Poltergeist (film series)/Fridge

• The mother is thirty-two. With a sixteen year-old daughter. Maybe she's not the mother after all. Might explain the height difference.
  • 32-16=16. You can have a child at sixteen. It's the not ideal by any means, but it happens. And with a helpful family and partner, some are able to have a successful life.
    • Not the case here, however, as the father specifically tells a workman that his first daughter's mother is dead. (The pool-digging crew had been praising Dana's looks, and saying she must take after her mother.) Mrs. Freeling is clearly Dana's stepmother.
      • That doesn't happen in the movie. (maybe you're thinking of Hellraiser when that exact situation does occur.)
      • Go back and watch it again. It's the bit where one of the pool-diggers leans in the kitchen window for a cup of coffee.
        • ...Nope, doesn't happen. Diane's the one that finds the pool-digger, and the entire scene consists of her asking how it was, him saying it was great, her asking for her cup back, and him saying that she makes great coffee. There was a scene where the diggers were praising Dana's looks (before the coffee thing), and after she flipped them off they might have commented on her mother's looks, but the father never says that Diane's Dana's stepmother.
  • Steve mentions to a couple he's showing a house to that they have very generous construction standards in the area. He has a neighbor who put a wading pool and an aqueduct in their yard, and he himself is having a swimming pool built...in a yard that's right over a cemetery. How is it none of the bulldozers digging up his backyard (that pool is at least ten feet deep) never encountered a coffin (No, the cigar box doesn't count)? And if the development company wants to keep the bodies a secret, why allow people to do things like that?
    • Possibly the old cemetary lay at the bottom of a gully, that got covered over by 20 feet of infill when the subdivision was landscaped. That'd make the violent emergence of those coffins in the finale even more impressive.

• In II Kane couldn't be let in the house unless Steven let him in. ('Let me IN!!!") Aside from the Tequila scene where he swallowed the worm. There has been no way he could have gone into the house. Yet after the Let me in part, he was able to get Robbie with his Braces, and throw Steven across the room, and that was before the Tequila scene.
  • When that happens, Taylor goes right to Carol Anne to look after her. Steve asks him What the Hell, Hero?, and Taylor replies that it's Carol Anne that Kane is after, not Robbie, and protecting her was important. This implies that the situation with Robbie may have been somewhat like the famous face-peeling scene from the first movie; i.e. not entirely real. It's possible that it was mostly an illusion and Robbie was in no true danger, but was merely intended to serve as a distraction so Kane could get to an unprotected Carol Anne.