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So Christian paradise, as the origin story of western utopianism, already has dystopia and exclusionism embedded within it.

At the same time, as the Black Lives Matter movement continues to fuel a national reckoning, Mehretu is being showcased at one of the many art institutions being held accountable for an entrenched history of white male exclusionism.

It’s a strain of linguistic exclusionism heard in Theodore Roosevelt’s 1919 address to the American Defense Society, in which he proclaimed that “we have room for but one language here, and that is the English language, for we intend to see that the crucible turns our people out as Americans, of American nationality, and not as dwellers in a polyglot boardinghouse”.

There aren’t many superhero films that blow you away with thunderous effects and also tackle ethnic and gender issues, crush racial stereotypes, celebrate women and condemn Trump-era notions of exclusionism.

Or that coincidentally with the breakdown of Exclusionism appears the means of finding out—whether there are vast aerial fields of ice and floating lakes full of frogs and fishes or not—where carved stones and black substances and great quantities of vegetable matter and flesh, which may be dragons' flesh, come from—whether there are inter-planetary trade routes and vast areas devastated by Super-Tamerlanes—whether sometimes there are visitors to this earth—who might be pursued and captured and questioned.