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… [it] becomes the hallmark of madness when an adult puts too powerful a claim on the credulity of others, forcing them to acknowledge a sharing of illusion that is not their own.
I was more than a little skeptical when the members of my Winnicott seminar told me about a film in which a life-sized, anatomically correct sex doll became a transitional object.1 To my surprise, I found Lars and the Real Girl one of the most delightful films I had seen in a long time. The film critic Philip French (2008) captured the spirit of the film when he described it as “a moral fable exploring kindness, love, and acceptance of human diversity.” More by happenstance than design, the film also depicts the creation