Field notes and follow-ups

* Joe and I took Lily to see “Tangled” this past weekend at the nearby, second-run theater, and the basic premise, of course, involves a witch stealing Rapunzel as a baby from her parents (who are the land’s king and queen). In the movie version, the beloved king and queen, as well as their subjects, release glowing lanterns that float up into the sky each year on the girl’s birthday, in hopes that she will return. By Rapunzel’s 18th birthday, after being shut up in a high tower her whole life, she ventures out to see this ceremony in person; and simultaneously, we see the king and queen briefly behind-the-scenes, just before they step outside to release a lantern once again.

It’s probably about 30 seconds of film, and involves the father looking inconsolably sad, while the mother touches his cheek in comfort. And at this point, I completely fell apart, quietly crying while Lily sat attentively on my lap.

This throwaway little scene that would have passed me right by a few years ago. But the difference, I’m sure, is that while I would have empathy for these characters before, and would have vaguely imagined what the loss of a child might feel like, Lily makes these kind of scenes powerfully concrete rather than merely abstract. There’s not a blank, faceless child in my mind; it’s Lily’s face, and cry, and laugh, and smile, and voice. The thought of her, and the very specifics that make her who she is, being suddenly taken away is too devastating to even imagine. 

Hence my turning into a weepy mom during a Disney movie – despite the fact that in the past, I established a reputation for being pretty stony while watching movies and plays. (The phrase “dead inside” has surfaced more than once.) But apparently, my falling head over heels in love with this little girl has endowed me with a new Achille’s heel. Continue reading

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