The Gayest Straight Movie of 1958 | Cat on a Hot Tin Roof w/ Fish Jelly @sillyhumans4701

Silly Humans "There's nothing to live with but mendacity." Tennessee Williams built the whole play around one word and the 1958 film adaptation spent its entire production fighting over whether that word's meaning even belonged on screen.

Fish Jelly and I continue our Tennessee Williams series with Richard Brooks' Cat on a Hot Tin Roof: Cukor and Mankiewicz circling the project before Brooks took it, the Hays Code rule that kept the word "homosexual" off American screens until 1961, and what it means that Skipper never gets to speak for himself while Brick still carries every bit of feeling for him. We get into the ending — is it happy, or is it the most quietly devastating scene in the movie — and land at 4 and 4.5 out of 5.

CHAPTERS
00:41 Intro, other adaptations, and comparing to Suddenly, Last Summer
03:19 Mendacity as the movie's core word
04:05 Brick and Skipper, first mention
05:19 Newman, Taylor, and the opening bedroom scene
05:45 Production history, the Hays Code, and what couldn't be said onscreen
08:10 Maggie's confession about Skipper
12:06 Brick's drinking and "the click"
14:19 Meeting the family and the inheritance setup
18:30 Everyone in the house is lying
19:16 Burl Ives as Big Daddy
23:43 Maggie vs. May and the kids
26:50 Brick, Maggie, and Skipper's history together
31:19 Big Daddy confronts Big Mama, then learns he's dying
32:53 The basement scene
36:39 Reconciliation, and would Big Daddy have accepted Brick as gay
39:01 The ending: Maggie's lie, and whether it's a happy one
43:35 Final scores

Continuing our Tennessee Williams collection with Fish Jelly. Catch our episodes on Boom! and Suddenly, Last Summer — Streetcar's next.

Fish Jelly: youtube.com/@fishjellyfilmreviews
Silly Humans Patreon: patreon.com/SillyHumans4701
Silly Humans Substack: substack.com/@sillyhumans

#TennesseeWilliams #CatOnAHotTinRoof #ElizabethTaylor #PaulNewman #FilmAnalysis

updated 4 weeks ago

The Gayest Straight Movie of 1958 | Cat on a Hot Tin Roof w/ Fish Jelly

Silly Humans 2026-08-24 | "There's nothing to live with but mendacity." Tennessee Williams built the whole play around one word and the 1958 film adaptation spent its entire production fighting over whether that word's meaning even belonged on screen.

Fish Jelly and I continue our Tennessee Williams series with Richard Brooks' Cat on a Hot Tin Roof: Cukor and Mankiewicz circling the project before Brooks took it, the Hays Code rule that kept the word "homosexual" off American screens until 1961, and what it means that Skipper never gets to speak for himself while Brick still carries every bit of feeling for him. We get into the ending — is it happy, or is it the most quietly devastating scene in the movie — and land at 4 and 4.5 out of 5.

CHAPTERS
00:41 Intro, other adaptations, and comparing to Suddenly, Last Summer
03:19 Mendacity as the movie's core word
04:05 Brick and Skipper, first mention
05:19 Newman, Taylor, and the opening bedroom scene
05:45 Production history, the Hays Code, and what couldn't be said onscreen
08:10 Maggie's confession about Skipper
12:06 Brick's drinking and "the click"
14:19 Meeting the family and the inheritance setup
18:30 Everyone in the house is lying
19:16 Burl Ives as Big Daddy
23:43 Maggie vs. May and the kids
26:50 Brick, Maggie, and Skipper's history together
31:19 Big Daddy confronts Big Mama, then learns he's dying
32:53 The basement scene
36:39 Reconciliation, and would Big Daddy have accepted Brick as gay
39:01 The ending: Maggie's lie, and whether it's a happy one
43:35 Final scores

Continuing our Tennessee Williams collection with Fish Jelly. Catch our episodes on Boom! and Suddenly, Last Summer — Streetcar's next.

Fish Jelly: youtube.com/@fishjellyfilmreviews
Silly Humans Patreon: patreon.com/SillyHumans4701
Silly Humans Substack: substack.com/@sillyhumans

#TennesseeWilliams #CatOnAHotTinRoof #ElizabethTaylor #PaulNewman #FilmAnalysis

The Gayest Gay Play of 1955 | Cat on a Hot Tin Roof | Play vs Movie

Silly Humans 2026-09-14 | Why did the 1958 Hollywood adaptation change so much of Tennessee Williams' original masterpiece? After getting flooded with comments on our previous discussion, I read the original 1955 play to uncover just how heavily censored Cat on a Hot Tin Roof really was! In this video, I break down the major story changes, the Hays Code censorship, the true nature of Brick and Skipper's relationship, and why Tennessee Williams ultimately felt betrayed by the Hollywood version. Plus, I weigh in on the ultimate debate: Is the play or the movie better?

0:00 - The Mendacity of the Comments & Why We Read the Play
0:23 - Brick's Queerness, Paul Newman, and Elizabeth Taylor
1:51 - 1958 Censorship & The Hays Code Panic
3:24 - Play vs. Movie Differences
6:08 - Gay Hints: Greek Legends, Plato’s Symposium, and Football
9:06 - Big Daddy, Violence, and the Ghost of Jack & Peter
16:38 - The True Meaning of "Disgust with Mendacity"
18:18 - Elia Kazan's Controversial Changes to Act Three
21:14 - The Final Verdict: Play vs. Movie

Your comments drive these deep dives! If you want to support future videos and keep us caffeinated, you can buy us a drink or pitch in over on our coffee account and Patreon:

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Make sure to leave a comment with your thoughts, and check out the original discussion video if you haven't already! Don't forget to subscribe for more literary and cinematic deep dives.

GET REAL Still Matters: The 90s vs The Modern Gay Experience (with writer Patrick Wilde)

Silly Humans 2026-07-12 | In 1998, Get Real gave us an incredible coming-of-age film. It started as something much angrier and rooted in real politics happening in England at the time.

I sat down with Patrick Wilde, who wrote the film and the stage play it grew from, What's Wrong with Angry?, to talk about Section 28, the scenes that never made it to screen, cottaging before the internet, and the night Ian McKellen cried in his arms.

CHAPTERS
0:00 RuPaul at the Paramount Premiere
0:50 Surprise Celebrity in the Audience
3:08 Section 28, the Age of Consent, and Why He Wrote It
7:33 Turning a Catholic Boys' School Into Everytown, England
9:29 Stephen's Nightmare: The Suicide Scene the Film Cut
12:15 Not Bitter, Angry: Stonewall and Surviving the 80s
16:25 From Cottages to Chat Rooms: Cruising Moves Online
20:45 Stage to Screen: Jessica, Brighton Beach, and the Real Linda
23:58 Princess Diana's Funeral and the Hollywood Premiere
26:14 BenSilverstone.net, Basingstoke Pilgrimages, and Get Real's Afterlife

Drop a one-time tip: Ko-fi.com/sillyhumans

Get Real (1998), directed by Simon Shore, written by Patrick Wilde, based on his play What's Wrong with Angry?

Red, White & Royal Blue First Watch

Silly Humans 2026-07-05 | I have never seen, and have actively avoided, Red, White & Royal Blue. For three years I assumed it was saccharine, poorly written, and a G-rated Heated Rivalry. But it's America's 250th birthday, this was the number one movie on Prime for weeks, and it felt like time to find out if I was right.
So this is my first-time reaction and honest review: the janitor closet, the texting montages, the Paris trip, Nicholas Galitzine and Taylor Zakhar Perez's performances, who this movie is actually for, and why a queer romance that doesn't end in tragedy still matters more than I expected it to.
Timecodes
0:00 Why I've avoided this movie
0:30 Pressing play
1:38 The cake incident & a forced friendship
4:27 New Year's Eve
5:21 Who is this movie actually for?
7:25 The romance begins
8:35 Texas & texting montage number two
9:12 The White House finds out
10:01 The cabin, and Henry pulls away
12:57 The news breaks
14:27 Henry confronts the King
15:28 Final thoughts on the performances
16:38 My rating
17:36 Happy 250th, America (and what's next)

Coming soon: my interview with Patrick Wilde, screenwriter of Get Real. Subscribe so you don't miss it.
Red, White & Royal Blue (2023) is directed by Matthew López, based on the novel by Casey McQuiston, starring Taylor Zakhar Perez, Nicholas Galitzine, Uma Thurman, Sarah Shahi, and Stephen Fry.

CMBYN | Coming Out, First Love, and Crying By a Fire

Silly Humans 2026-06-27 | Wade Belair and I talk about Luca Guadagnino's Call Me By Your Name. We talk about what it's like to rewatch the film years later, why Elio's pining hit so close to home, what the movie gets exactly right about being a gay teenager, and why the statue pulled from the water changes everything. Plus: the dad's speech, Oliver's role, the phone call ending, Elio at the fireplace, and what comes next for both of them.

0:00 — Introductions
0:27 — First Impressions
4:20 — Coming Out
9:26 — The World of the Film
17:00 — The Book vs. the Film
27:00 — The Statue Scene and Repression
28:18 — The Confession by the Wall
32:23 — The First Kiss
40:53 — Call Me By Your Name
46:10 — The Gay Couple Next Door
47:11 — The Age Gap
50:47 — The Trip to Bergamo
52:29 — The Dad's Speech
57:34 — The Phone Call

Support the channel:
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Leviticus Movie Review: A Queer Horror Film

Silly Humans 2026-06-18 | I went into the 2026 horror film Leviticus completely blind, hoping for a thrilling queer horror experience. Unfortunately, the movie left me with more questions than scares, and not in a good way.

In this video, I break down why Leviticus failed to deliver, from its inconsistent rules and confusing character motivations to its heavy-handed analogies.

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Leviticus is a 2026 Australian supernatural horror film written and directed by Adrian Chiarella, and stars Joe Bird, Stacy Clausen, Jeremy Blewitt, Ewen Leslie, Davida McKenzie, Nicholas Hope, Zamira Newman, and Mia Wasikowska (who is also an executive producer on the film). It follows two gay teenagers who become tormented by a violent supernatural entity, summoned by their homophobic religious community, that takes the form of the person they desire most – each other.

BOOM! with @fishjellyfilmreviews

Silly Humans 2026-06-03 | The film is called Boom! starring Elizabeth Taylor and Richard Burton. We get into the mythology of Burton and Taylor as a celebrity couple that eclipsed the actual movie, the casting of Noel Coward as a gay man playing a role written for a woman, Joseph Losey's strange career arc, and the Tennessee Williams problem of building a profound-ish death allegory around two people who are visibly, demonstrably hammered. We also discuss the angel-of-death ambiguity, why Douglas Slocombe's cinematography is so great, and Michael Dunn's gloriously underwritten security guard. It's a fun, outrageous piece of cinema history.

Full conversation here: patreon.com/posts/160032576

Support the channel:
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Support Fish Jelly:
patreon.com/FishJellyFilmReviews

TIMESTAMPS
00:44 Introductions & first impressions
07:55 Burton and Taylor: the celebrity machine
15:34 Joseph Losey: exile, comeback, Boom!
22:42 Noel Coward as the Witch of Capri
26:30 The Angel of Death mythology
40:13 The samurai suit, Bluebeard, Teorema
50:11 Tennessee Williams, late period

Rewatching Shelter at 35: What I Missed as a Teenager

Silly Humans 2026-04-12 | ☕ Support the channel ☕
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In this video, I’m revisiting the 2007 indie classic Shelter for the first time since I was 17. While I remembered it as a "soft and warm" story, rewatching it at 35 brought up unexpected reactions and reflections on my own coming-out journey.

We dive deep into Zach’s story—a young man in San Pedro so focused on holding his family together that he hasn't had time to find himself. I explore how the film portrays intimacy beyond sex, the weight of family responsibility, and the "subconscious self-rejection" that keeps us stuck. I also share some rare behind-the-scenes insights from the director, Jonah Markowitz, about how the film's most iconic scenes almost didn't happen.

Timestamps
00:00 – The "Gay Classic" I Haven't Seen in 18 Years
01:00 – The Trap of Being "The Useful One"
02:25 – It Wasn’t Supposed to be a "Gay Movie"
04:45 – Redefining Intimacy (Beyond Sex)
08:19 – The "Happy Accident" Car Scene
09:24 – Subconscious Self-Rejection
15:10 – The Reality of the "After"
18:43 — "Shelter 2" Sequel

The Hidden Queerness of Charlie Chaplin | Drag, Desire & Silent Film History ft. Paul T. Klein

Silly Humans 2026-03-30 | Charlie Chaplin is one of the most iconic figures in cinema history — but what happens when two gay men watch his films through a queer lens? In this video I sit down with Paul T. Klein, film scholar and PhD student at the University of Michigan, to dig into the surprisingly queer undercurrents running through Chaplin's work.

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We analyze three films in depth: 1914's Tango Tangles, 1916's Behind the Screen, and the masterpiece City Lights (1931). We also explore Chaplin's radical politics, his real-life exile from America during the Red Scare, his Dickensian origins, and why his films feel so urgently relevant right now.

Whether you've never seen a Chaplin film or you're a lifelong fan, this conversation will change how you see him.

Connect with Paul T. Klein:
Website: ptklein.com
Website: howtoreadmovies.com
Podcast: Cold War Cinema — coldwarcinema.com
Read Paul's article on Brokeback Mountain in Metro Weekly: metroweekly.com/2025/07/brokeback-mountain-queer-cinema-anniversary

Films discussed:
• Tango Tangles (1914)
• Behind the Screen (1916)
• City Lights (1931)
• Modern Times (1936)
• The Gold Rush (1925)
• The Great Dictator (1941)

Book referenced:
• Charlie Chaplin vs. America: When Art, Sex, and Politics Collided by Scott Eyman

Chapters:
00:00 Teaser: queer moments in Chaplin films
00:38 Introducing Paul T. Klein
01:12 How Paul discovered Charlie Chaplin
03:21 The silent film era: a world rarely visited
05:23 Babylon & the chaos of silent film sets
07:53 How silent films were actually screened
10:00 Tango Tangles (1914): Chaplin out of costume
12:00 Behind the Screen (1916): drag, gender & a queer kiss
16:11 Punching down or pushing back? Reading queer moments critically
18:03 How queer viewers read between the lines
21:25 Homosexuality in early 20th-century America
23:17 City Lights (1931): the millionaire & the tramp
25:52 Homosocial bonding, masculinity & the fear of being perceived
27:45 The boxing scene: queerness & performed masculinity
31:49 The book that sparked this conversation
33:00 Chaplin's exile from America (the Red Scare & McCarthy era)
36:22 Chaplin's origins: poverty, orphanhood & a Victorian workhouse
37:42 The Great Dictator & Chaplin's anti-fascist politics
39:47 Separating the art from the artist
42:03 Why movies are political — not just entertainment
42:46 Hope as resistance: Chaplin's radical optimism
43:35 Where to start with Chaplin: Paul's recommendations
44:44 Paul's work & where to find him

#CharlieChaplin #QueerFilm #SilentFilm #FilmHistory #LGBTQFilm #CityLights #BehindTheScreen #TangoTangles #FilmScholar #MovieAnalysis #QueerCinema #McCarthyism #TheGreatDictator #FilmCriticism

Querelle: What Lies Beneath the Bathhouse Fantasy

Silly Humans 2026-02-12 | ☕ Support the channel ☕
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Querelle (1982) looks like a ferocious, unapologetically horny "wet dream" of a movie. But beneath the neon lights and the phallic set decorations of Rainer Werner Fassbinder’s final film lies an experience that feels sterile, fragmented, and ultimately exhausting.

In this deep dive, I'm looking past the "high art" reputation of this gay cinema staple to figure out why it feels so emotionally hollow to me. Things like:

The Lost Version: How a financier’s edit stripped the logic from the plot and reduced a three-hour epic to a confusing shorter cut.

Brad Davis’s Struggle: The heartbreaking journals of an actor fighting to be seen as more than a "stud for hire" while working for a director who tore him down.

Genet’s Theology: Understanding the "sainted criminals" of Jean Genet and why this movie treats murderers like icons.

The Pulse Check: Why all the visual armor in the world couldn't save Querelle from feeling like a marble statue—beautiful to look at, but impossible to connect with.

Is it a camp classic, a surrealist triumph, or just dead weight?

Timestamps:
0:00 - The Bathhouse Fantasy
2:15 - Sterile Aesthetics
5:40 - The Sabotaged Three-Hour Cut
8:20 - Brad Davis vs. Fassbinder
12:10 - The Theology of Jean Genet
15:30 - Final Verdict: A Beautiful Grave

Send Help Review: Sam Raimi’s Best Movie in Years… With a Performance I Can’t Forget

Silly Humans 2026-01-28 | Sam Raimi returns to survival horror with Send Help, starring Rachel McAdams and Dylan O'Brien. In this review, I discuss why McAdams' unhinged performance carries this movie and if Raimi has finally recaptured the magic of Drag Me to Hell.

I caught an early access screening of Send Help at The Grove AMC, and I walked out with a lot of feelings—mostly positive. The movie follows a CEO (Dylan O'Brien) and his overlooked employee (Rachel McAdams) who become stranded on a remote island after a plane crash. What follows is a brutal, funny, and uncomfortable exploration of power dynamics and competence.

If you enjoyed this review, please subscribe for more movie analysis, ranging from light horror to personal deep dives. And support me at ko-fi.com/sillyhumans

The Cruising comments showed me something I couldnt see

Silly Humans 2026-01-18 | A week ago I reviewed Cruising (1980) and gave it a 7/10. The comments showed me I fundamentally misunderstood what I was doing, the things my words would do when they landed in a history I hadn't fully researched. This video is about the difference between having a reaction to a film and taking responsibility for what that reaction does in the world.

Original Cruising review: youtu.be/IotZMFRBZGs

If you want to support the channel on Ko-Fi: ko-fi.com/sillyhumans

Timestamps:
0:00 - What I was doing wrong
1:48 - My reaction to the film
3:42 - What the comments revealed
6:33 - Why I'm drawn to these films
9:12 - What's changing going forward

Cruising (1980) - Exploitation or Documentation?

Silly Humans 2026-01-11 | I watched Cruising on a 7am flight and spent the entire time terrified the person next to me would glance at my screen and see Al Pacino in a gay leather bar.

☕ Support the channel here: ko-fi.com/sillyhumans

This 1980 thriller follows an undercover cop (Al Pacino) infiltrating New York's leather scene to catch a serial killer. The film shows explicit sex acts and was heavily protested during production. Gay activists tried to shut it down.

Watching it now, I understand why. The film codes gay sexuality as dangerous. But here's the complication: William Friedkin doesn't sanitize it. He shows the bars in unapologetic, explicit detail. For a major studio film in 1980, that's staggering.

In this review, I'm breaking down why the film boxes you out of the most important scenes, why that's cowardly, and why I can't decide if this is exploitation or documentation. Did Steve want to keep going back to those bars after his assignment ended—or was he relieved to get out?

Let me know in the comments which side you're on.

Cruising (1980) - Dir. William Friedkin - 7/10

TIMESTAMPS:
0:00 - Watching This on a Plane
0:58 - The Assignment
2:06 - The Leather Bars & The Hankie Code
4:16 - Steve's Transformation
5:57 - The Interrogation Scene
7:00 - Exploitation or Documentation?
8:37 - Final Verdict

#Cruising #AlPacino #WilliamFriedkin #LeatherCulture #LGBTQ #GayFilm #1980s #FilmReview #ControversialFilms #MovieAnalysis

Did Netflix Ruin Knives Out 3? OR Why Wake Up Dead Man Feels Wrong

Silly Humans 2025-12-14 | Is Wake Up Dead Man a fair-play mystery, or is it just "Content"?
In this spoiler-free review, I break down Rian Johnson’s Knives Out 3 from the perspective of a professional video editor. We look at why the film’s "Retention Editing" might be killing the suspense, why the extreme close-ups ruin the "gameplay" of the mystery, and why having a cast this famous (Josh O'Connor, Andrew Scott, Glenn Close) might actually be a trap.
Is the movie worth your Friday night? Or is Netflix just at war with its own audience? Let’s diagnose the filmmaking.
CHAPTERS: 0:00 - The "Netflix" Problem: Why the Movie is Shouting 0:45 - The Verdict Tease (Is it worth watching?) 1:30 - The Camera: Intimacy vs. Geography 2:11 - The Cast: Glenn Close & The "Avengers" 2:30 - The Josh O'Connor "Nice" Problem 3:09 - The Andrew Scott "Isolation" Problem 3:53 - Why Glass Onion Worked (Comparison) 4:42 - Final Score (6/10) 5:00 - My Pitch for Knives Out 4 (Fire the Stars) 5:32 - One Last "Benoit Blanc" Request...
RELATED VIDEOS:
* [Link to your Pillion Review]
* [Link to another relevant video if you have one]
#WakeUpDeadMan #KnivesOut3 #RianJohnson #JoshOConnor #AndrewScott #FilmAnalysis #VideoEditing #Netflix

I Was Wrong About Pillion. (The Comment That Changed My Entire Review)

Silly Humans 2025-12-06 | ☕ Support the channel ☕
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I drove to a tiny theater to see a "ghost screening" of Pillion. I uploaded a raw, emotional review expecting maybe 50 people to see it. Instead, thousands of you showed up, and the comment section became more valuable than the video itself.

I realized I wasn't just reviewing a movie; I was reviewing my own fear.

In this follow-up, I’m diving into the three specific perspectives from the comments that changed my mind. We discuss the history of gay leather culture I missed , the theory that Ray isn't a villain but a "trainer" , and why this movie is actually a Rorschach test for how we view relationships.

We also compare the cold intimacy of Pillion to the warmth of My Own Private Idaho and discuss where this channel goes from here.

Timestamps:
0:00 - The reaction that shocked me
02:41 - Addressing the criticism (was I self-centered?)
04:14 - Correction 1: The History of Leather Culture
05:50 - Correction 2: Ray is a Teacher, not a Villain
08:35 - The Pillion Rorschach Test (Protectors vs. Optimists)
10:53 - The Realist Perspective: "If you love something, let it go"
13:08 - Comparison: Pillion vs. My Own Private Idaho
14:17 - A question for you: What’s next for this channel?

Support the Channel: If you'd like to support the editing software costs, you can do so here: Ko-fi.com/sillyhumans
Vlog Channel: youtube.com/channel/UCdVBAiveVgn9qGeqAS0VxYw

Pillion Review: The Best Movie of the Year... With An Ending I Cant Stop Thinking About

Silly Humans 2025-11-19 | I drove miles out of Los Angeles to a tiny, empty theater to see a secret screening of Pillion, a new film starring Alexander Skarsgård and Harry Melling. What I saw was one of the boldest, funniest, and most uncomfortable movies of the year. It’s an 8.5/10 masterpiece of performance and tension.

But I left the theater feeling frustrated, conflicted, and maybe even a little betrayed.

In this deep dive review, I’m breaking down why this "BDSM romance" is actually a tragic story about loneliness, why Alexander Skarsgård weaponizing his beauty is terrifying, and why the ending of this movie broke my heart in all the wrong ways.

Is Pillion a brilliant study of identity, or a cynical trap? Let's discuss.

TIMESTAMPS:
0:00 - The Secret "Ghost Screening"
4:38 - Spoiler-Free Review: Who Is This For?
6:25 - THE AUTOPSY (SPOILERS)
6:35 - Deconstructing Colin: The "Hollow" Man
9:26 - Deconstructing Ray: Weaponized Beauty
10:22 - Is This a Relationship... or Abuse?
13:04 - The Turning Point & The "Normal" Date
15:15 - The Kiss That Changed Everything
16:26 - The Ending That Made Me Hate This Movie
18:28 - The Thesis: Passivity vs. Control
19:55 - Final Verdict & MVP

#Pillion #AlexanderSkarsgard #HarryMelling #MovieReview #FilmAnalysis #LGBTQ #PillionMovie

Guillermo Del Toro FINALLY Perfected Frankenstein

Silly Humans 2025-10-19 | I just saw Guillermo Del Toro's highly anticipated Frankenstein, and I was genuinely surprised. I went in expecting a sweeping, gothic romance, but what I got was something deeper, denser, and far more philosophical. This isn't the movie you're expecting.

In this spoiler-free review and in-depth analysis, we're going to solve the mystery of what this movie is actually about. I'll break down if it's worth your time before diving into spoilers to discuss the film's incredible visuals, its unique and sympathetic Creature , its tragic themes of creation and abandonment , and what makes it a distinctly "Guillermo Del Toro" dark fairytale.

Is this the definitive, emotionally complete version of Frankenstein we've been waiting for? Let's talk about it.

TIMESTAMPS:
0:00 - My Immediate Reaction (Not What I Expected)
1:09 - Spoiler-Free Verdict: Is It Worth Your Time?
2:59 - THE AUTOPSY (SPOILER WARNING)
3:19 - Thesis 1: The Unique & Tragic Creature
5:10 - Thesis 2: Victor, The Flawed Creator
6:15 - Thesis 3: The Fulfilling (But Rushed) Ending
7:44 - The Final Thesis: GDT's Ultimate Statement
8:42 - The MVP: Guillermo's Masterful Production Design
9:29 - The Final Score & My Hot Take For You

#Frankenstein #GuillermoDelToro #MovieReview #GDT #Netflix #JacobElordi #OscarIsaac