle, tolerant and um, high-minded.

Daily Wire impressario Jeremy Boreing directed this first-ever Daily Wire film and stars as Coach Rob, a Greater Nashville high school hoops coach who won a string of state titles in the early 2000s. But today, he’s reduced to rec center coaching, making “Don’t steal my catalytic converter” jokes to the Black kids (all the “teens” in this look like 30somethings) who won’t turn off their cell phones to hear him out.

“I stayed the same and the world changed,” he complains. Yes, even that’s stunningly unoriginal.

He’s split from his wife (Lexie Contursi) and losing control of his daughter.

“How do you even KNOW the word ‘transphobic?'”

“I’m EIGHT YEARS OLD.”

Teachers are a target here, including the one mocked for wearing a mask when Neanderthal Rob picks up Winnie from elementary school. Other slated for contempt?

“I hear Disney’s going to make the new Snow White a neurodivergent lesbian...”

“Neurodivergent BLACK lesbian,” his former player Alex (Daniel Considine) counters.

Getting canned from the rec center for racially insensitive remarks (In Bill Lee’s Tennessee? Perish the thought.) means that no-other-skills-Rob is reduced to taking a waitress job at the drag diner The Doll House. That’s where Alex wound up.

And seeing how good a shape Alex is in, and hearing of some oddball non-Olympic gender-rules-fluid “games” paying out cash prizes has Rob train Alex and take him to a heptathlon competition in his wig and balloon breasts. The joke is that the organizers, and the martinet accepting his/her entry, are so “woke” that no one dares question this giant man entering a women’s sporting event.

“Get out there. Beat those chicks!”

Getting away with that, the prize money and a Bud Light sponsorship — “They’ll give that s–t to any dude in a dress!” — gives Rob the idea of “getting the team back together.” So they round up the siblings who went on to sell used cars (Jake Crain, Blain Crain), the nut who became a survivalist (David Cone) and the towel boy they all bullied, who’s perfectly comfortable changing his “slave name” Felix to “SHE-lix”(Tyler Fisher) as they bowl over the best women’s basketball teams in an America that will “tolerate” no blowback for the idea of tall, lumbering men playing a women’s game.

A venal, unethical and stupid TV reporter (Billie Rae Brandt) conspires with Rob to make them a cause celebre. She’ll win a “Pulitzer” for that. They don’t hand those out for TV airheads, dear.

“I’m a JOURNALIST. I literally cannot be shamed!”

And on and on it goes, saying conservatism’s war-on-women/hatred for gay-transgender quiet parts out loud ad nauseum.

Want to be a woman? “Just shave your legs. Tell each other how ‘brave’ you are for things that require no physical courage. And don’t be afraid to cry at work. Easy peasy.”

No patronizing father/little girl talk in the third act about how women “civilize men” can unring that bell of utter bile.

“Lady Ballers” has enough polish to the production values to pass streaming movie muster. It looks like a movie (Did Tennessee contribute incentive money to film it there?). But this dumb-catering-to-the-intolerant waddle is one long reminder of that famous quote “Dying is easy, comedy is hard.”

You can’t make a “best joke on the set wins” comedy when nobody in your movie is up to that, or accomplished beyond the odd TV guest spot, and your writers are content to fling a bunch of insults at straw men targets to see what their easily-triggered audience laughs at.

Yes, there are petty annoyances in an ever-shifting, pluralistic culture where this or that minority group bends the majority’s concept of pronouns to fit their comfort zome and doesn’t want to see the eye-rolling that an ever-lengthening acronym might inspire, even amongst “allies.” But you have to be a special kind of anti-science/anti-intellectual lump to turn that into a grievance that grinds into hatred and hatred into a political identity.

Comedy is very hard to create out of hate.

Humor is totally subjective, but any fool should know that relying on limp Biden shots, veiled swipes at Dylan Mulvaney, “lasers” from “space” references and endless amoral female TV journalist jabs (“The last thing I need is another abortion this year.”) is no way to get a laugh out of anybody who isn’t precisely as small-minded as you.

The transgender sports debate is a real hot-button issue in some corners and a handy place to focus the hate of the ignorant. It gets even people with skin in the game and a certain immunity, like gay tennis legend Martina Navratilova, in trouble on social media. Dave Chapelle can’t leave the topic alone, and even he has a hard time saying something that might pass for “biting” and funny and insightful.

What chance do these “Nobody thinks you’re funny, dear” undercredentialed clowns have?

Rating: TV-14, sexuality, slapstick

Cast: Jeremy Boreing, Daniel Considine, Jake Crain, Lexie Contursi, Blain Crain, Billie Rae Brandt, David Cone, Tyler Fisher, Matt Walsh, Rosie Seraphine Harper

Credits: Directed by Jeremy Boreing, scripted by Jeremy Boreing, Brian A. Hoffman and Nick Sheehan. A Daily Wire+ release.

Running time: 1:50