I’m not at all sure what historical inclusivity might mean, given the racial demographics of rural England at the time of Brontë and Austen, in the eighteenth and nineteenth centuries. Indeed, what Ms Flint seems to want sounds more like ahistorical inclusivity. And whether incongruous, politically corrected racial casting choices constitute “imagination,” rather than a following of Very Modern Fashion, is a question I leave to the reader…

It is, needless to say, slightly surreal to see supposedly serious productions sharing behind-the-scenes footage, in which we’re invited to admire the craft of the set decorators, production designers, costume designers, etc., and their detailed, punctilious recreations of the period, while the people wearing the costumes and striding about the sets are demographically bizarre. As if we’re not supposed to notice.

The chap in question – known, by himself, as “Sophie Koko” – originates from Kazakhstan and boasts an extensive history of sexual offences, numbering over fifty. His leisure activities – outside of bottling his own urine and then spraying it on children – include searching out articles about his crimes and then threatening any commenters who dare to “misgender” him.

Despite his prodigious criminal activity, often repeated in the same locations, Mr Koko – complete with bicycle and polka-dot dress – proved difficult to apprehend. Possibly due to the public being told by both the police and the media that the person engaging in such activities, and for whom they should be alert, was somehow a woman.

Readers will note the odd implication that the level of serious criminal behaviour at any given time should somehow conform to the amount of prison space you have at that time. As if the moral gravity of a criminal act, and likelihood of recidivism and danger to the public, should be determined by whether or not you can be bothered to build another dungeon.

As the only racial group being explicitly excluded is Old Whitey, the obvious inference is that the cause of all this alleged misery and “trauma” is the party being excluded. As if the mere proximity of People Of Pallor would inhibit and befoul any creative endeavour, any glimmer of “joy.” Given the minority status of white people in London, it seems a bit much. And ever so slightly ungrateful.

And it is, I think, worth noting that the nation’s capital, where these dramas of “resistance” unfold, has in my lifetime gone from a native white-majority city, over 90%, to a native white-minority one, around 35%. Yet it would seem that even this dramatically downsized white devil population is, for some, still too burdensome and oppressive. A cause of “collective trauma.”

To summarise: Opportunist female porn models who pretended to be men pretending to be women, to thereby rake in lots of cash, have annoyed actual men who pretend to be women, including men who pretend to be women while making pornography.

See, I bring you the wonders of the world.

The ladies’ act of presenting themselves as the opposite sex, albeit with extra steps, was not, it seems, deemed affirming by those who like to present themselves as the opposite sex.

“My gender isn’t your costume,” said this chap here, a self-styled “eGirl, but like, with a penis or whatever.” Other indignant rumblings included accusations of deception and fraud, the inevitable “transphobia,” and demands that the ladies in question “don’t get in our space.” Another bewigged gentleman denounced the “masquerade” as “disgusting.”