Episode Transcript
[00:00:00] Speaker A: Fancy. You know, I was. I was pissed off that they didn't play the Alice Cooper song, you know, like, feed My Frankenstein. It's like, feed My Frankenstein. You know, like, it's like at the end of Hellraiser 3, when they played. You know, when they played Hellraiser 3, they play the Motorhead version of Hellraiser from this. From Black Sabbath.
Kind of ruined the whole movie, but it was bad anyway, so I guess it didn't ruin anything.
[00:00:26] Speaker B: A while since I watched Hellraiser 3. What was that? Hell on Earth.
[00:00:30] Speaker A: That was the title. Yeah, that's the one. There was, like, a girl with the cigarette. Like, that was the cenobite. She had a cigarette that she put in her neck.
[00:00:37] Speaker B: Yeah, yeah, that's right. That was Terry.
[00:00:41] Speaker A: I remember.
[00:00:41] Speaker B: Like, I. I'm one of those people. I'm very. How do you say? Very on the spectrum when it comes to certain actors and stuff. But I remember that was Terry, and she was. She was really cool with a sticker. Hi. I'm sorry. I burned a toast and, you know, I'm sorry. Burned it. Just. Just. Yes, you get the idea.
[00:01:00] Speaker A: Yeah, yeah.
Hellraiser 3. Definitely. Almost as good as Del Toro's Frankenstein. Hi, welcome to Dematose. This is the podcast, you know, of Death Wish Poetry magazine. We talk about gothic and horrific literature. We're also really good singers and.
Yeah, hi. I'm King Loki, your host.
We've got Ca and Adrian two, two of our co hosts, and we have a special guest, John Dimes, who goes by Dr. Sarcophagi.
[00:01:26] Speaker B: Yes, yes, yes, yes.
[00:01:28] Speaker A: Cool. And as much as I really want to talk about the Hamburglar, we're actually here to talk about a movie I've been waiting, I think, 15 years for. Right.
Fucking Guillermo del Toro's Frankenstein.
I didn't think I'd ever see this one. Like, years back, this motherfucker had. He announced Frankenstein, a Hulk TV series, the Hunter, Hobbit, Pacific Rim, all these movies. He. There's more. And Hellboy 3. And he didn't do any of them. Instead, he did Pacific Rim and the Shape of Water, which is okay by me. I mean, Shape of Water is one of the most beautiful love stories ever told. But I was really excited for his Frankenstein.
You know Frankenstein, the 1930s movie with Colin Clive and Boris Karloff. That's my favorite movie of all time.
[00:02:13] Speaker B: Yeah, yeah.
[00:02:15] Speaker A: There's a lot of Frankenstein movies. There's a lot of things with Frankenstein.
[00:02:20] Speaker C: We should talk about. What everybody's first, like, first iteration of Frankenstein was mine. Was Young Frankenstein. That was the first introduction. My dad loved that movie and had me watch. I don't remember what age I was, but that was my first introduction.
And since then, you know, I've seen plenty of other adaptations and read the book, but what about everybody else?
[00:02:46] Speaker B: I think my first was Frankenstein the True Story, with Michael Saracen and Leonard Whiting and Jane Seymour as a little boy. It scared the fuck out of me. It scared. I mean, when you look at it now, it's like, ew, John, how could you be frightened of that? That gothic soap opera romance? But when you were a kid and you haven't seen somebody get their head yanked off their body, that gets to you. That gets to you big time. And my mom had to talk me through it until finally, when I watch it now, I'm. I'm like. I giggle because I'm like, you know, you. Once you've seen something like. Frank, what was it?
My other favorite Frankenstein is Frankenstein Must Die with Peter Cushing.
[00:03:32] Speaker A: Oh, yeah. That's one of the Hammer ones.
[00:03:34] Speaker C: Yeah, yeah, the Hammer. Yeah, yeah.
[00:03:38] Speaker D: Paul Nashi watched that. He loved.
[00:03:40] Speaker C: That's right. We talked about that.
[00:03:42] Speaker D: Yes, yes. That was Paul Nashi.
[00:03:45] Speaker A: That's Paul Nashi here. Yeah, yeah, yeah.
[00:03:48] Speaker B: Frankston Must Die is the jam. That's such a. I mean, Peter Cushing's an asshole in that. He's wonderful.
[00:03:56] Speaker A: I know.
[00:03:56] Speaker B: Wonderful. Wonderful in that. Yeah.
[00:03:58] Speaker A: Peter Cushing as Frankenstein and.
[00:04:02] Speaker D: Christopher Lee.
[00:04:03] Speaker A: Thank you. Christopher Lee as Dracula. That's it right there.
[00:04:05] Speaker B: Right? Even Christopher Lee as the mummy is pretty decent. I thought. I thought. I thought.
[00:04:12] Speaker A: Watch that movie. I like that movie. Yeah.
[00:04:15] Speaker D: Oh, yeah, it's great.
[00:04:16] Speaker A: Like it. It's kind of chintzy looking, but I.
[00:04:18] Speaker B: Don'T give a.
I mean, anything from the 60s with all that, like, Technicolor blood, it's gonna look chintzy.
[00:04:26] Speaker A: Yeah, it's just like with Hammer. Like, they have high production value because they often shoot in real castles because it's, you know, Europe. Yeah, but like with the Mummy, they had to build sets. But I don't care. I'm cool with that. I'm cool with chintz, you know?
Who are you calling chintz? Listen, I just told. There were two guys.
[00:04:48] Speaker D: It's Alfred. He literally got it Ca.
[00:04:51] Speaker A: I don't know what's going on. Listen, Alf came to live here, so he might appear a few times, you know.
[00:04:56] Speaker D: I'm sorry, Ca. I found it for him. It's my fault.
[00:05:01] Speaker B: Elf puppet.
[00:05:02] Speaker C: No.
[00:05:02] Speaker B: How old is that thing?
[00:05:04] Speaker C: He's welcome many times from 1985.
[00:05:07] Speaker B: Where did you find that?
[00:05:09] Speaker A: Unlike most people, Mel Mackie and shrink as they get old.
[00:05:14] Speaker B: My favorite thing was the elf cartoon, right?
[00:05:19] Speaker A: Everyone hates it, but I thought it was okay. We didn't have Scrappy do at least.
[00:05:24] Speaker B: The thing about the elf cartoon is like, they're playing baseball enough to know they're playing baseball. But it's called Bool Baseball on Melmet.
[00:05:34] Speaker A: Good job, alf. You fucking derailed the conversation. So.
[00:05:37] Speaker B: Okay, keep doing it.
[00:05:40] Speaker A: I didn't do it. It's alf. He has a mind of his own. So, yeah, I think. I think my first Frankenstein was most likely.
Fuck. What up? You know what it was? I don't know what this is. Maybe John, maybe, you know, it was like, gosh, I don't know how to describe it. The car from Knight Rider was in it.
Maybe it was a Knight Rider movie, I don't know, but it was like a time travel thing. It was like Frankenstein lives or something.
[00:06:06] Speaker B: Wait, the knight riding car?
[00:06:10] Speaker D: I think you killed him.
[00:06:12] Speaker A: I don't know. I watched a lot of trash even as a child.
[00:06:15] Speaker B: So the only time I saw something vaguely like the Knight Rider car in a movie was called the Car with James Brolin. Did you ever see the Car?
Dude, the car?
[00:06:26] Speaker A: The 1960s movie?
[00:06:27] Speaker B: No. 1973. 74.
[00:06:30] Speaker A: I don't even know what you're talking about.
[00:06:31] Speaker B: Baby, you gotta see the car. You've got to see if you want to have a car collection.
[00:06:36] Speaker D: It's so good.
[00:06:37] Speaker B: Yeah, right, right. Yes.
Car laughs. Yeah, but. But I don't know. I don't know what. There was a. There was a. A. A car with Frankenstein.
I don't know.
[00:06:52] Speaker A: It was a weird, low budget time travel movie. I may have hallucination, I may be confabulating the Knight Rider thing, but I assure you I saw it.
Now I also did read the book at a pretty young age. It was one of those like, one of those like abridged versions for kids, right?
[00:07:11] Speaker B: So, yeah, I have never read Frankenstein. I read Dracula, but I never read. I read Dracula when I was. Yeah, 1112, something like that. But I never read Frankenstein. Never. Still have it.
[00:07:26] Speaker D: It's my favorite book. Yeah, yeah. That and the Neverending Story are tied. They're on the same level but for different reasons.
[00:07:33] Speaker B: Okay, okay. So yeah, I mean, like for instance, when you watched. I'm sure you obviously you watched the Kenneth Branagh Frankenstein.
[00:07:43] Speaker D: Oh, yes.
[00:07:44] Speaker A: Oh, yes.
[00:07:44] Speaker B: According to what I understand that's about the closest to the actual story.
[00:07:49] Speaker A: It's the closest, but it's so badly done.
[00:07:53] Speaker B: You feel like it was badly done.
Well, I mean, watching Kendrick Brow with Muscles was like. I got distracted by that, I guess.
[00:08:03] Speaker D: You're not wrong there. And Helena Bonham's hair, I feel like her hair is how I feel inside. Just her crazy Helena Bonham Carter hair.
[00:08:13] Speaker A: For someone.
Someone can probably correct me, but like the whole Frankenstein creates a woman out of a murdered woman who's close to him. I think it might originate in that movie because I have here the Junji Ito Frankenstein manga.
[00:08:28] Speaker B: It's like Junto.
[00:08:31] Speaker A: Of course we do.
[00:08:33] Speaker B: Genius.
[00:08:33] Speaker A: Jesus. Yes, he is. Well, this is a work of genius. This is one of his best things, really. Oh, I gotta read it because it's Frankenstein. But like, you know, my point is that he does a similar thing where it's not Elizabeth, it's surnamed Justine.
[00:08:48] Speaker B: Mm.
[00:08:48] Speaker A: Yeah. The girl that, you know, the. The maid.
[00:08:52] Speaker D: Okay.
[00:08:53] Speaker A: It's Justine Moritz, I believe. Yeah, she is the one. The monster brings her head. He's like, here you go. Because they need a head in this book. The monster is a. Is a laughing, snarling, evil fiend.
[00:09:05] Speaker B: You know, I gotta get that. I didn't know he did. I love this.
[00:09:09] Speaker A: Kicks ass. Yeah, come talk. Come talk about it with us on the episode.
[00:09:12] Speaker D: Yeah, we're gonna do an episode about that too.
[00:09:14] Speaker C: Literally about the Junji Ito. Yeah.
[00:09:19] Speaker B: Is a genius. Oh, my God. I. I bet you that thing is incredible. Oh, my God.
[00:09:24] Speaker A: It's pretty good. There's backup stories too. But yeah, getting back to the point. Yeah, the Kenneth Brownout is sorry this happens. No, but seriously, the Kenneth Brownell. I.
I want to say I like it, but I don't. It's full of embryonic fluid. It's full of wide eyed, like the movie can't slow the fuck down. And when you get to the monster and it's Robert De Niro and he looks terrible. I'm sorry, it just doesn't work for me at all. I think it's dreadful, personally, after watching what.
[00:09:52] Speaker B: What. Whatever the fella is in this new one. After watching his rendition of how those very same ideas and themes of like where. Where he says, if you don't satisfy my need that I shall obviously do all sorts of harm to you.
[00:10:06] Speaker C: Yeah.
[00:10:06] Speaker B: Watch that line.
[00:10:08] Speaker C: That line was so. The line was so good. He said it.
I will something my rage and I. What. What is the line? Shoot. I hate it. I hate that.
[00:10:16] Speaker A: I can't remember the one time, sadly.
[00:10:19] Speaker B: When he delivers that line, such a.
[00:10:22] Speaker C: Good line, I got chills.
[00:10:24] Speaker B: I felt that. Because I cuz when Robert De Niro did it, I was like, that's cool, you know, but when the guy did it in this, it was because all the torment that this poor fellow went through, he was like around and find out and he gave it to you. You know what I mean?
[00:10:43] Speaker A: That part where they're in the ice and Victor pulls out the TNT and the monster takes it and he's like, you better pray this ends me, or I shall come for you after. And it blows up like visceral.
[00:10:54] Speaker B: Wasn't that.
I was not expecting. Because at first I was like, is it gonna work? I wonder if it's. I mean, obviously, you know, it's not gonna work because there's still more movie left. But I was like, will this work?
Will this work? And it didn't. I mean, this movie was just like. I mean, it's like I watched it and I was like, guillermo del Toro does not know how to make a bad movie at all. At all.
[00:11:22] Speaker A: Well, yeah.
[00:11:23] Speaker B: God. Which movie are you going to tell me you thought was bad? Hit me with it.
[00:11:26] Speaker A: I'm not a big fan of Crimson Peak.
[00:11:29] Speaker B: Oh, the movie was. This movie was nothing but like the next door neighbor to Crimson Peak. I kept thinking the Frankenstein was going to go over I thought Frankenstein was going to go over to Crimson Pink and go, yo, man, do you got any sugar? You got any sugar? By the way, Your walls are bleeding, yo. Your walls are bleeding. Well, I'll let you get back to it. I'll let you get back to it. Bye.
[00:11:53] Speaker A: Great.
[00:11:53] Speaker B: Mean it.
[00:11:53] Speaker A: Bye.
Production value. But like, I just felt like, you.
[00:11:58] Speaker B: Know, Crimson Peak is my jam.
Oh, my God.
[00:12:03] Speaker A: Adrian likes it too. Adrian loves. So pretty.
[00:12:05] Speaker D: The costuming. It's the costuming.
[00:12:08] Speaker C: It is gorgeous.
[00:12:09] Speaker D: The gothic atmosphere.
[00:12:10] Speaker B: But you know, Jessica chesting when she's got that. When she's feeding Miss Thing the bowl of oatmeal and she scrapes that spoon against that bowl, like, would you like more?
I'm like, genius, Genius. That's my jam. That's my. Sorry.
[00:12:30] Speaker A: No, no, no, that's okay. That's why. That's why it's not just me talking.
[00:12:34] Speaker C: Like, strong opinions are welcome here because.
[00:12:38] Speaker D: There are parts of Crimson Peak that I do absolutely just adore.
[00:12:44] Speaker A: I like when Hiddleston becomes a ghost. That's cool. You know.
[00:12:47] Speaker B: You know what he was.
[00:12:50] Speaker D: I know.
Yeah, he's dreamy.
[00:12:52] Speaker A: We love him.
[00:12:54] Speaker B: When she. When she stabbed him in the face, I was like, not the face, baby.
That's his money maker.
[00:13:00] Speaker A: He's TV's Loki. How can you hate Tom Hiddleston?
[00:13:04] Speaker C: Adrian, did you. Did you tell us what your first iteration was of Frankenstein?
[00:13:10] Speaker D: No.
[00:13:11] Speaker C: What was yours?
[00:13:13] Speaker D: It was Monster Squad.
When I saw Monster Squad, and that is part of the reason, I think, why I loved this Del Toro version, because the creature has so much heart. It was Monster Squad, and you feel super bad for him.
Like, he's precious and he's fre.
You know, like, it's. It was everything. So the heart in that kind of.
I guess.
[00:13:43] Speaker B: Yeah.
[00:13:44] Speaker D: Upped my sympathies for the creature, anyway. And then reading the book. I've read it, like, I don't know how. Probably too many times.
[00:13:52] Speaker A: A lot. Yeah, a lot.
[00:13:53] Speaker D: I've read it a lot.
[00:13:55] Speaker A: Monster, like, people tend to have a soft spot for him because, you know, if you watch the 30s movies, like, he's just this tragic character that he can barely talk in the second one, you know? And, like, you have all the Hammer movies where they don't even have the, you know, the classic Frankenstein monster until, like, that one movie, and it looks terrible.
And, like, Monster Squad was looking back at those classic movies like, hey, this guy is barely a monster. He just looks like one. So, yeah, he's, like, close to the little girl and stuff, you know, I.
[00:14:26] Speaker C: Do think that's why. I do think that's why Frankenstein's monster is so beloved by so many people, because he is. He's a monster against his own will, right? Like, he never wanted to be made.
He never wanted to look that way or have, you know, all of this stuff going on with him. And so. And. And really, he's just like, the. There's a phrase my kids and I use whenever there is any creature of any kind in, like, a movie or a show that is supposed to be scary, but we think it's cute. We always say the phrase, he's just a little guy.
[00:15:09] Speaker D: And that's how I feel about, like.
[00:15:13] Speaker C: Like Harry from Harry and the Hendersons. He's just a little guy. Like, he's humongous, but, like, he's just a little guy. And that's how I. That's how I feel about Frankenstein's monster, you know, like, he's just a little guy. Like, he doesn't ask to be like this.
[00:15:27] Speaker A: I need a little love, too, guys. You know, My show got canceled. I came all the way from Melmac in a plastic bag, traveled first class. Here. U. S. Air mail.
Your elf privileges.
[00:15:43] Speaker B: One more.
[00:15:45] Speaker C: Zero more. Get out. You're going to jail. Next time.
[00:15:49] Speaker A: It's not my fault.
[00:15:51] Speaker B: Love the fact that that thing just shows up out of nowhere.
[00:15:56] Speaker A: Yeah, it's. It's. You know, it's funny when you're not running the show, I guess, you know, like, I have to deal with this. So. Yeah, I agree. The monster is sympathetic. He's tragic. This movie does a really good job of that.
[00:16:08] Speaker C: Very much.
[00:16:09] Speaker A: Compared to the D.A.
he sounds like a child. All he knows how to say is, Victor. You know, his creator's name, his daddy's name.
[00:16:18] Speaker B: It really pissed me off that with all of his genius and with a lot of people. We grow up with these up backgrounds. I'm not speaking for myself or I'm not. I don't know any of your backgrounds, but sometimes you sit there and you go, you. You're a part of this cycle of.
And it really.
They did such a fantastic job of showing somebody so out of touch with the reality of his. Of his self.
Because everything that his father did to him, like, for instance, obviously when he was learning about whatever the circulatory system, whatever Charles Dance was asking, and he says, oh, no, son, we're not going to hit you in the hand anymore. Vanities in the face. Boom. And I'm sitting there like, dude, oh, okay.
I'm gonna fast forward to the thing that I hate the most about this movie, but is a great part of the movie.
I hate Deathbed Confessions with a passion. I hate when I thought that was. That scene was exquisitely done. Beautifully done. It's just that it pisses me off that people only know how not to be an asshole. Knew they were an.
Just when they're about to die.
[00:17:37] Speaker A: Yeah.
[00:17:38] Speaker D: You're not wrong.
[00:17:39] Speaker A: That's the thing. Like. Like Victor himself is so. What's the word? Impatient and arrogant. Like, he doesn't stop. Like, active listening is learned. Right.
So he's sitting down with his monster that he's created, and he's like, Victor. Yes. Good, good. Now say Appalachia. Like he's, you know, he's trying to get the monster to say more things, do more things, learn to count. And he's like, vic Tor. He's not taking what the monster's giving him. And you have that. You have that wonderful scene where Elizabeth is like, hey, maybe that word is his word for everything. And Victor has, like, a moment where he's like, no, no, no, no, no, no. Like, he can't even consider it because.
[00:18:16] Speaker B: Yeah.
[00:18:17] Speaker A: You know.
[00:18:18] Speaker D: Well, he didn't think of it.
[00:18:19] Speaker A: He didn't think of it. But the monster's not A person to him. It's his project. It's his art. He can't wait to show it to the symposium.
[00:18:26] Speaker B: Yeah, that's important. That symposium scene. That whole scene where he basically did the. The biology frog with the electrode thing was amazing.
[00:18:38] Speaker A: With the Halloween drop in the back. That was great.
[00:18:41] Speaker B: Yeah, I was not expecting that. I was like, oh, and then the other stuff that it wasn't expecting, sawing foots in front of me.
[00:18:54] Speaker A: Yeah.
[00:18:54] Speaker B: The last time I saw that was on the TV show Hannibal, where all of a sudden, you see the foot. You see the foot, and the next thing you know, you're salivating because, like, wow, Hannibal made that foot look really good.
[00:19:08] Speaker C: See?
See the reason why I love that Guillermo del Toro. Like, I love the way he did this movie, to be honest with you. Like, and one of the things that I love. I love that choice, specifically, like, how intense some of that filming was and. And the direction behind those choices, because it really, really actively demonstrates that Victor is the monster.
Like, you see him doing monstrous things and, you know, and then so how later on, you know, it comes out that, like, you're the monster, and it's like, yeah, we saw him being a monster the whole time, every step of the way, really, you know?
[00:19:57] Speaker B: Yeah. Yeah.
[00:19:59] Speaker A: There's a theme of children being abused by their parents, and then, yes, going further than their parents in not just cruelty, but also in ability. Right. Like, you have Charles Dance, who's horrific. He's terrible. He's terrifying. He's worse than my mother was. He's hitting him in the face.
He's cruel. He's cold, he's distant, he's nasty. And he favors his younger brother. And then Victor grows up to be, you know, this aloof, weird, mad, crazy guy who creates a. Who creates life and can't give it the grace to lay in a bed. He just chains it up like it's a dog. Or even worse. I wouldn't chain my dog up like that, you know?
[00:20:37] Speaker B: Yeah, yeah, yeah.
[00:20:39] Speaker A: And then you have the monster who, you know, he goes through some stuff and he becomes this vindictive, nightmarish nemesis, really, you know, almost. Whereas Victor becomes, like, he isn't just a doctor, he's now creating life. The monster himself is almost like a deity. He can't be killed. He's indestructible. At the end where he's like, bring me Victor. He's like. He's like yahweh in the. In the Book of Jonah, you know, where he makes. He's like, bring Me that man. And I won't, you know, if Jonah is thrown into the water, the waters will come, you know.
[00:21:15] Speaker B: Yeah, yeah, yeah, yeah. I mean, good Lord. I don't know if you ever watched a movie. Well, let me rephrase. I know you watched the movie Night Breed, of course.
[00:21:24] Speaker A: The Clive Barker.
[00:21:26] Speaker B: Yeah, yeah. And the point of that whole. And the point of that movie was obviously the monsters were the heroes.
And I actually came away from Frankenstein going, this monster is definitely my hero.
He became wise enough to say after watching those hunters with the wolves going, apparently, this is the way the world works, no matter what. These wolves are just being wolves. He was basically saying, there is really no evil.
It's just wolves trying to survive and these people trying to survive. But unfortunately, if you are different than these people, all you're going to end up getting is destroyed in the process.
And I sat there and I was like, damn.
And so from that point forward, I was crying my eyes out because like you said, he's like this.
He's like this. He is a metaphor embodied, like you said, he's like a godlike creature embodied. Nobody but Elizabeth can appreciate the purity of him. The, The.
[00:22:36] Speaker D: The.
[00:22:37] Speaker B: The.
Just that. The, The. The humanity. Huh? The human he was. Obviously, he's more human than anybody in the whole flick, you know?
[00:22:46] Speaker A: Yeah.
And you're right. You're right. Elizabeth is the only one that connects with him at all because she likes.
[00:22:52] Speaker B: Butterflies and insects and shit like that.
[00:22:53] Speaker A: You know, I'm not sure. Yeah, I don't know. My issue with that was that, like, there are certain things about the movie that bothered me. Like I felt like Oscar Isaac was a little miscast. He seemed a little too old, and he was a little hammy.
[00:23:09] Speaker B: Did you ever see him in Ex Machina?
[00:23:13] Speaker A: So we were talking about that. I have literally.
[00:23:15] Speaker D: What?
[00:23:15] Speaker C: I said, yeah, I have really bad.
[00:23:17] Speaker A: I have really bad facial blindness, so I forgot he was in that.
And my boyfriend, who hated this movie, I can't believe it. He hated this movie. He was like, you know, the fact that he was such a bad Frankenstein is weird because he already played that character in Ex Machina. So, yeah, he was good in that. He was great.
[00:23:34] Speaker B: I thought that he was. I.
I thought that. Okay, out of all the times I've ever seen, to play a villain, like when he was an X Men, whatever, X Men movie, I was like, oh, X Men apocalypse.
[00:23:47] Speaker A: I'm like, oh, that's right.
[00:23:48] Speaker B: He.
[00:23:48] Speaker A: He was barely in that.
[00:23:50] Speaker B: Yeah, he was terrible. It was. It wasn't his fault. It Wasn't his fault, but I love Jean Grey. But the point is, he was really perfect at being this erudite nutcase. I thought he did a good job. I, I, I was surprised.
He's pretty much like Mark Ruffalo to me, where I'm like, I'm often very surprised of the performances I see out of Oscar Isaac.
[00:24:13] Speaker A: Right.
[00:24:14] Speaker B: I thought he was, I, I, I.
[00:24:16] Speaker A: Thought he was like, you liked him. Okay, cool. All right.
[00:24:18] Speaker D: I thought I did recently hear him compared to, like, those Spanish Telenua, like the telenovelas, like the little series. That's what I've heard his Victor being compared to.
[00:24:35] Speaker B: Really?
[00:24:36] Speaker D: All day today online, because it was the really hammy Spanish soap operas. Okay, so, so that your mom.
[00:24:43] Speaker A: Yeah, so, so, okay. So a lot of people kind of feel like I do. I mean, I don't really care what the common man thinks, but, you know, it's good. Yeah.
[00:24:51] Speaker D: That's what my newsfeed was today. It was all of these comments comparing him to, like, soap operas.
[00:24:58] Speaker A: I don't know.
[00:24:59] Speaker B: It kind of also, the movie lends itself to all of the things that Guillermo del Toro likes. He likes, he obviously also likes the Universal Monster.
[00:25:12] Speaker A: His favorite movie. His favorite movie. He said this a few times, is the Creature from the Black Lagoon and.
[00:25:17] Speaker B: Which is basically Shape of Water.
[00:25:19] Speaker A: Yes. Which I think is his greatest movie.
[00:25:21] Speaker B: You know, Pan's Labyrinth is my.
[00:25:25] Speaker A: Pan's Labyrinth is fucking great. That was the first one I saw. Yeah.
[00:25:28] Speaker B: He should have got an Oscar for that. But Shape of Water, I was like, dude, you did it. You made a great movie with the, with the Creature from the Black Lagoon.
You got an Oscar for that, and you deserved it. I was like, holy, one of the.
[00:25:44] Speaker A: Most beautiful love stories ever made.
[00:25:46] Speaker B: By the end of that movie, again, gushing just like, if I was like Tammy Faye Baker wearing eyeliner, it will be, like, all down. Just.
[00:25:57] Speaker A: I cried many times watching that movie. I don't cry a lot during movies. That one got me.
[00:26:02] Speaker B: But this one, this Frankenstein, had me born. Ball it. I was like, yeah, leave that handsome monster alone. Yes, he's got a few scars on his face, but he's hot.
[00:26:14] Speaker C: Very human. They made him very human. You know, like, you felt like, yes, he's a monster, but you felt like he was a man. You were like.
Until you, like, pick up a wolf and rip its jaw off and throw it across the cabin. And you were like, oh, yeah, that's right. He's a monster, not a man.
[00:26:33] Speaker A: He is a monster. I will say, here's the Thing, the first part of the movie, I felt like, like there were parts of it I liked. But the stuff with William is glossed over. William is a big part of the book. In the book. The spoilers for a 200 year old book here, you know?
[00:26:49] Speaker C: Yeah, in the book.
[00:26:50] Speaker A: In the book, you know, they do the, you know, William, William, Victor Frankenstein creates the monster and he's horrified by it, and he runs away like a little bitch and falls asleep. And then the monster just kind of blunders out. He goes back home and he's all happy. And his little brother, William, he's a tiny little child.
He's out playing and the monster comes on him and he, he tries to talk to him because the monster can talk in the book from the beginning.
And he, William starts screaming. The monster grabs him like, no, no, don't yell. And he kills him by accident.
And then he puts his locket into the maid's pocket and they accuse her of killing William. And she's put to death, right? Victor goes out looking for the monster. He's like, why did you do this? And he's like, I didn't mean to listen, all you got to do is make me a girlfriend. Everything will be great.
So where I'm going with this is that, that's, that's the first arc of the plot of the book. In the movie, William is barely in it. He's not used at all. It's glossed over. And Elizabeth, who is Victor's bride, the monster takes this terrible vengeance on Victor in the book, because Victor does make the woman in the book, he makes her. And the monsters out the window going, he's all excited. And Victor's like, oh, God, his face is horrifying. They're gonna have babies. And I will create a race of monsters. He destroys it, and the monsters, like, he comes through the door and he's like, I'll be with you at your wedding night, motherfucker. And then he kills, he kills Elizabeth. So in this movie, William is engaged to Elizabeth, right? And none of it goes anywhere.
Like, William's barely in it. The father's the father. Choosing to love William more. There's no payoff for that. And even that weird guy, the Christoph Waltz guy, I just, I don't understand why that subplot was in the movie.
[00:28:36] Speaker B: You know what's weird about anything, anytime, you know, I, I, I actually agree with you about Christoph Waltz. It was like he's only there for the money.
[00:28:45] Speaker A: He's, he ruins the.
[00:28:47] Speaker C: So it was super irrelevant.
[00:28:48] Speaker A: Frankenstein's yeah. Frankenstein's tower should be a place of solitude, depravity, and, like, you know, dilapidation. But there's Christoph Waltz yelling about his syphilis. Like, get the out of here.
[00:29:03] Speaker B: I confess that I do agree with you about that, but damn, it's Kristoff Waltz.
[00:29:13] Speaker D: I love him so much.
[00:29:16] Speaker A: So it's not like when. When Del Toro had to put Ron Perlman in Pacific Rim and he got a little cameo, but he was, like, the coolest dude ever, you know, it's.
[00:29:25] Speaker B: Like if you put Tilda Swinton in something and something as simple like, Tilda Swinton will show up in. In a. In a Wes Anderson movie. Like. Well, like, I loved. What was it? Atomic City? Was that what it was?
[00:29:40] Speaker D: Android City with Jason Sportsman?
[00:29:42] Speaker B: Yeah. And I sat there, was like, well, there's really no need for her, because Tilda Swinton is Tilda Swinton.
[00:29:49] Speaker A: Right.
But.
[00:29:51] Speaker B: But here. But I. But I have to agree with you. Yeah. The Christoph Waltz thing and the syphilis and he. They even did that for. For laughs, where it's like, I want you to put my brain inside of the monster.
[00:30:01] Speaker A: What are you talking about?
[00:30:02] Speaker B: And to look at their faces, like.
[00:30:05] Speaker A: No, it wasn't built up at all.
[00:30:08] Speaker C: It was just really crazy.
[00:30:10] Speaker A: It reminds me of the movie Victor Frankenstein where there was a similar weird guy in the symposium. I don't know. I didn't even understand what was going on in that movie. I mean, that's a bad one. But, you know, which one?
[00:30:20] Speaker B: Which one?
[00:30:21] Speaker A: Victor Frankenstein. With people. I don't. I don't remember who was.
[00:30:25] Speaker D: It had. Daniel Radcliffe. Yeah, him and James McAvoy.
That's.
[00:30:31] Speaker A: Who is that really? McAvoy was in that? Okay.
[00:30:33] Speaker D: Yes.
[00:30:35] Speaker A: It was a stinker. It wasn't.
[00:30:36] Speaker D: It was really bad.
[00:30:38] Speaker A: Adrian, by the way, your hair is very cool. Are you trying to do, like, a bride thing?
[00:30:42] Speaker D: No, I just put it up with a couple bobby pins. I could only find three, so I just made it work.
[00:30:47] Speaker A: Okay. Okay.
[00:30:48] Speaker D: Because I'm that chick.
[00:30:50] Speaker B: I love. I love the truth, plain and simple.
I ain't had no BO Rats or nothing. So I just let it do what it do.
It's a whoop dee doo. There it is right there.
[00:31:03] Speaker A: So. Yeah. No, but seriously, though, I did feel like that first half was, like.
It was so. It was kind of uneven. I felt like Mia Goth was wasted. And then, you know, we. We get to. He's telling this whole story to the guy in the ship, which is in the novel. Yes, but in the movie. It almost feels like a joke. It's like, wait, he started with his childhood.
[00:31:25] Speaker B: Do you feel like perhaps it is? Not necessarily.
It's only because it's coming from his point of view. Because you notice that the tone is obviously different from Victor's point of view. And then when you get to the monster to the creature's point of view, notice how I change from monster to creature's point of view, where the creature's point of view is plain and simple and real and touching and less crazy. Because the monster. The monster, okay? Creature is. His story touches you immediately. Victor's story is like, dude, you're a dick. You're a genius, but you're a dick. And clearly you're making yourself look better. You're making yourself feel like, oh, I was so put upon as a child. The creature was a disappointment because I. Because I. Because I know what you're saying in terms of the tone, but I feel like it's sort of like, what was that movie where everybody said, oh, gimme Thor Love and Thunder?
[00:32:27] Speaker A: Yeah.
[00:32:28] Speaker B: Everybody said, well, the story is told from the point of view of that rock guy. That's why everything is so ridiculous.
[00:32:38] Speaker A: That's certainly a take.
[00:32:42] Speaker B: I guess there's a part of me that goes, I'm gonna protect everything.
[00:32:47] Speaker A: No, no, I was talking. I was talking more about, like, Thor Love and Thunder. Like, that's definitely a take. That's a brave thing to be defending him on my show.
I hate that I'm not my favorite. I am wearing his hammer right now.
[00:33:00] Speaker B: Let me tell you something. Let me tell you something. I. The only. My. My takeaway from Thor Love and Thunder was the one, the only thing that had me laughing, despite the fact that I was not.
The goats.
[00:33:17] Speaker C: Was good.
[00:33:17] Speaker D: The goats was.
[00:33:20] Speaker A: Always have pet goats, see, has goats in the mythology, you know, and they should be screaming like goats. Yeah, yeah, yeah. Thor Love and Thunder. Terrible movie. Unlike. So, yeah, Del Toro's Frankenstein there. So, yeah, here's the thing at the part where. So Victor tells the story up to the creation of the creature, and then the creatures. He busts through the door and he's like, you've heard his story. Now hear my story.
I loved that, but it made me laugh because it was so absurd.
It was like he just told his whole life story. Now the monster is here for war, and he's going to tell his story. It's like.
[00:33:56] Speaker C: It is a little silly.
It's also like, how did he. How did he know that that's what Victor was doing in there? Like, telling his story. Like, because he wasn't.
[00:34:05] Speaker A: He out of the kill him, came to murder him.
[00:34:08] Speaker C: It's a, it was a little funny, but, hey, it's cinema. What do you. Maybe.
[00:34:17] Speaker B: I, I, I don't want to agree with you, but.
[00:34:23] Speaker A: Yeah, hey, hey, listen, listen, listen. I say these things from a place of love. I love this movie. Death.
[00:34:30] Speaker C: Yes.
[00:34:30] Speaker A: And I mercilessly make. Look, I, you gotta understand, I, I sit and watch, like, Thundercats. Like, I like, I love Thundercats.
[00:34:37] Speaker B: I haven't seen a new version. I haven't seen a new version of Thunder.
[00:34:41] Speaker A: I haven't seen it either. We're getting there. But I'm just saying, like, I like things not despite their flaws. I love them for their flaws.
[00:34:48] Speaker C: But we still want to talk about those flaws. We still talk about it because it's fun.
[00:34:53] Speaker A: We talk about them. I don't, I don't bring it up as a bad thing. In fact, if this movie was so. Okay. So I said this to Adrian before we saw it, because we were living for this movie. I said, listen, Del Toro is in a place that Lucas was in when he made the prequel, the Star wars prequels, where he was big, he was established, and no one was gonna fuck with him.
And Netflix was like, here's all the money in the world. Go make your stupid Frankenstein movie. He was like.
And I was like, it might be overindulgent and look at its runtime, you know, look at Christoph Waltz, you know.
[00:35:25] Speaker B: What was the run time for the movie? Because I wasn't paying.
[00:35:27] Speaker C: It was long.
[00:35:29] Speaker B: Was.
[00:35:30] Speaker A: Was like two and a half hours.
[00:35:31] Speaker C: It was more than two.
[00:35:32] Speaker B: You know what?
[00:35:36] Speaker C: I didn't see it in theaters. I watched it via Netflix. And so. And I watched it in two settings. I. Or two. I literally watched part one and then went to sleep and watched part two the next day. I broke it up.
[00:35:46] Speaker A: But, yeah, okay, this is definitely a movie you watch in ships. Although I saw it in the theater, so I saw it in the theater.
[00:35:55] Speaker B: And, like, the only time I ever felt the passage of time in a movie was Lord of the Rings, the first one where I was like, how long am I in this fucking place? And I think that movie, what, three hours?
[00:36:11] Speaker D: I think for me, it was the postman that Kevin Costner did. That was, like, so fucking long.
That was the longest movie.
[00:36:20] Speaker B: Kevin Costner can make five minutes seem like an eternity. I hate him.
[00:36:24] Speaker A: My God.
[00:36:25] Speaker D: I do want to say that in this film, Del Toro, I feel, like, borrowed a lot from the creature, even look and style wise. From Penny Dreadful.
[00:36:37] Speaker B: Like, with the hair.
[00:36:38] Speaker D: The hair.
[00:36:40] Speaker A: Okay. Yeah, we should probably. We should probably underscore the fact that much like Spider man or Transformers or any other immortal property, the same story gets told a lot, and there's only so many ways you can do it. Right.
[00:36:54] Speaker B: Yeah.
[00:36:55] Speaker A: And I like Penny Dreadful. Until they start doing seances, then I turn it off.
[00:36:59] Speaker B: Oh, my God. That seance scene with that puppet. Holy God. That was amazing.
[00:37:04] Speaker A: It was amazing.
[00:37:05] Speaker C: You know what other vibe I was getting was Sally from Nightmare Before Christmas.
[00:37:10] Speaker D: Sure. I totally get that, too.
[00:37:12] Speaker C: Even the blue skin.
Yeah. Even though.
You know, which. So, yeah, obviously she's a derivative of Frankenstein, but as far as, like, the actual aesthetic aesthetic, you know, with, like, the stitching and the blue coloration and all of that. I don't know, I just. Yeah. The patchwork, it was cool.
[00:37:32] Speaker B: Thank you for putting up my head, because unfortunately, now I see him.
I see him, and I'm only going to hear. Whenever he speaks. I'm hearing Catherine o' Hara now for the rest of the. Whenever I watch Breaking Now. And that's not a bad.
[00:37:48] Speaker C: A compliment. High compliment, if you ask me.
Catherine o' Hara is a queen in my book forever and for always. So. Yes.
But honestly. Yeah, no, I see the. I see the Penny Dreadful, too.
[00:38:02] Speaker B: What did you.
[00:38:03] Speaker A: So did you guys notice when the monster was on his, like, cruciform thing that he kind of looked like Lilith from Evangelion?
[00:38:13] Speaker D: Yes, but we talked about that.
[00:38:16] Speaker A: Well, you talked about it, but, you.
[00:38:18] Speaker B: Know, have I seen that?
Oh, thank God. You said it was a. Okay. No, I haven't seen it. I haven't seen that manga yet.
[00:38:27] Speaker A: I'm gonna watch it. What are you doing?
[00:38:28] Speaker B: People have been talking to us.
Let me tell you.
[00:38:32] Speaker C: They've been trying to get me.
[00:38:34] Speaker B: Oh, let me see.
[00:38:35] Speaker C: What. They've been trying to get me to watch it, too. And I keep. It just stays on my watch list.
[00:38:39] Speaker D: And I keep. You are not in the emotional capacity to watch Evangelion right now.
Say no. Hard.
[00:38:45] Speaker C: No, thank you.
[00:38:47] Speaker A: Okay.
Probably a good call. It is a hardcore show.
[00:38:50] Speaker D: Yeah.
[00:38:51] Speaker A: Del Toro is a very big fan of Neon Genesis Evangelion.
[00:38:54] Speaker B: Okay.
[00:38:55] Speaker A: He loves it. That's part of the reason he made Pacific Rim.
[00:38:59] Speaker C: Yeah.
[00:39:00] Speaker B: I love myself a Pacific Rim.
[00:39:02] Speaker A: Victor Frankenstein, he's a giant.
[00:39:04] Speaker C: You know, Victor Frankenstein is the good.
[00:39:08] Speaker A: So that. So that part where the monster is talking to him, he's like, yo, come on, man. And Elizabeth walks in, it's her wedding night, and Victor pulls a gun and shoots her by accident and then tries to blit pin it on the monster. That was a great sequence. Not so much like, it was kind of abrupt, but I liked where the monster was walking with Elizabeth. Yes. This is the woman. This is the only person he connected with. She's in her wedding gown, but she's not his bride. He's not entitled to her. Her love, her beauty, her kindness, her gentleness. All he gets is death and sadness.
[00:39:37] Speaker B: And I like how they alluded to the fact that she was almost going to be that bride for him, because.
But if that had happened, I was like, oh, fuck, they're gonna.
[00:39:48] Speaker A: Yeah, yeah, yeah. So that's something I was expecting, right, because you have the stupid Kenneth Branagh movie where, hell, no HBC gets resurrected as the bride. And then you have the Junji Ito where they do something very similar.
[00:40:01] Speaker D: 1985'S the Bride also does that with Sting.
It's the same with that, too. Where. And he actually takes the time and treats her how to be a person.
[00:40:12] Speaker C: Though I do like that they subverted this and didn't take it there.
[00:40:16] Speaker A: I actually love didn't take it there.
So when Victor's at his tower, right, all the architecture outside is so massive. He's framed against these, like, huge stones. And to me, it was like he's so arrogant. He doesn't realize how in over his head he is with all this gnarish kite, you know, like, it's huge. It's falling apart. And he's like. Like, you know.
[00:40:41] Speaker B: But that big Medusa sculpture in the back.
Holy God, that was gorgeous.
[00:40:48] Speaker A: And that reminds me. So Del Toro did something really inspired. So no adaptation of Frankenstein has done.
The specter of Victor's mother, who. Who appears in the book in her burial gown.
Like, he's dreading the coming of death. He's. Because, you know, they. They do linger over his mother's death and her horrifyingly scary gothic sarcophagus. In the movie, though, it's not his mother. It's. It's this dark angel of death.
[00:41:18] Speaker C: Yeah.
[00:41:18] Speaker A: Grounded by Promethean hellfire.
[00:41:21] Speaker B: Yeah, yeah.
[00:41:22] Speaker A: Again, Promethean hellfire. I can't stress that enough. Right, because.
[00:41:26] Speaker D: Because the name of the book is Frankenstein or a modern Prometheus.
[00:41:29] Speaker A: Exactly.
[00:41:31] Speaker D: It's literally based off of that.
[00:41:34] Speaker C: Yes.
[00:41:35] Speaker A: Well, her husband Percy, who, you know, he had written, of course, Prometheus Unbound. They were atheists. They were very anti Catholicism. So Satan, Prometheus, these were things they liked as libertines, you know.
Did you see the movie?
[00:41:49] Speaker B: You saw the movie Gothic, right?
[00:41:51] Speaker A: Yes.
[00:41:51] Speaker D: With Gabriel Byrne and Timothy Spall and Julian Sands.
[00:41:56] Speaker B: There you go.
[00:41:57] Speaker D: It's all about the telling of. That's my Jamstein was created. It is phenomenal.
[00:42:04] Speaker B: That's my jam. That's my jam. Yeah.
[00:42:06] Speaker A: Oh, my gosh.
[00:42:07] Speaker C: That was.
[00:42:08] Speaker D: That is one of my, like, classic favorite movies. Like, it's a fever dream. It's. It has, like. It's like, Gothic and Lynch, like, melded together and made this insane movie.
[00:42:22] Speaker B: Yeah, yeah, agreed.
[00:42:24] Speaker A: Del Toro's Frankenstein. I would definitely say that this movie is not for everyone.
This movie, us, Right? Yeah. It's funny because. So, like, normies, right? Like, I show that I bring up the shape of water, and they're like, oh, is that the movie where a fish fucks a woman?
[00:42:40] Speaker D: And I'm like, every time. It's like, conversation's over.
[00:42:44] Speaker A: Get your mind out of the way.
[00:42:45] Speaker B: You have people say that?
[00:42:47] Speaker D: Yeah, all the time.
[00:42:49] Speaker C: Oh, yeah.
[00:42:51] Speaker A: And that movie, sadly, is a movie I would point most people to. But, like, you know, like, nor, like, the average person. That's where their head is. They're like, did you fill up the bathtub with water? And, like, he took. They had sex, like. And it's like, you know, if it was Dracula, you wouldn't care, you know?
[00:43:09] Speaker B: Yeah, I. It's funny because I. I don't really. Thank God. I don't really have any friends like that where I would say that and they would say that bullshit. Thank you. Because it took a while to weed away those people who would say that. But if I heard somebody say that to me, I'm with you. I'm like, yeah, yeah.
[00:43:28] Speaker A: To the bar.
[00:43:29] Speaker B: To the bar. I'm sorry, we don't have any tables for you. To the bar.
To the bar.
[00:43:36] Speaker A: So, like, yeah, this movie is. I. I would. So someone like, us, like, we loved it. Like, I was trying to explain to my boyfriend, this is a true gothic. Like, Gothics have the comedy of manor stuff where they're talking, oh, Lady Windermere, blah, blah, blah. You know, and there's like, huge castles and tapestries and all that narish kite. But the thing is, is that, like, my boyfriend, right, who did not like this movie, he loved Nosferatu, the Eggers movie. And that was also a true gothic, right? But it wasn't slow for him. It wasn't boring for him.
[00:44:07] Speaker B: So thank God everybody I've talked to who saw Nosferatu was sitting there going, oh, it's too slow. It's too. No, no.
[00:44:15] Speaker A: Nosferatu is a masterpiece. This movie is not as good as Nosferatu. The monster stuff is almost as good. But yeah, it's too, it's too flawed.
[00:44:23] Speaker B: Let me tell you, if we're going.
[00:44:24] Speaker C: To be talking about two for sure.
[00:44:28] Speaker A: Nosferatu is like a masterpiece.
[00:44:30] Speaker C: My last take. Because I gotta, I, I'll be wrapping up here soon. But it's not even really about the movie. This is just something I need to say like, because I, I, I, I think we always have to in you know, honor of the theme of this story in and of itself. Like giving credit to the creator, to the maker of this incredible story. The fact that an 18 year old girl wrote this book 200 years ago. 207 years ago, whatever it is at this point and we are still in 2025 talking about it, like I just need to give my props like she, our toast tonight is gonna be to her because like un. Unbelievable.
[00:45:26] Speaker B: Yes. You know, you are not lying. You're absolutely right. I mean to the fact that 18 a woman was allowed to do.
[00:45:39] Speaker A: Well, she wasn't. She published the book under a symbol.
[00:45:42] Speaker D: She was cool.
[00:45:45] Speaker B: Okay, okay.
[00:45:46] Speaker C: She never knew her mom though.
[00:45:48] Speaker A: But I have this tiny excerpt from, let's see, it was in the New Yorker. I kind of had to skip around to get it because I'm not paying for the New Yorker. But I have this tiny clip.
Let's see. When she was 18 years old, two years after she'd become pregnant with her first child, a baby she did not name. Nurse the baby she had written in her diary. Day after day, until the 11th day, I woke in the night to give it some suck. It appeared to be sleeping so quietly that I would not awaken it. And then in the morning found my baby dead. With grief at the loss came a fear of a fever from the milk. Her breasts were swollen, inflamed, unsucked. Her sleep too grew fevered. Dream that my little baby came to life again, that it had only been cold and that we rubbed it before the fire and it lived. And she wrote in her diary, awaken, find no baby. Pregnant only weeks later. She was likely still nursing her second baby when she started writing Frankenstein, by the way, I think she was like 18.
Yeah. And pregnant with her third by the time she finished. She didn't put her name on her book. She published Frankenstein anonymously in 1818, not least out of a concern that she might lose custody of her children. And she didn't give her monster a name either.
So that's something. By the way, the name of the monster is of course Frankenstein. The Name of the Doctor is of course, Jekyll. So don't me.
[00:47:10] Speaker D: Don't eat. I haven't done it once. I haven't done it once this entire time. I have kept my mouth shut. I'm being good. Okay, okay.
[00:47:20] Speaker B: What am I missing? What?
[00:47:21] Speaker D: What he always says. He calls Frankenstein's creature Frankenstein. And I'm like, that's the Doctor. That's not the creature. They're two different things. And I go off on him like, this is. He's laughing super hard right now. Because this is. I haven't done.
[00:47:36] Speaker A: Adrian, Adrian, Adrian, Adrian. If the monster's name is not Frankenstein, then why is the movie I Frankenstein called I Frankenstein when the Doctor's not in it?
[00:47:45] Speaker D: Because it's a piece of crap, you know?
[00:47:49] Speaker B: You know, I only watched I Frankenstein because I love myself some Bill Nighy. Right?
[00:47:56] Speaker D: Bill Nighy is everything.
[00:47:58] Speaker A: He's a demon prince.
[00:48:00] Speaker B: Yeah. So when he was all up in the Underworld movies, I'm like, oh, he's gonna be in another crap movie. Awesome. I'm down.
[00:48:07] Speaker D: Gotta watch it.
[00:48:08] Speaker B: I'm down. I'm down.
[00:48:10] Speaker A: There's a war going on that the humans don't know about. Between who? Gargoyles and demons. Like, duh.
[00:48:15] Speaker C: In this movie, in the Del Toro version, they actually did give the monster, like, there was that scene where he was like, that's my name, too, or something like that. There was, like, he calls himself. Right. Because I'm right about that. Right? There was a scene where he said something like that, where he also named himself Victor. Or did Victor name him Victor? It was something like that. Because it was the only word he could say or whatever.
[00:48:41] Speaker B: Oh, yes. It was when he was having his deathbed thing, like, I apologize for everything. Now you should go forgive yourself because you killed. Only because I made you that way. I made your circumstances that way.
[00:48:54] Speaker C: So there was more towards the beginning of the movie when he was like, first, like, before he could really fully talk in this movie, in the Del Toro version, he couldn't fully talk yet.
[00:49:05] Speaker A: I thought it was more like. I thought it was more that he said that that word meant everything to him.
[00:49:11] Speaker C: I remember that part. I'm gonna have to rewatch it, cuz I feel like. And I thought when it happened, my brain clocked it as like, huh, this is interesting. It's almost as if, because Del Toro is aware that here in 2025, so many people do mistakenly refer to the monster as Frankenstein, it was as if he wrote a scene into this movie to justify it.
I swear I remember there was a part where he said something about, like, that that was his name, too.
I'm gonna have to rewatch it.
[00:49:41] Speaker A: I have this special. I have this special Transformer. It's a collaboration with Universal. It's Frankentron.
And as you can see, it's green. He has his hand stretched out. He's got the lightning thing that brought him to life.
[00:49:53] Speaker B: Oh, that's the lightning thing. Because I'm sorry. I thought that was the top of its head.
[00:49:57] Speaker A: I was like, oh, my God, we're.
[00:49:59] Speaker D: Taking Young Frankenstein and turn it into something completely different.
[00:50:04] Speaker B: That's exactly what I thought.
[00:50:05] Speaker A: It's not Tron. It's Frankentron. Okay, so Hasbro knows what's up.
[00:50:14] Speaker B: How many toys do you actually own? And. And this is not a question.
This is a question.
[00:50:21] Speaker A: Are we counting my GWAR action figures?
[00:50:23] Speaker B: Because you got to keep in mind, I've got a billion books in this house, right? And I'm so.
I'm like. I'm proud of myself and depressed about myself, because every time I watch an episode of a Hoarders, I'm like, well, I'm not that bad.
[00:50:38] Speaker A: Now I have more books than toys. Honestly, I don't know what to do with them all. So.
[00:50:41] Speaker B: Yeah, what about the rest of you guys? How many. How many billions of books do you have in your home?
[00:50:45] Speaker A: Too many.
[00:50:47] Speaker C: It's a lot.
One, two, three. At least four bookshelves worth. And then, like, stacks and weird piles everywhere. Not on the shelves.
[00:50:57] Speaker B: Good. I'm glad to hear it.
[00:50:58] Speaker A: Del Toro's Frankenstein. I. I personally loved it. I was not really let down. I do think that it was indulgent. I think that, you know, there might be some good fan edits. I would love to see a director's cut, which fixes the pacing a bit. But I loved it. I thought it was great. This is definitely one of my favorite versions of the monster and this story in general. This is probably. I mean, you can't beat the 30s movie, right?
[00:51:21] Speaker B: That's right.
[00:51:22] Speaker A: But I love this movie, and I'm so happy it came out. I'm so glad it's close to spooky season.
John, what would you say about the movie?
[00:51:29] Speaker B: I.
It was. It was a typical experience when I have. When I watch a Guillermo del Toro film where everything beautiful, and then you suddenly hit with brutality, and then you suddenly hit with honesty, and you really overwhelmed by a wonderful amount of poetry.
And I think I rhymed them by accident, but anyway. But I thought it was really. I think I rhymed I was rapping by accident. It. No. But I really thought it was a wonderful, wonderful experience.
I can't wait to own it. I mean, I really can't wait to own it so I can really study it some more.
[00:52:09] Speaker A: Yeah, I can't wait to see what he does in the second one, you know, because you.
[00:52:13] Speaker B: They do open it up for a new movie, right? Didn't they?
[00:52:17] Speaker A: No.
[00:52:18] Speaker B: I mean, come on. He's. He walks off into the ice, but he's looking at the sun.
[00:52:23] Speaker A: How the book ends. It's how the book ends.
[00:52:25] Speaker C: That's the ending. Yeah, I would say. Yeah. My final, my final thoughts and words are. It's a huge recommend for me to anybody that loves gothic media of any kind, literature, film, anything of that nature. If you claim to love those, that genre, you will love this movie.
It's for fans of Guerrero del Toro.
So if you like Guillermo.
[00:52:51] Speaker A: What did I say?
[00:52:52] Speaker C: Guillermo del Toro. So if you like him, you'll like this movie.
You'll like this movie for sure. I, I always know it's like a sign of a good movie when I want to watch it again, like really soon thereafter. Like some, my most favorite movies are the ones where I'm like, oh, I gotta I. Within the same week I'm gonna watch it more than once. And so I, you know, watched it over the weekend. Like I said, I watched it in two parts, but I'm like ready to watch it again. Honestly. I. I love much. So, yeah, definitely a huge recommend. Big, big thumbs up for me.
[00:53:25] Speaker B: I agree.
I agree with that.
[00:53:27] Speaker A: I do love Monsters. If you love Frankenstein, if you love Del Toro, what are you doing? Go watch it. Great movie.
[00:53:34] Speaker B: Yeah.
[00:53:34] Speaker A: But that said, yeah, thanks for watching. You know, do click that subscribe button or I'll come get you.
I'm King Loki.
Demonlandbooks.com Go read my books. Or don't. I don't care. Do follow this podcast though and do check out Death Wish Poetry magazine. We, you know, we have physical editions now. CA, of course, can be found at Embracing Divergence and also embracing divergence.com and also the Instagram link down below. Ca, you want to talk about your business website thingy?
[00:54:04] Speaker C: Yep. I help creatives be as creative as they want to be. If you're stuck, if you're needing help and like a push forward to get through a block or to create something new, give birth to something new. Hit me up. I love doing that. That's my favorite type of work to do. I do a million other things, obviously, but embracing divergence.com is where you can find me for that. And if you just want to follow my shenanigans as a human being. Yeah. My actual Instagram handle is linked below.
[00:54:34] Speaker A: It's a fun time. John Pluggables.
[00:54:37] Speaker B: Okay. Plug me. I am.
You find me. If. If you can't find me, it's because you're not looking. Like, you type in my name, and it's like, I'm like.
My website officially is john dimes comics.whibley.com and I got way too much stuff for you to pour through, except because I don't know what the fuck I'm doing with the website.
I got my artwork that I'm doing, and I got my writing that I have, and obviously my Dr. Sarcophagi stuff, which is also on YouTube under John Dimes Antiperspirant Pictures Productions. And just, just, just type in my name. You'll find me. It's really. If. If you're not looking for me, it's because you're just you. I. Oh, oh, oh. My favorite movie that I'm in. Melissa Lamartina, wife to Chris Lamartina, both directors for sale by Exorcist. Go to to be. You got to see that movie. I'm in that fun, fun movie link.
[00:55:37] Speaker A: To the Wikipedia page below. We'll get that from you later.
Yeah, for sure. I. Yo, before we do the actual, like, wrap up, well, I have to talk about Adrian real fast, but I was watching some of your stuff, your Elvira kind of stuff where you, like, introduce a movie and you do little skits. That stuff is great.
[00:55:52] Speaker B: Thank you. Thank you very much. Thank you.
[00:55:55] Speaker A: I know it goes back a bit, but I was really enjoying. I was watching it at work, you know.
[00:55:59] Speaker B: I appreciate that. I appreciate that. And gosh, thank you for having me on this. This is the stuff that I do when I, like this weekend friendiversary with my friends Dixie and Amanda and her husband. This conversation that we've had right here.
[00:56:17] Speaker C: This is why it exists pretty much. Anyway, we might as well mic up and let other people listen.
[00:56:24] Speaker B: Oh, I love these kind of conversations where I can be a blurred geek person.
[00:56:32] Speaker A: Yes. So I want to do. I want to do Adrian's thing. I'm sorry. Adrienne is having technical issues, but she is, of course, the founder of the Horror Film Art Society of Amarillo and also the editor of Goblin Crypt Art and Culture magazine. Follow her below or else.
Yeah, that's it.
Write poetry, make art, and fucking love your demons. Ave Satanas.
[00:56:57] Speaker B: Bravo.
[00:56:58] Speaker A: We did it.
[00:57:07] Speaker B: Sam sa.
It.
