The comments made by the predominantly white, middle - class, cisgender feminists such as Harriet Harman, Caroline Flint, Stella Creasy and Fiona McTaggart revealed a genuine or
wilful ignorance about the experiences of sex workers.
Not exact matches
While moments, particularly the resolution to that seemingly throwaway subplot
about the dead friend, can be moving despite their dissonance (a Farrelly hallmark), they're always cursory to the central duo, who are unrepentant in their squandering of years on foolish pranks, openly hostile towards reflections of their age (e.g., Fraida), and insulated from harsh reality by not only their
wilful ignorance, but a perpetual fog of nostalgia as well.
Writing
about the remake in GQ, Joshua Rivera notes, «It takes a profound level of either
ignorance or craven,
wilful opportunism to think that this is a moment to make a film
about a white man's rage channeled through the barrel of a gun.»