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With changing family structures, the narrative of the devoted, struggling single mother and her loyal son has become a dominant trope. In Stephen Daldry’s Billy Elliot (2000), the mother is dead, but her memory—embodied by a letter urging Billy to “always be yourself”—is the catalyst for his liberation. The living parent who opposes his ballet dreams is the father. Here, the mother-son bond is purely affirmative, a posthumous blessing.