This week on Streamin' Demons, Jo and Sofia G dig into Guillermo del Toro's Frankenstein (2025) — and no, not Benicio. It's del Toro telling the story he's wanted to make since he read the novel at eleven: gorgeous, deeply personal, with costuming and set design doing half the storytelling and a creature that ends up being the most human thing on screen. Both of them cried. More than once. It's a horror movie, but it's really poetry on film.

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Key Moments

Why this Frankenstein – Sofia on what sets del Toro's version apart from the Universal monsters; Jo on origin-story fatigue, and why this one made him sit up.
Del Toro's own story – How he mapped his own childhood onto Victor — the stern father, the favored brother — and how both hosts relate as firstborns.
The color red – Sofia's read: red follows Victor everywhere as a symbol of his dead mother. Jo clocked the blood but missed the throughline.
Mia Goth playing double – Mother and Elizabeth, same actress, same Freudian parallel — plus a Patrick Stewart / Tennant Hamlet connection.
Costumes as story – Elizabeth as the one vibrant figure in a gray world, and the corpse-jacket detail that wrecks Sofia.
The creature as art – Del Toro's insistence that Victor's an artist, not a scientist, and the creature a work of art.
The blind man arc – The sweetest, saddest stretch of the film, plus a dire-wolf detour that beats a certain Game of Thrones reunion.
The wedding dress – The centerpiece costume tying Elizabeth to the creature — and Jo pushing Sofia, a real dressmaker, to chase costume design.
Immortality – The creature's ask for a companion, and whether either host would actually want to live forever (Jo: hard no).
Final verdict – Beautiful, layered, devastating. Watch it, bless your eyeballs, bring tissues.

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