Much of these plot threads ultimately wind up underdeveloped. The narrative gets bogged down under the weight of its ambition. With World War II just getting started, the screenwriters want to tie the central theme of religious repression to the rise of fascism. While much of Marianne’s conflict with Linus stems from his duties to an oppressive Church, its connection to a fascist Europe isn’t explored in an organic and meaningful way. Nor does it bother to flesh out Adelaide and how her adoption factors into the family dynamics, outside of a simplified explanation of how she fell under the houses’ sway so quickly.