When I use the term: ‘cis’, I’m not reintroducing a gender binary similar to traditional conceptions of masculine and feminine. We do not seek to create another divide to contend with. For ‘cis’ itself is a spectrum of identity, how one constructs their gender identity based on the realisation that their sex at birth is what they know they are. Thus, with this terminology established, let us talk about Harry Edward Styles.

In early November, for the first time in eight months, I returned to the office where I work. It was deserted, unexpectedly eerie. Smackingly devoid of its usual animated hum. I remember glancing at the array of forlorn potted plants, sitting unmoved in their usual spots, half withered and soldiering on or disintegrating into earthy ash. Time had passed, of course, and plenty of it, yet this was the only indication. Everything else was in suspension.

In the 2016 film Captain Fantastic, Ben Cash and his children are forced to leave their home in the wilderness and re-enter the post-industrial world from which they sought refuge. Sympathetic to their plight but critical of their idealism, the film ends in moderation. Cash’s children are better educated than their peers in “the real world” but harmed by their sheltering from mainstream society. In its final scene, the family sit and wait for the school bus to take them into an ideological wilderness, carrying them into a future of consensus and wage labour.