!! FridgeBrilliance
* While Salieri is telling his story, Father Vogler takes him seriously. You can even see him getting emotional at points. In a strange sense, Salieri got what he wanted in the end: someone who understood his viewpoints and possibly viewed him as being better than Mozart.
* At first glance, the contrast between Mozart's operas and their parodies appears to be a subtle depiction of the ComedyGhetto: the former is attended by proper people in wigs and fine outfits, while the latter is attended by boisterous people in drab clothing; the implication here is that "[[TrueArtIsAngsty true art]]" is reserved for the nobility, while anything too cheerful (and thus [[LowestCommonDenominator basal]]) belongs to the lower class. However, what's equally important is how their respective audiences respond to the works they've come to see. As mentioned under AtTheOperaTonight on the main page, the audiences for Mozart's operas aren't fully invested in the action onstage, and are even disruptive at points. Meanwhile, the audiences attending the parodies are fully engrossed in the work, laughing, singing along, applauding, and overall expressing pure joy in response to the action onstage; note how many times they point to the stage, urging their fellow audience members to notice what's on stage. With the behavioral differences between audiences, this turns out to actually be a {{deconstruction}} of the ComedyGhetto, demonstrating that the bias against comedies is strictly cultural stigma, and a work of any genre is only worth how much audiences are willing to invest in it.

!! FridgeHorror
* The movie's aesop calls this into question. How many talented people have worked their whole lives to become good at what they do, only for someone naturally gifted (or at the very least undeserving of fame) to come along and completely overshadow them?