The Controversial Ending of Woman In The House: Dream or Reality?

Article Overview

The conclusion of "The Woman in the House Across the Street" implies that the entirety of the events might have transpired within a dream or a hallucination, further enhancing the program's satirical portrayal of psychological thrillers.

In the final reveal, the killer is unveiled as Emma, a nine-year-old. However, speculation exists that Anna, the main character, may have imagined much of the ending. The show's comedic and satirical tone, coupled with its ambiguous and unreliable narrative, justify its classification as a limited series and allow for various interpretations.

In Netflix's The Woman in the House Across the Street From the Girl in the Window, the explanation of the ending suggests that it could be one of the many hallucinatory moments in the show. It is possible that everything was just a dream. The protagonist, Anna Whitaker (played by Kristen Bell), is a depressed divorcee who tragically lost her daughter three years ago due to her husband's negligence. Anna spends her days drinking alcohol and taking medication while observing her new neighbors through the window. One day, Anna witnesses Neil Coleman's girlfriend, Lisa, bleeding and pleading for help before dying. Despite others believing it was a hallucination, Anna becomes determined to find Lisa's killer. The show parodies various psychological thrillers and a fan theory speculates that Anna may have imagined most of the finale, suggesting she could be the actual killer instead of Emma.

What Happens In The Woman In The House's Ending

The ending of "The Woman in The House Across the Street" reveals that the killer is actually nine-year-old Emma. This comes as a surprise to most viewers, as well as the protagonist Anna, who initially believed that Neil was responsible for Lisa's death. The handyman Buell was also considered a secondary suspect. However, it turns out that Emma, who resembled Anna's deceased daughter, was behind the murders. Not only did Emma kill Lisa, but she also murdered her pregnant mother, her teacher, and her father. Anna and Buell were fortunate enough to stop Emma's reign of terror when Anna, acting in self-defense, killed the child.

In addition to these events, "The Woman in The House Across the Street" takes on a comedic tone. The movie humorously portrays Anna as the one responsible for killing her mother because she did not want a sibling, Lisa for refusing to purchase chocolate bars for a school fundraiser, and her father because she grew tired of his ventriloquism practice. Furthermore, the film ends with a scene set a year in the future, where Anna encounters a woman on a plane, played by Glenn Close. This woman later ends up dead, but when Anna tries to alert others and seek help, the body mysteriously disappears. This sequence prompts speculation about Anna potentially experiencing hallucinations.

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Woman In The House's Ending Could've Been A Dream

The ending of The Woman in the House Across the Street is too good to be true, even within the confines of the show's satire. Detective Lane (Christina Anthony) unquestioningly accepts the self-defense testimony of Anna and Douglas for killing a child, providing Anna with the validation she has long awaited. In a surprising turn of events, Anna's judgmental neighbor Carol (Brenda Koo) even apologizes to her while she is recovering in the hospital. Anna discovers that Claire (Nicole Pulliam), the woman from Douglas' seemingly romantic Instagram post, is actually his coworker.

Anna's ombrophobia in Woman in the House is completely cured, to the extent that she confidently stands in the rain. Eventually, Douglas and Anna reconcile and have another daughter. The remarkably happy ending is not solely attributed to individual events, but rather the combination of all these positive occurrences. Anna's final delusions may have been triggered by a few factors. According to the show, her hallucinations stem from mixing alcohol with her heavy medication.

However, it is explicitly mentioned in episode 7 of Woman in the House that Anna has run out of wine, and she does not consume any medication between her arrest and the subsequent events. Despite her ombrophobia causing her to faint in panic, Anna manages to fight through it during the finale. It is possible that she does not truly overcome her fear and is dreaming from that point onward. Additionally, if she is aware of her surroundings, Emma strikes her unconscious with the recurring chicken casserole dish during their altercation. Anna's narration is unreliable, and her hallucinations include seeing Elizabeth playing in her room, although she later recalls that Elizabeth is deceased.

Why Anna Might've Been Woman In The House's Real Killer

Anna harbors a strong dislike towards Lisa, also known as Chastity Linkous, for several reasons. The most significant of these reasons is that Lisa prevents Anna from reconnecting with the Coleman family and rebuilding a life after Elizabeth's tragic demise. In a fit of anger, Anna even went so far as to stab a painting she had created of Lisa. However, Anna's memories reveal a contrasting image – one that is gloomy rather than bright, with Anna looking downwards instead of ahead where the painting would typically be displayed. While there are convincing arguments pointing towards Emma as the culprit, as explained in the conclusion of "The Woman in The House Across the Street," certain elements leave room for speculation regarding the true identity of the killer.

Although the show is satirical, Emma's motives for killing her victims are more noble compared to Anna's reasons for killing Lisa, at least. What is particularly intriguing is Emma's deliberate choice to go to great lengths in framing Anna. Despite Anna breaking into her house and reporting the Coleman family to the police, both incidents deeply troubling Emma, Anna never displayed any suspicion towards Emma as the culprit. Emma eliminates her victims as a result of them disrespecting or insulting her in some way, such as her mother getting pregnant with a sibling, Lisa rudely rejecting her chocolate bars, and Neil's underwhelming ventriloquist act. On the other hand, Anna openly favors Emma by buying numerous chocolates, offering her home as a safe haven, and explicitly expressing her fondness for her. Given Anna's consistent forgetfulness portrayed in "Woman in the House," it is still a possibility that she could be the actual killer instead of Emma.

The Importance Of Woman In The House's Airplane Scene

Anna boards a flight to New York to visit her friend Sloane, played by Mary Holland. However, her encounter with a mysterious passenger in seat A-2, portrayed by Glenn Close, raises questions. The fact that Anna had taken Xanax with vodka further suggests that what she sees may be a hallucination. The presence of Glenn Close, known for her roles in psychological thrillers like Fatal Attraction and Jagged Edge, adds an element of satire to the show. Yet, it is worth considering if Close's character could hold more significance in the story. As Anna's hallucinations seem to incorporate elements from reality, Close could potentially represent someone important rather than just a figment of Anna's imagination.

If it turns out that Anna dreamt most of the ending of The Woman in the House Across the Street, Close's character could symbolize someone desperately trying to communicate with her. There is a possibility that she might be a detective investigating Anna, given the ominous remarks made by her character. Whether Close's character ultimately plays a substantial role in the show or not, the episode concludes with Anna picking up a golden compact mirror that was left behind on the vacant A-2 seat.

Anna's Delusions Make The Entire Show A Parody

She opens the mirror, uttering a line which echoes throughout the entire season: "Bingo." If the mirror reveals more than just Anna's reflection, this simple act may imply that the very killer Anna sought was, in fact, herself. Deciphering the extent of the finale, let alone the airplane scene, as either reality or illusion is challenging; nevertheless, the episode unequivocally suggests that Anna envisions at least a portion of it.

Anna's delusions are a crucial element that categorizes the show as a clever parody of psychological thrillers. Tying in with the show's style, it would be fitting for the finale to unfold as an exaggerated hallucination of monumental proportions. Much like Elizabeth's ever-changing epitaphs, Anna's delusions emerge incessantly. One of the fundamental tropes of psychological thrillers is having a main character who nobody fully believes, and "Woman in the House" takes this to new heights for comedic effect. The show astutely acknowledges that the humor lies not in the weighty themes of grief, substance abuse, and mental health, but rather in the genre's tendency to treat these subjects through hyperbole and absurdity.

Woman In The House's Ambiguity Justifies It Being A Limited Series

A child's grave, which could be gloomy and distressing, takes on a darkly comical tone with phrases like "There's no 'I' in Heaven." The humor stems not from the grave itself, but rather from the show's atmosphere. Furthermore, Anna's mental well-being, portrayed through her delusions that may lead to harm Lisa or even Neil and Emma, delves into more profound themes of grief and tragedy. Elizabeth's horrifying death in Woman in the House leaves Anna to grapple with her emotions entirely alone. Despite being a parody, The Woman in the House effectively incorporates enigmatic elements and tackles weightier subjects.

The Woman in the House Across the Street has reached its final curtain as a "limited series" on Netflix. Therefore, there will not be a second season. Kristen Bell's comedic performance is truly amusing, and the series effectively parodies various significant themes. Additionally, the show has been well-received by viewers. However, despite these positive aspects, it is not enough to sustain the show as a long-running series. The first season of Woman in the House concluded the plot as effectively as possible, and expanding further with the characters would risk diminishing the show's quality.

Anna's delusions are a crucial element in the Netflix limited series, propelling the story forward and providing the show's central source of humor. Without her delusions, the psychological thriller parody would be lacking, and the unreliable narration effectively concludes the TV show in a satisfying manner. The dark comedic premise relies heavily on this aspect, resulting in a satirical resolution. Introducing a second season to Woman in the House would risk devaluing the efforts of the writers in crafting a fitting ending.

A potential sequel could potentially ruin the impact of the ending by providing excessive explanations, diminishing the intrigue of the story. Additionally, revealing that everything was merely a dream would also undermine the series, removing the mystery that makes it a successful parody of top-notch psychological thrillers. The Woman in the House Across the Street from the Girl in the Window purposely concludes with uncertainty, paying tribute to the inspiration behind the parody. Instead of eagerly anticipating a second season, it would be more rewarding to rewatch the first season and appreciate the show's subtle humor.

Editor's P/S

The finale of "The Woman in the House Across the Street from the Girl in the Window" presents a mind-bending twist that leaves viewers questioning the reality of the events depicted. The reveal of the killer's identity as nine-year-old Emma is surprising and raises doubts about the reliability of the narrative. The show's satirical tone and comedic elements further contribute to the ambiguity surrounding the ending, suggesting that it may be a product of Anna's delusions.

The possibility that Anna imagined much of the ending, including the killer reveal, adds depth to the show's exploration of psychological thrillers and their tropes. By presenting an unreliable narrator and an ambiguous conclusion, "The Woman in the House" invites viewers to question their own perceptions and consider the subjective nature of truth. This satirical take on the genre allows the show to playfully subvert expectations and challenge conventional storytelling norms.