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.