In my definition of metaphor family, I say that it’s drawn from the hero’s job, background, or developmental state, so I guess that this could include the simple job of “single mom”, but ideally we want something more. The heroine here has fairly generic mom dialogue:
- “I don’t want you making weapons anymore. This monster thing has got to stop.”
- “No, it’s all right, I’m fine.”
- “No worries, I’ll make you another one.”
- “I’m going to have a serious talk with him. What he needs is some understanding.”
- “I don’t want you to feel awful, we’ll be fine, we’ll be absolutely fine.”
- Amelia is being a “very good girl” in the beginning. She’s had these terrible things happen and people are trying to help her out, but she’s like, “I’m fine, I’m fine. I’ll do something for you.” And that’s a typically altruistic feminine trait, and I think it has massive negative repercussions. You get the suppression, and then underneath the nice girl is this monster that’s waiting to explode. [Laughs.] Beware of the woman who’s too nice!
- [Early] readers feared that Amelia would be cold or unfeeling or unsympathetic, but this was someone I cared so much about, so I wanted an actress that would have the capacity to give the character warmth. Essie uses her heart when she acts.
This reminds me of your observations on Gone Girl - that the supposed gut-punch of the later acts was undermined by the choice of an actress whose performance lacked the necessary warmth to dupe us in the early acts.
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