The film follows conventional heteronormative structures typical of early 90s genre cinema. There is no evidence of non-cisnormative identities or narratives that critique traditional social frameworks.

The plot centers on the male-dominated 'mad scientist' trope. While Mary Shelley provides a historical female presence, agency remains largely driven by male scientific figures.

The production leans toward a homogeneous casting approach. The narrative focuses on a specific historical intersection in 1817 Switzerland without prioritizing intersectional or non-Anglo-Saxon representation.

Themes explore the tension between science and morality through the 'playing God' motif. However, it lacks systemic critiques of religion, capitalism, or Western hegemony.

The film risks using physical difference as a horror device through its focus on resurrected monsters. There is no evidence of characters with disabilities possessing meaningful agency.