Both written by Ben Elton, Upstart Crow (2016-2018) is a popular BBC sitcom about Shakespeare’s early years as a writer, while All Is True (2018) is a sombre biopic about Shakespeare’s retirement to his family home in Stratford. I argue that Elton’s biofictions place a fictionalised historic Shakespeare in direct contact with female anti-fans – his wife, daughters, and female friends – in order to broach the contemporary concern of gender equality. In each of Elton’s texts, the anti-fans expose Shakespeare’s sexism and investment in the patriarchal status quo. Upstart Crow and All Is True probe Shakespeare’s meaning for contemporary viewers and compel audiences to engage with the anti-fans’ opposition. Audiences see these Shakespeare haters hate Will’s chauvinism; challenge his status as a progressive liberal icon; reveal how his work is inane or artistically inferior; and puncture the popular image of him as a literary deity, all to enact a cathartic and consolatory ‘talking back’ to Shakespeare. However, as I will show, despite the depth of the anti-fans’ antipathy, Shakespeare anti-fandom sometimes emerges as ambivalent in Upstart Crow and All Is True. At the close of this paper, I consider a third text, the teen comedy St Trinian’s 2: The Legend of Fritton’s Gold (2009), as its plot centres on Shakespeare and his anti-fans but offers a different spin on both, before ‘solving’ the problem of gender equality, which remains unsettled in Elton’s biofictions.