Joelle's interview about the Entertainment (pp. 939–940)
I wore an incredible white floor-length gown of some sort of flowing material and leaned in over the camera in the crib and simply apologized.
Context
The samizdat's second scene, described by its star, is the Death-Mother panel completed: a woman in a white gown leaning over a camera mounted inside a crib, apologizing for twenty unbroken minutes ("I'm so sorry. I'm so terribly sorry… Please know how very, very, very sorry I am"), the lens fitted with an "auto-wobble" that reproduces an "infantile visual field," so that the viewer occupies "a crib's-eye view." That, Joelle says, "was driving the scene" — not her face but the position of the watcher as newborn. This is the mechanism 159 and 162 named, confirmed from inside the shoot: the Entertainment addresses its viewer as an infant being apologized to by a maternal figure bending over the crib. Its lethality, if it has any, is the irresistibility of that address — the one thing no self can decline, the mother leaning in to say she's sorry, forever, to the baby you're made to become.