I’m really focused always on the prize,” Ansel Elgort said in 2014. “I want to keep creating and making important things and that’s what I want Ansel Elgort to be about.”

Ansel Elgort, the star of Edgar Wright’s high-speed heist thriller Baby Driver, speaks about himself in the third person quite often. His “brand”, for that is how Ansel Elgort likes to refer to it, encapsulates not only acting, but also music, fashion and technology, and his interviews are usually peppered with humblebrags and name-drops and references to his own personal narrative.

Little of this is new for millennial celebrities, many of whom seem outrageously, fastidiously aware of their place in the celebrity ecosystem in a way that was rarely found in less image-conscious stars from decades gone by. But there’s been a strange trend developing in Ansel Elgort’s recent press for Baby Driver -- a trend that has no defining source, not one particular incident, nor any specific piece of tabloid gossip.

Yet it remains something that interviewers have felt compelled to recently ask about: just what is it about Ansel Elgort that makes him so unlikeable?