Molly Notkin's interrogation (pp. 788–789)
explaining to the camera as audience-synecdoche that this was why mothers were so obsessively, consumingly, drivenly, and yet somehow narcissistically loving of you, their kid: the mothers are trying frantically to make amends for a murder neither of you quite remember.
Context
The camera is named outright as "audience-synecdoche" — the lens stands in for the viewer, and the viewer is addressed as the beloved infant of a Death-Mother making frantic amends. This is the mechanism the whole theme has been reaching toward: the Entertainment works by placing every watcher in the position of a child being loved "obsessively, consumingly, drivenly" by a maternal figure who wants him back. The consumption runs both ways in the very grammar — the mother's love is "consuming," the viewer is "eaten" by exactly the regard he most craves. The film doesn't seduce with pleasure so much as with the one address no one can refuse, the mother bending over the crib; spectation here is being seen as an infant is seen, and dying of it.