The It: Chapter Two trailer has arrived and there’s lots to unpack.

What did you notice? Since the It: Chapter Two trailer dropped, admirers of Andy Muschietti’s 2017 predecessor have been sharing fan theories and thoughts. We’ve been waiting for a thorough glimpse for months and fortunately, the first teaser was sure not to disappoint. 

Much of the footage is taken up by Beverly’s return to her childhood home in Derry. As we know, many of her darkest memories are rooted there, yet there’s clearly more trauma to endure. If the first half of the trailer tells us anything, it’s that Muschietti is embracing slow-burn horror, and to his favour, he appears to have done so very well. The interaction between her and Pennywise’s deceptive conduit certainly instils a sense of dread in the audience, as we hope the entire film will. 

It’s the second half of the trailer which truly lays out the narrative foundations though. We witness the Losers’ Club as adults returning to Derry; they made a blood oath in the previous film to come back to Derry if Pennywise surfaces again. If there’s one thing we know, it’s that Pennywise is back, with a vengeance.

During It‘s final act, the kids finally made the creature feel something unknown: fear. Now he’s returned, it’s obvious that a powerful grudge has stewed over decades. 

One of the most intriguing shots in the trailer shows Pennywise appearing to clutch at his face, tearing away make-up in agonising fashion. Of all the images on display, it’s arguably the most disturbing; also, it may be the most revealing. Some conclude that it may be a dream sequence, but this doesn’t look to be the case. When viewed in relation to the old photograph in Beverly’s former home, it looks like we could finally witness Pennywise’s origins in a flashback. 

On the contrary, the scene could be an instance of Pennywise revealing to the characters that he has taken over a host. Yet, if we’re offering concrete predictions, the decor and the clothes suggest that this may be a transformation flashback —the creation of the clown. We sure hope so. 

In other news, has Muschietti ditched that ending?