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Contemporary filmmakers consciously avoid one-dimensional antagonists. Instead, stepparents are portrayed as flawed but well-intentioned outsiders trying to find their place. In The Edge of Seventeen (2016), stepfather Mona is not a monster but an earnestly awkward man whose primary “crime” is trying too hard to connect with a grieving, angry teenager. The conflict isn’t good vs. evil—it’s about a child’s lingering loyalty to a deceased parent versus a new adult’s desire to belong.

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