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In cinema, in the miniseries Roots and Lady Bird’s mother in Greta Gerwig’s Lady Bird (2017) (though the protagonist is a daughter, the dynamic with her brother is telling) showcase sacrifice as a double-edged sword. The mother sacrifices her comfort, but then weaponizes that sacrifice. The son is burdened not by prohibition, but by gratitude.

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In horror, the mother is often the source or the solution to the monster. Stephen King’s Carrie (1974) is the quintessential text: Margaret White’s fanatical, abusive religiosity creates the very telekinetic monster that destroys their town. “They’re all going to laugh at you!” she screams, and her prophecy becomes a self-fulfilling, bloody apocalypse. Yet, King also imbues Margaret with a twisted form of love, making her terrifying and pitiable. In cinema, in the miniseries Roots and Lady