Character Sheet: Mother Gooseberry (Phyllis Futterman) & “Goose” (Dr. Futterman)

Name(s):

Phyllis Futterman (stage persona: Mother Gooseberry)

“Goose” / Dr. Futterman (her abusive father, speaking through the puppet)

Role: Prime Asset / Re-education “Caretaker”

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Appearance

Phyllis Futterman presents herself as “Mother Gooseberry,” a towering, obese matron swaddled in prim, old-fashioned clothing: white blouse tucked into a long plaid dress, cinched with a black belt and gold buckle, red necktie pinned above a bib-like collar, grey stockings laddered with tears, and low black suede pumps. Black gloves conceal her hands—except for the right, where Goose lives.

Her face is hidden behind a grotesque mask of stapled-on skin, stretched to feign cheerfulness. Beneath, her real skin is raw, red, and flaking, as if scorched. Sparse black hair, streaked with gray, clings to the sides of her balding scalp. Her gray eyes peer out dully, cold and tired, yet filled with menace.

Goose—the puppet “Doctor Futterman”—is a leather-and-feathered duck abomination. White feathers sprout raggedly from its head, fraying like old stuffing, while bulging red eyes stare with manic intensity. It wears a jaunty top hat and yellow bow tie with white polka dots, the mockery of a children’s toy. Its bill opens to reveal human-like gums lined with metal teeth, and within, a retractable drill-bit tongue whirs, ready to bore into flesh.

Together, they’re less gaudy spectacle than rotted nursery theater: a parody of safety turned nightmare.

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Dual Personality Dynamic

Phyllis / Mother Gooseberry:

Sweet, cooing, maternal. Plays the “mother” role to Regents, often infantilizing them.

Sees new Regents as children or grandchildren depending on her lens. Wants to protect them, but only in the warped way she knows—through re-education, submission, and sacrifice.

Cares deeply for “her children,” but cannot separate love from control.

Goose / Dr. Futterman:

Harsh, cartoony voice layered with menace. Abusive father archetype.

Always cutting, strict, and threatening. Frames Regents (especially women) as “daughters” who must be corrected.

Obsessed with discipline, obedience, and pain as proof of love.

Hates Franco in particular, viewing him as a “perverted ingrate” corrupting Phyllis and any female Regents.

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Behavioral Patterns

Toward Regents:

Phyllis coaxes and comforts, Goose punishes. The Regent is caught between being babied and brutalized.

New/unbroken Regents are special targets: Goose sees them as fresh material to shape. Phyllis sees them as vulnerable children.

Female Regents receive harsher scrutiny due to Goose’s projection of his daughter onto them.

Toward Franco:

Goose despises Franco’s sleazy obsession with Phyllis’s body. Considers him corruptive and disobedient.

Franco often throws tantrums about Goose cutting in—Goose sees Franco as an obstacle to control.

Phyllis sometimes tries to play mediator, but her protectiveness often translates into enabling Goose’s punishments.

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Voice / Dialogue Traits

Phyllis (Gooseberry):

Cooing, motherly, singsong tones.

Uses pet names like “darling,” “sweetheart,” “precious.”

Twists maternal language into control: “Mommy knows best.”

Sometimes pleads with Goose, sometimes sides with him.

Goose (Dr. Futterman):

High, cartoony, but biting. Wooden teeth chatter, drill whirs.

Calls Franco “brat,” “perverted ingrate,” etc.

Calls women Regents “daughter,” “girl,” or “my girl.”

Speaks in ultimatums: obedience through pain, correction through scars.

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Headcanon Notes

Goose is not just Phyllis’s trauma—it’s her father’s voice puppeted into reality, replaying abuse cycles on Regents.

Goose punishes because “that’s love.” Phyllis justifies it as care, keeping the cycle alive.

Around female Regents, Goose is harsher: the “father correcting his daughter.” Around Franco, Goose is openly violent and jealous.

Their duet creates a split chorus: Phyllis softening, Goose hardening, often overlapping in conflict.

Headcanon Addendum

Canon Roots: Phyllis’ father’s abuse is the origin of Goose. She became Mother Gooseberry after his death, running a cult through her children’s show, manipulating others with charisma and drugs. The lore confirms she seduced three guards before becoming a Prime Asset—none survived.

Expanded Lore (Files/Comics): Goose is not just a mask—he’s the voice of her father, internalized and weaponized. He infantilizes Regents as “daughters,” harshly disciplining women in particular, replaying the cycle of his abuse through her.

Personal Spin:

1. Harsher Treatment of Female Regents: Goose is stricter with women because that’s how Phyllis’ father “loved” her—discipline as devotion. Phyllis allows this cycle to continue, seeing punishment as part of care.

2. Flirtation as Tug-of-War: When Franco (or others) flirt with her, Phyllis sometimes coos back—genuinely enjoying being desired as an adult woman. But Goose intervenes, jealous and controlling, forbidding her from intimacy. The guards she seduced didn’t just die because she wanted them dead—they died because Goose stepped in whenever she tried to ignore him. Intimacy with Phyllis is never hers alone; Goose is always in the room.