Jenkins often takes an unsentimental attitude to depicting the events of this ugly era of history, and there are some truly horrific sights to behold, but in approaching a time so wrapped up in the black and whiteness of its inhabitants, he and cinematographer James Laxtan make powerful use of light and shade to ensure moments of beauty can be found.

As such, vignettes filled with sunlight and lens flares flooding its subjects are frequently employed, as are tableaux vivants whereby characters silently gaze into the camera, forcing you to make eye contact and acknowledge both their existence and humanity. Brilliant use of colour and symmetry also add to the narrative threads pushing the story forward and Cora closer to freedom of circumstance and from mental strife. Of course, physical and inherited trauma is not something people can switch off, but this series wants you to believe that there can be light at the end of the tunnel and it might just be a train that delivers you from darkness.

The Underground Railroad review: does the most anticipated literary adaptation of 2021 live up to expectations?