Yesteryear

While living at the Mills’ estate with seven-month-old Clementine, Natalie undergoes a relentless daily routine. She wakes at dawn to change Clementine’s diapers and breastfeed her, retreats to a guest room to inflate Caleb’s résumé and submit job applications on his behalf, and prepares dinner while wearing the baby in a chest carrier. At the table, the Mills discuss recurring topics: Doug considers a presidential run; Amelia offers praise; Natalie gives Amelia the credit for the perfect chicken, even though Amelia actually she nearly cooked the chicken from frozen while affected by medication.

One night, Amelia tells Natalie she looks tired and offers to watch the baby while she showers. Upstairs, Natalie finds gifts from Amelia, which includes a small white pill. Desperate, Natalie calls Eliza and asks how she managed to do everything so well. Eliza reveals her secret: She imagines an audience watching her, with God as the ultimate observer. Natalie feels nauseated, realizing the domestic joy she admired in other women was a performance. She hangs up, imagines a judging panel, and flushes the pill.

Over the following weeks, Natalie establishes a middle-of-the-night routine to do her hair and makeup, conjuring an imaginary audience that includes her mother, Jesus, and her college roommate, Reena.