The Death-mother mythos the Entertainment embodies

texture · UNDATED (the film's content, echoed)

• When: UNDATED — the shoot itself is the terminal project (events 17-18); the conceit surfaces in Gately's ?/Nov YDAU fever-dream
• What: What the final film is of, at aesthetic altitude. Joelle describes her scene to Steeply: a crib's-eye view — "The point of view was from the crib" — of a maternal figure bending over and apologizing, "at least twenty minutes of permutations of 'I'm sorry'" (178); n080 independently calls it "the weird wobble-lensed maternal 'I'm-so-terribly-sorry' monologue-scene of the last thing he'd done," which he never showed her. In Gately's dream the veilless Joelle-as-Death explains the conceit: the woman who kills you becomes your next life's mother, mothers' fierce love an amends "for a murder neither of you quite remember" — the same childlike Death-is-female-and-maternal reading Notkin and Joelle attribute to the cartridge (Joelle's timeline (event 28)); Gately's dream-vision even goes wobbly and unfocused as it proceeds, the neonatal blur reproduced. The lethally-beautiful-woman-as-Death figure JOI cast Joelle as again and again (event 14) reaches its terminal form here: Death not as antagonist but as the tender, killing, apologizing mother. See Joelle's timeline (event 28); the samizdat thread.