Consider James Blaine “J.B.” Mooney, the museum-robbing protagonist of Kelly Reichardt’s The Mastermind, which is set in suburban Massachusetts in 1970. Played as both a careful schemer and a lazy layabout by Josh O’Connor, J.B. is not pushed into a life of crime—he chooses it because he’s just that bored. This wayward boredom is more striking when you consider what he ignores: Whenever the news is on, J.B. listens nonchalantly, apathetic about the war in Vietnam. He behaves as though current events are so far beyond his control or influence that participating at all is utterly pointless. He may as well try robbing an art museum if nothing matters.