As the film wears on, a surprising amount of jet-black humor enters the fray. Rather than view Michael as an 'stache-twiddling super villain, we are treated to the site of a pathetic sociopath whose life outside of his fuck slave is one sad encounter after another, whether it be painful attempts to connect with other men on a ski trip, a particularly humiliating go at having sex with an adult woman, or having to dodge the advances of a smitten co-worker. As his exterior life continues to be awkward and ungratifying, Wolfgang begins to fight back, first by attacking Michael's idealized view of their relationship (such as giving Michael a crayon drawing of a mommy and daddy for Christmas), and then by physically attempting to put up a resistance to Michael's advances and planning his escape. Michael, with no idea of how to treat a child aside from as a sexual object, meets these road-bumps with physical aggression, condescension, and eventually, in a scene that rides the creepy/comedy divide expertly, by attempting to kidnap Wolfgang a companion to assuage the boy's loneliness (and no doubt replace Wolfgang, as in one chilling scene of misdirection we see Michael clearing a spot in the woods when Wolfgang exhibits a high fever that Michael, understandably, can't seek medical attention for). The film also skirts the thin line between tragedy and hilarity in a scene resulting from Wolfgang's fever, when Michael, walking to a pharmacy, is struck by a vehicle. The absurdity of the situation is drawn to almost painful suspense as we witness Michael's extended hospital stay, all the while wondering what is becoming of the ill Wolfgang, hanging on to life in the basement.