By historicising cultural nostalgia, we may reveal the fundamental object of its longing—the retainment of communal land sovereignty—and prevent it from serving as a blank canvas for far-right populists. In solidaric dialogue with all victims of global colonial capitalism, then, let us reclaim nostalgia in service of its original cause: the ongoing struggle against private enclosure of the natural resources of which are our collective birthright. Our collective fate might depend on it.

But to peddle hope is to profit from unfulfilled promises. Tarantino and Wright pivot to the ’60s defensively, exploiting our shared desire for something better to preserve their legacies without having to address the limits of their ethical worlds. Though it is less immediately obvious, with Utopia Avenue Mitchell exploits that desire, too.

Cottagecore: an Internet community devoted to a nostalgic rural aesthetics and homely comforts. Associated social media accounts are full of freshly baked bread, bunches of wildflowers gathered from hedgerows and beautiful young women wearing flowing summer dresses or chunky jumpers, a picturesque life set to a soundtrack of gentle strings and Taylor Swift’s lockdown album, Folklore.

To ‘us’, the white, suburban, middle-class, western youth of that era – the mascots of Generation X – the nineties felt like a letdown, a second-rate Elvis impersonation of the 1960s, a commercial pastiche of its iconoclasm.