Later, Beowulf claims to have defeated the mother after she was killed with her sword in her cave, but the falsification of it only means one wish, the false triumph of the male over the female. Her defeat, as well as her good business of prestige and glory, confides that male power “does not only come from the feminine, but remains eternally submissive to it.”    However, the authors found that he finally broke the oedipal triangle caused by his destructive son, since he managed to kill the dragon and apparently outsmart the cycle at the expense of his life. This has been interpreted as a final increase in virility, which chooses to die in self-denial rather than live in its helpless and feminized state.    He calls himself a “death long ago” in an earlier scene.   The film further emphasizes the irresistibility of female power, for even Wiglaf, abstinent of lust unlike his partners, is equally seduced by Grendel`s mother.   When designing the dragon, production designer Doug Chiang wanted to create something unique in the film. The designers considered bats and flying squirrels as an inspiration and also designed their tails to allow underwater training. As the animal is Beowulf`s son with Grendel`s mother, elements such as Winstone`s eyes and the structure of the cheekbones have been incorporated into his appearance.  The three primary monsters in the film share a gold color scheme because they are all related. Grendel has gold skin spots, but because of his torment, he poured much of his scales and hung his inner work. But he still had to look like Glover`s crispin: the animators decided to adapt Glover`s farewell hairstyle to Grendel, but with bald spots.  As a new king, Wiglaf Beowulf gives a Nordic burial.
Wiglaf finds the golden horn in the sand and sees Grendel`s mother appear at sunset. She gives Beowulf one last kiss before her burning ship sinks into the sea. Grendel`s mother slowly climbs to the surface of the water and beckons her. He wades into the sea, desolate and tries to hold the golden horn. The film ends with the fact that Wiglaf pauses halfway into the waves and makes the audience uncertain whether he will make the same mistake as the kings before him. Later, Damico argued to Beowulfs Vealhtheov and the Valkyrie tradition that Wealtheov`s mother and Grendel`s represent different aspects of the Valkyries. Doreen M.E. Gillam`s essay “The Use of the Term `gl`ca” in Beowulf on lines 893 and 2592 of 1961 examines the dual use of the term “agl`ca/gl`ca” for heroes Sigemund and Beowulf, as well as for Grendel`s mother and grendel.
 She argues that “agl`ca/`gl`ca” is used in works alongside Beowulf to refer to both “devils and humans.” It also argues that the term is used to imply “supernatural,” “unnatural” or even “inhuman” properties, as well as hostility towards other creatures.  Gillam suggests: “Beowulf, the champion of men against monsters, is himself almost inhuman. [Agl`ca/`gl`ca] embodies in a word the extraordinary nature of dragonfighting. Beowulf, the defender of good, of the “monster” among men, asks for the traditional embodiment of evil, the dragon: “Glca meets ” Gl`can “.  Grendel`s mother, who never received a name in the text, was the subject of constant controversy among medieval scholars. This is due to the ambiguity of certain words in ancient English that appear in Beowulf`s original manuscript. While there is a unity on the word “modor” (Mother), the term “ides, agl`cwif” is the subject of scientific debate.