 Ha ha ha. Gorgia. Oh, big lizard. Oh, yeah. Like, Bizarre. The, the, you know, it makes me think of every time as the fucking memeid, a gold member. Austin Powers, where they go to, and then the car drives into like a Godzilla float, and then all the, all the people in the area are like screaming and running away from it. Because this is Godzilla. Hello, we're talking about Godzilla minus one, which we can even talk about why it might be named that. If anyone has a quote from the director that can just be definitive. But I will say it's been, we're all late to this one, mainly because of the fact that it didn't come out on time everywhere. It came out like in different places, different positions. And then, and then I delayed seeing it even more because I was like, why would I go see it and then see it again when, when metal comes over, as opposed to we can just go to the theater together to enjoy big lizard for the first time on the big screen that we did. And I, I mentioned this on I think real BBC, but I was, I was quite, I was like, oh, good for you, Wales. You, you actually, a lot of people came out to see it on New Year's Eve. That's when we went to see it. But exactly the start time was 8 30 p.m. I think so, or 40, 45. So I thought it was going to be like more significant than that, that that I don't know what midnight or something. That's when the film ends. Well, yeah, that would be around about that. Yeah. Would it be? Yeah, I mean an hour off. Oh, plus. Oh, yeah. Yeah. Plus it's a movie theater, a modern movie theater. So if a movie was like seven, you get 20 minutes of ads. I was about to say 845 plus the fucking half hour of ads plus two hour movie. That's kind of funny. I don't want to see the Blumhouse bear movie. Fuck off. It is pretty funny. And there's nothing to be done with it. If, you know, like streaming services, introducing ads is egregious. But when you pay like fifteen, twenty bucks to go see one movie, it's acceptable that there's 20 minutes of ads. Well, we complain about it usually every time. I don't know if that's considered acceptable. I guess it's more so that everybody complains, but nothing changes. You still get 20 minutes of ads. Isn't that what is happening on streaming to everyone complains? That's what I'm saying is getting that about on streaming like more so than when you go to theaters. It's almost as if we bitch about it, but accept it as being part of life. That is the human condition. We do bitch about things and then don't change it a little bit. What trailer did you get for when you saw Godzilla? So Kung Fu Panda 4, which looks a little cringe to be honest with you. Yeah. And it's funny enough, like it is always different. Aquafina lady taken over for Poe. No. And just the enemy being like, look, it's all your favorite bad guys from history. I was like, oh, fuck off. Why? Why is everything like this? Well, why? Like, well, you know, you know, I think it was it's night swim. It's like a horror movie produced by I think it's Bloom House and James One. So I'm sure that'll be really good. It'll be really. Yeah, the bear. Yeah. What's it called? Imaginary. There's an imaginary friend who's like a creepy, possessed bear or whatever. And it does spooky stuff. And instead of burning the bear, they just they have make a movie about it. Oh, isn't there like a thing with Ryan Reynolds? Like like imaginary, isn't that a thing like a new movie that's coming out? Ryan Reynolds with like imaginary friends, like big critters. What? I'm pretty sure that's I think that's something. I'm pretty sure I saw something for that. I didn't get trailer for that. Well, damn, I can't remember what the other one was. There was one more. Oh, it's for the it was fucking Godzilla Kong. Yes. The other one. We got that. We got that was Godzilla Kong, which felt really funny. Yeah, I got a that's fun. Got an ad for Argyle. Oh, yeah, that's a new Matthew Vaughn one, right? Yeah, yeah. Yeah, with the cat. Boy, the cat was present. Yeah. Oh, yeah, there. That's that's a thing. Bill, right? Yeah. And the Cavals in it. So it's not worth. No, Hemsworth is in Furiosa. I got an ad for Rockwell. I got an ad for Furiosa, too. Yeah, we didn't get Furiosa. Furiosa looks I can appreciate. And I really enjoy the realness of Fury Road. All the real cars, real stunts, all the realness to it. And boy, Furiosa looked fake as fuck. Everything looks CGI. And also Mad Max is no longer a part of his series. It is now Furiosa movie. I guess it's kind of funny because they're not confident enough to let it stand on its own. So they got a Mad Max saga. What is that? Is that they have at the bottom there, which I don't know. It feels a bit weird. Like you want to use a little bit of a little bit of a little bit. It is. I think it's cocky. It's you don't want to stand on your own two feet. You want to make sure that people know, well, yeah, but this is Mad Max, which you. Yeah, it's about her. But but it's a Mad Max. You'll see it because of Mad Max, right? I would have thought it would be as Furiosa, but it's not. I thought it'd be like, OK, we're just putting front and center the discharge Miller again, like doing it as he has made all of them, you know, like, yeah. But I guess not. Yeah. Hmm. Well, it's 2024. Yeah, that's I don't think there are any other ads. But well, to go back to Godzilla X Kong, which what a name, you know? I still haven't seen it in the Empire. What Godzilla versus Kong, you mean? Yeah, I haven't seen the. Oh, I haven't seen either. I haven't seen either. Oh, really? All right. Yeah, I saw the monsters. There's no way I was going to see Godzilla versus Kong. We'll do it all. It's for work purposes. We'll do it all. What's going on? We're going to have to figure a list of which to include, which not. But of course, Long Kong will be entering that arena. Long Kong, absolutely. Well, maybe O.G. King Kong and O.G. Could be cool. O.G. Boys. I would like to do that. Yeah, because I think the original King Kong was like, we're talking 20s. 30s. So that would be neat. O.G. I think the 50s. 50s. Yeah, I think 50 for something like that. But it is definitely keen on seeing that. That one shot in particular. All right. The one shot of the two running. Oh, it looks so flimpy. It looks so bad. It actually just makes me think of shitty Marvel. It's like, oh, there it is. Shitty Bob. It's like, how is that one comes into my head now? I was like, it's like a like a goober in that shot as well. It's because Godzilla's not meant to run. He's not meant to run. He's a giant right now. Yeah, if he's in the water, he's fast. But when he's on land, he's like lumbering and menacing and slow. But the problem is, it's like, we have we got Kong and Kong probably move pretty fast. So we've got to have Godzilla do it. Yeah, they've sized Kong up. So there's Godzilla down and then sped up Godzilla. Which I don't know. I kind of feels weird. I kind of miss like the Godzilla 2014 Godzilla, where you didn't see much of him. And when he did, and when he was really big and lumbering and hit hard and seemed very powerful, the the skydive scene, I'll probably not forget that scene. It's pretty good. And it's a shame that that's a part of the same fucking continuity as in the scene. And it's I guess it's weird as well. The whole sort of the. Oh, Godzillas. Godzillas, maybe like. No, the you know, the part where they jump out like the they dive into the city and then Godzillas like Silhouette's cast in the is the choir as well. That really gets me in that. Like that kind of sound. It's good. More higher pitched. But yes, it just gives a sense of dread that they're going into like his world sort of thing, which is really cool. Which I guess the thing is, though, that when they decided it's like, yeah, but Godzilla is kind of like, you know, he's kind of like not so bad. He's he's kind of the hero of it. He's going to curb stomp the say this great monsters. And now it's like we're now he's a fucking superhero. Basically, a man, Kong. Yes, and they're going to beat up a cranky Kong. Ranky, I don't know if it's cranky Kong, man. Could you imagine Godzilla versus Frankie? Oh, I thought you meant like he was a chronic masturbator. The O.G. Donkey Kong, original Donkey Kong. Nice boy. Yeah, that'd be cool. They're probably going to keep making those movies forever, by the way. They're pretty successful. So there's nothing to do. It's I hate it. It's like, guys, you've been making so much more money. It's right there. So much more money. If you get a movie, it's a good film that just came out recently called Godzilla minus one. And then you'll be able to maybe learn the most obvious shit. This happens every time, by the way. It's like Gareth mentioned it with TFA and I was like, that's true. If TFA was really well written, it would have made even more money. Yeah, don't see why it wouldn't. I don't see why it being better written would make people go, I don't like that shit. Well, the fuck is this? I hate it. What's cool about minus one is it proves as well that there is no push back to this. The notion of having humans in monster movies. It's just you got to make it good, which, by the way, is the case for literally everything. It's like, yeah, I don't want to see the human story or the people's is like, you would have been good. Yeah, what if it was when when King of the Monsters was coming out? That's what we heard a decent amount is what are you talking about? Like human drama, we want to see the big lizard. That's and that's what we got in this movie that had maybe 20 minutes of big lizard and then an hour and a half of human drama. What happened? Well, what happened? Who knows? Maybe they all those people are gone now and there's no new people around. But I was going to say the the EFAT movies for that film wealth edited it and he did edit the final cut of how much monster time there was. And I believe it was seven to eight minutes. Yeah, yeah, there's not much. There's not much monster in that monster movie at all. You have to pay a heavy price by sitting all the sitting through all the shitty human crap in there to get your stuff. The lady wants to bring back all the monsters to refresh Earth because we ruined it, right? Yeah, yeah. Because why would you have it be the drama of the story? The central human drama is very heavily thematically tied to big lizard. Why bother? Why bother? Yeah, well, just a couple hundred million dollars and, you know, well, instead of spending less than 15 million dollars under 15. That's amazing, because this movie looks really fucking good. Yeah, for a movie that's as low budget. And remember, the director said he wished he had 15 million, so it sounds like it was a good deal. Lower than that. Yeah, this guy's they'll be getting a sequel for this. Well, the director, the director of Godzilla minus one. Japanese name, I can't remember. I'm still. Yamazaki Takashi Yamazaki, that's right. He was the director and he was the writer. And I believe he was in charge of the visual effects as well. He was. Yeah. After his last movie, I think in 2019, he was given the reins of the Godzilla of a Godzilla movie to make. And I think between this one coming out in that last one, I think it was after Shin Godzilla had come out and people said good things about that. He had the company that runs this T 60. Isn't it toho? Don't they? Toho. Yeah, they had. They essentially scrapped three entire projects because they weren't up to it's enough. They weren't good enough. They just feel like they were good enough, which is like the opposite of what happens here when it's like, Oh, something was good. Crank out as many sequels as you possibly can. Get as much money out of it as you can possibly get. Even if this thing wasn't good, the word of mouth and celebration of it has kind of dwarfed like expectations for him, I'm sure they're pretty successful release internationally compared to a lot of foreign language films that tend to struggle. It just feels like one of the most talked about releases for film for the year out of all the things that spread with word of mouth. This one feels like one of the biggest, which, you know, good, which yeah, it's it's I believe it's the most successful Japanese Godzilla film now. Yes, I believe it is. Oh, yes. Which, yeah, which I'm very glad to hear. Well, it's still lower than Godzilla versus Kong. Yeah, Godzilla versus Kong release during the pandemic. And it's still made like I still think it's I believe it's the highest grossing at the box office of all of the monster movies that they've been making. I think that was bearing in mind that it also had a very successful launch on HBO Max, like the most successful launch at the time. This will help people understand how we can have it be better. We don't have to settle for Godzilla versus Kong or Godzilla X Kong. It could be better than that. That people will go into Godzilla X Kong and be like, damn. But like, I just watched a Godzilla movie that had characters and strong thematic elements and that those elements were very well tied together, that it was evident that they had an idea for a story they wanted to tell that could leverage Godzilla in a meaningful way for the story and for the theme and that the human characters don't just need to be there as sort of like a thin pretext for a story existing in the first place. Yep. It is. I really, really enjoyed the movie quite a lot. Yeah, I really wanted the whole, you know, left to right, right to left. Sure. For what? Right first. All right. You go first. So I'm really, really glad that I enjoyed this movie. And my dad did as well. We went to go see this at the theater and go away. I don't want to talk to you. But we hadn't been to the theater in a long time. I hadn't been since Oppenheimer. But he hadn't been in a. Yeah. And he hadn't been in a very long time. So we've kind of been inching to get back into a theater. He's he hasn't been out and about too much because of some medical stuff. But now that he's sort of up and moving around again, we were able to go to the theater together and see what turned out to be a really banger movie. He enjoyed it immensely. And so did I. If you're going to go to a movie, go on a Tuesday night because you'll have the whole place to yourself. Let me tell you. But yeah, I really, really loved it. It was surprisingly good. I had no idea that it was a Japanese film. I just heard everyone. I knew nothing about it going in other than it was a Godzilla movie. I made sure to not watch trailers. I didn't figure out anything about the plot or what happened or that it was a movie that took place in, you know, right after post war Japan. I didn't know any of that stuff. So it was a super cool surprise when it actually happened. When the opening sequence on Odo Island, you know, I thought that was going to be okay. This is our neat little intro sort of sequence or prequel or flashback. But no, it was, you know, the whole movie took place during that time period. And I really loved it. I was glad to get something that wasn't like a contemporary set movie. I kind of like it when we go to different time periods and try some things. Great. I really love the soundtrack. I really like the characters. I think that there was very clearly an artistic and thematic vision that ran throughout the movie. And I was very, very happy. All right, metal. That's me. Hello. Yeah, I mean, I also really, really enjoyed it. I don't have a lot of touching points with any Godzilla movies, really. I think I watched like the the American one. And what was like 2006? The Roland Emmerich one. Hell, yeah, the boy. Great one. I don't I don't was it? I don't think it was. I don't know. I mean, I've seen I've seen as a child. I probably enjoyed it. Probably a little boy child, little boy child. Yeah. But yeah, I'm a big fan of the of the vicious Godzilla. That's that's way cooler to me than the look. He's helping the people like Night's Lame. Yes, I was an allegory for war and destruction. He's going around fucking shit up. Why? Because he wants territory because he's a fucking vicious animal and people are scared shitless. And they are basically little to no chance to actually defeating the monster. And yeah, as good shit, the characters are actually good. So, yeah, as you already said, this is destroying the notion that we don't care what the characters need to be good. It's just a matter of quality and the quality was good with the characters. You care about them and yeah, good shit, good schnitzels. Wow. Yeah, I loved it. I thought it was awesome. There's there's like issues I take with some of the things that happen in it. But overall, I was just like, the threads are too strong and I'm enjoying it too much to bother me that much. And the overall, like it wouldn't damage that the film significantly. It's it's a lot of stuff that I feel like I've been kind of kind of looking to see in a Godzilla film because I sort of retrospect, look back. And I'm like, damn, I don't really like many of the Godzilla films. I've seen that much, you know, the more so I tolerate a lot of it to get to stuff that I think is really neat. But this one, I felt really captured a lot of stuff that I would like to see in one. And I had particular things spoiled, I guess, for the sake of the conversation. I'll explain what that means. But I was spoiled for things in this film is such a specific way that kind of made the watching of it interesting and strange for what I was expecting and how I was almost tricked by not understanding the spoilers that I thought I had. So that's something. The yeah, the the hyper vicious monster that is terrifying. Godzilla is cool. I like him. He's he's he's super awesome. And I was going to say, just as a mention of something that I don't think could come up yet, the sound design, I love his atomic breath. Amazing. It's so cool. Not just the soundtrack, but the effects and when they come in and when they fade out, stellar work. The the fucking tension of the trunk, trunk, down, down, down, down, down. Yeah, like, no. Yeah. And even like trying to apply some rules to him in terms of overwhelming the sense of regeneration or trying to use physics against him or, you know, lesser known ones or the the recharge rate on the atomic breath. It's like these are all really useful things to help change the ticking clock or, you know, have a sense of winning and losing. To not mention everything else everyone already has, which is that the character work is fire. Peak fire. That's what the kids say for real for a year. And yeah, I really liked it. Can't always talk about it in some more depth of Therunie. Hooray. Boop, boop. I think Godzilla minus one is a really cool movie. I think it's really solid movie. I'd say that if there were any issues I was going to take with it, that would be mainly stemming from the plot, but by way of character and theme, it's really well crafted. They're wound incredibly tight like this. This is said a few times. It's clear that there was an idea for a story here that could involve Godzilla rather than let sort of have Godzilla and then I try to sort of work backwards and figure out like a way to a way to essentially justify just having big lizard walk around and destroy things that they had an idea with their central character tethering him to Godzilla. The Godzilla represents like thematically. He represents an aspect of the main character, Koichi's life regrets. Discontent with himself to build that up beyond just the physical presence of Godzilla to be really meaningful to his story and to the stories of every character and to like it's really cool to see beyond just cool big lizard look at him go look at how terrifying and cool he is to have a story that was clearly like inspired and meaningful. It's a film that has something to say and it says it really well. So yeah, I think I think it's pretty cool movie. I like it. Well, then let us begin. I suppose we shall talk about the events of the film and what things we really liked and didn't like in it, whatever they may be of both. Which means we start with the opening credits. Oh, I didn't like the second letter in those. All right, next thing. Anyway, next one. I don't know why it's called Godzilla minus one. We were trying to figure that out on the way back home as well. The Japanese have odd naming conventions. They name things weird things. I'm if I was to guess Godzilla minus one. Oh, damn. I've just had like a I wonder if it has to do with the notion of that the main character as well as many people aren't back yet. They're not they're not like. They've still kind of got some amount of discontent and something's being left behind in the wake of the war because so much of the film is kind of about them rediscovering and recontextualizing like what exactly it is that they want to be and how they want to lead their lives and I think we should be we should probably start off by saying that this movie takes place in Japan really 1945 to 1948. I think I think yeah, yeah, it is a very, very this story did not waste its theme. It is 100 percent built around the idea that this is post war Japan, the state of mind of the Japanese people, you know, the destruction after World War Two. Everyone talks about the war. Everyone talks about, you know, the veterans and people who died families out of Torner Park, people who were killed. The reconstruction of the nation after World War Two and it touches briefly into the political climate of what's happening. It is through and through a movie that takes advantage fully of setting itself in a time period. Not only is it just cool to, you know, be in that time period, see that kind of technology and how all that works. But it's used thematically in the way that it ties that to Godzilla is something we'll talk about later. And then that's something that I really immensely appreciate. The setting cannot be taken away from what the movie is trying to say in the plot. When we were walking back from seeing it, my assumption on minus one, the best I could come up with was that it relates to the main character's sense of existence being that he's not even 100 percent clear on whether or not he's alive or dead or whether or not he's suffered enough or should be doing particular things or whatever. Like it's almost like he's not representative of a life, but rather he's like a he's like a death that forgot to happen. He's supposed to be he's like a ghost or a zombie. Not not quite. He represents a minus one who like waiting to be dead. I wonder if that's a tied in somewhat. Lots of survivor's guilt, of course, as well, because of the duty he should have done what he he didn't do as we learned very quickly in this movie. And all the other people dying because of his failure to actually commit to the things he should probably have done. Well, they didn't make one with something else. Yeah, that happens as well. Because I guess it's worth lying out the opening scene of the film. Yes. Yep. Mm hmm. The opening scene of the film takes place in 1945, which for our historians out there is I know shortly this is getting a little with our meta knowledge here, but this is the year World War Two ends. This is the very, very end of the war tail end of the war. It's just about to end. And on Odo Island, we see a plane landing plane that we discover is driven by our protagonist protagonist. Koichi Shikishima, I believe is his name. You will. You're going to have to just apologize if I get names wrong. I'm just not as you're going to have to apologize. The others have to apologize. That's right. Yes, right. So get it ready. Get your apologies. Get it ready, everyone. But already it's like, oh, okay, it's really neat we're on an island. It's World War Two. All right. All the people are on the island. There's a he lands on the island on a dirty little airfield. Some mechanics come out to check the plane and as it is discovered our head mechanic, Tatchabara Tatchabara. I think is his name or head mechanic. The head mechanic. Yes. Yeah. Our head mechanic gives the plane an inspection. It's a Japanese fighter plane gives it an inspection with all of his guys and he says, all right. Well, we looked the plane up and down. It's amazing. You could fly that old that crappy old plane, which actually the fact he calls it a thing. He calls it a bucket of bolts or a thing, but bucket of rest, something like that. That will actually be referenced later. But he says it was amazing that you were able to fly this plane and landed here, but we gave it the old lookover and your plane seems to be completely functional. There's nothing wrong with it. Why didn't you explode, loser? Hmm. Yeah. To which Koichi asked, so what are you implying exactly? Because Koichi is a kamikaze pilot. The very end of the war. It's his job to fly a plane full of explosives into American cruisers and whatnot. So by the way, I was I was reading or watching a video that was talking about some of this stuff. Um, through the course of the war, the amount of sheer lead that an American battleship could put into the air to destroy enemy ships became so insanely high volume that the thought process was there's no way that the Japanese were like, there's no way we can do really any damage to these planes by just like shooting at them from a distance and stuff because we'll just get shredded by the any air. So we were just going to do this idea of, well, it's we might get a better return on our planes if we load them full of explosives and kamikaze into them. So there's a lot of interesting, I guess, math and stuff that sort of goes into that strategy. But yep, they were kamikaze Koichi is a kamikaze pilot and I guess he got cold feet, which is pretty understandable. That's a big thing to ask someone. And while he's sitting on the island and he hasn't taken off yet, one thing that I really like is that one of the mechanics from the island as Koichi's out on the on the beach just kind of looking out into the water, one of the mechanics comes up to him and says, you know, I don't blame you for not, you know, doing this. What's the point of following the order to die honorably when the outcome of the war is already decided? Yeah, because Japan didn't have a chance. They were good. They were going to lose. It had been. It was, it was over. America was had a America had a huge army. They had two atomic bombs. Of course, there was the war with China that Japanese had been involved in. America could finish losses and Japan couldn't. Japan couldn't. Exactly. Japan was just getting just smoked at this point. They had no chance. So I really enjoy this perspective of this one mechanic saying that I don't blame you. And it's something I will see throughout the film. You get multiple perspectives from different characters concerning this running theme of what the film is trying to say and its perspectives that it has on the concepts of patriotism and honor and sacrifice. And I throughout the whole movie, you get people's different perspectives on it. It doesn't take like this super duper hard singular stance on it that just like covers everything. The film is it's like it's made by adults for adults because I think it's what it's trying. It doesn't treat you like a child. It can actually say things. It can actually have a theme. It can actually it's dumb. It's nice when a film can take like a premise that on its face might seem absurd of look. It's like a dinosaur that shoots lasers out of his mouth. Yeah. But it's getting really lame at this point when like characters sort of look at the camera and wink. It's like, isn't that silly? It's like, can you shut the fuck up? Yeah. Can you can you just take your story seriously? One of the things I describe this movie as is reverent. Not Justin. It's it's it's homage to the old, you know, 50s, 60s Godzilla stuff, but just it it takes itself seriously just because it's a big monster, big lizard as Fringy said that shoots a heat ray that doesn't mean that you can't treat it with reverence. It doesn't mean that it's I mean, this is a big deal of monster running through and destroying cities and ripping battle cruisers in half. That's a big deal. We said it about Lord of the Rings. You have the wizard at like a funeral. Like is that going to cause any issues? Like not if everyone takes it seriously. Yeah. Mm hmm. Yeah. One of the things to look at because I'm just jumping ahead a bit, but the way that Godzilla moves is very stilted kind of like they're trying to emulate the old look, you know, before use of yeah, he looks. Oh, yeah. Yeah. Yeah. Naturally, you've done it. Yeah. Yeah. And it's very it's very like sudden movements with very sharp stops and somebody could look at them and be like, oh, that's that's kind of like silly, but it's not though, because again, everybody in the story treats it seriously and you're taking it seriously because presumably as you're watching the film, you're starting to grasp the nature of what Godzilla represents to Koichi and everybody really. Yeah. What he represents is significant and meaningful to those characters. And so it's meaningful to you beyond obviously like what big lizard who shoots laser out of his mouth. When you have when you have that moment where the character smiles and winks at the camera, are we having fun like, okay, but we're in a different movie now. When you've done that, we're know you're trying to tell me you're either trying to have it both ways, which you can't really do or you're or you've just turned the movie into something that's the lighthearted and fun and goofy when it's up to you if you want to make your film like that. But just what's typically annoying about it is cool. Make fun of the thing you didn't create that's better than what you're making. Make fun of the thing that you're using to make hundreds of millions of dollars in banking and the original creators who at least made something novel and interesting. So yeah, cool, bro. The mechanic talks to the guy says, I don't blame you. Why throw your life away when it's not going to change the outcome and it's not going to make a difference. The film's got a lot of ideas in relation to like, you know, sacrificing yourself for your country or for people you love or for all of that, but also the nature in which you do so that there's a lot of nuance to why you would throw your life away slash give it for something greater. I find that the it's quite for lack of a better term mature of the film to be like not only do the is there honor to be found in the cultural nature of like Kamikaze pilots because of course they would be from their perspective in terms of everything they have to give up to do so and what they do it for. But that also they consider like, you know, there's lots of criticism to give on the nature of particular battles that they may, you know, do it or do not. And like in this case, it's like why now was over? There's just no need. But by the time we hit the end of the film, I quite like the almost reflective perspective on giving your life in order for certain damage to be done. You know, that would be more specific. I just I find it is super related to like just just all the perspectives you can have on war and bad, but in a more complicated and interesting way. And in this case, you just don't see this perspective that often in films like the Kamikaze pilot and how he feels about this whole thing and then what people think of Kamikaze pilots, whether or not they're successful in the missions and the many different ways you can actually commit to something like that. So I feel like the American version would just be I don't say this derogatorily, but you know, it depended state, right? Where hello, boys, I'm back. Yeah, we'll cut away from the violent explosion and how that would have felt for that guy when that happened, you know? Yeah, and the heroism of it and the courage that's required of it, but like, you know, I just feel it's a much more bold position to be like, I just can't I'm too scared. The guy who terrified to do it and so he doesn't do it and then that places him in a situation that is going to be incredibly pivotal moving forward in how it ties that to a different event that is similar. Yeah, the the film's positions on what makes a worthy sacrifice. The the point where honor and patriotism and sort of meet and rub along the value of what human life is. It's a really it was really nice to see this in a Godzilla movie because you can make a movie that's purely about these sorts of things that didn't have big lizard. But, you know, here we are. Oh, it's just leverage the big lizard for thematic purposes, which is really so it shows up pretty soon. He does. He shows up quite quick. It's quite notable. I was very surprised with. That's very happy about that. It answered a question I had in my own head because a lot of the time we appreciate alien and aliens do this several other films. The thing is of course a classic example, but just like how long and how much restraint one can have before they show you the thing you've heard about the thing you're here for that sort of stuff. And I was just like, well, even though I have lots to praise for films like that that really work on their human stuff before they bring in the threats. At the same time, you know, how well can we how well can we do while bringing in the monster really early? I feel like the film answers that pretty well of how you can bring it in really early because Godzilla show you five about like five, ten minutes into the movie and he's not doing the cameo. He's he's coming. Yeah, the big deal of him emerging from from the ocean and then and then the guys on the ground talking about how they've heard the stories about Godzilla, you know, from the locals in the area. Yeah, big dinosaur critter. The it's night time and then the the raid sirens start to sound and everyone's like, oh, man, what's up? Are the you know, the Americans are coming. You obviously what you'd assume if you're out there, but it turns out it is indeed Godzilla. Godzilla, he's here and for a movie that's under fifteen million dollars. Godzilla looks pretty good. It helps that everything surrounding Godzilla looks very real and that the characters treat it like it's very real and the world treats it like it's real, which allows me to buy. I feel it has to be a clear example of something we've talked about before, which is that if a director knows how to use visual effects correctly and achieve far better results with a lot less money. Yeah, absolutely. If you have something that's fake and everyone treats it like it's fake or there doesn't seem to be any. I mean, what would a good example be of I mean, you probably you see it all the time in these in superhero movies where it's just a CGI flurry of stuff happening, explosions and fighting and armies and everything is clashing together and all of our guys are going through. Hey, we're having so much fun. Then it doesn't have any impact. It's a simple thing. It's seriously. You don't even look like you are where you are. Yeah, like you don't look like you're in the place that you're in, let alone what CG people or creatures or monsters that they might be interacting with. But there's like a lot of really great set dressing in the film. It very much sells you that this is mid 20th century Japan, post-war Japan because you know, but influencing visual effects. It's also influencing an immense amount of set design in this film of, you know, like markets sort of run down markets dilapidated destroy parts of the urban area. Everything from the weapons that people hold the uniforms and the clothes that they wear the technology like the radios and the telegrams the the sets of the, you know, bombed out Tokyo and Ginza and, you know, being on the destroyer ships and the little dingy's out in the water. It all it all looks very, very real. So when you combine all of those elements, as we've said, a lot of real props that everyone's wearing and real sets that people are in. Everyone treating everything like it's real and treating it very, you know, like, like it has the stakes and consequences. Then it makes the things that are CGI. The, you know, there are certain elements, I'm sure of the the battles and, you know, the destruction and then, of course, Godzilla itself. It makes it really easy to buy. Yeah, because when Godzilla shows up, all these guys are terrified. Natural. Yes. The Godzilla from the newer Western versions. He's almost, I don't know how else to say this. Maybe you can give me better words, but he's almost handsome. Well, this one is gnarly. Like, yeah, this one looks like he'll fuck you up Godzilla. Yeah, it looks like you're kind of like a cuddly chongus. You know, he's a big chongo. Yeah, he is. And he's got like very approachable kind of face as well. Obviously, it looks like he can mess it up, but he is a bit of a cuddly critter. Whereas, yeah, this one's like full of jagged sharp edges. Yeah, he looks angry. On the I think is it the first shot we get of him with the spotlight where he's not it's not like a shot where you see his eye open or you see a silhouette really far away or you see like a one stomp come to it's more you see the whole thing and he sort of does this big bodily turn and screams at the light and you're like, what the fuck? And it's like, yeah, he's covered and also showing it from the ground level as well. All of the shots during the opening sequence show Godzilla like from a ground level. There's no big aerial shots. No. So you're taking it in from the same perspective as all of the guys on the ground. There is it's definitely he does have this. I don't know. It's just like a classic old monster. It's a bit it's a bit disconcerting whereas again new Weston Godzilla is way more like approachable. Well, and to be fair, it's almost a compliment to the design because the story that going for with him is that he's like a protector of sorts. And it's like, yeah. OK, that's Godzilla's he's he's he's a big lizard. He doesn't give a fuck. He's here to destroy this one. I'm going to protect anything. Yeah, anything in his path very much the very much the allegory of war kind of stuff that we had from the you know, the earlier kinds of Godzilla's. He's not your friend. Godzilla's bad looking for more territory. It's like this city isn't my way and I don't actually know what that means, but I'm going to destroy everything because this is my now. This is my Japan. My Tokyo three. So the the plot as we move forward is Godzilla shows up. Oh, fuck, what are we going to do? Can't probably really do much because we're just some guys on an island. But hey, that fighter plane guy just arrived and that plane is parked on the runway. How very interesting. So as all of the mechanics in Koichi are hiding in a bunker after they see Godzilla show up. The the head mechanic says, hey, hey, you sneak over to your plane. They go over to your zero over there. You got some 20 millimeter guns on that thing. 20 millimeter, millimeter guns. They're like Desert Eagles. They can kill anything. Yeah, so so you go climb over there. And then when Godzilla walks in front, you you let them have it. And so that's what the plan is. Koichi sneaks over to the zero and he gets inside and he climbs in and then Godzilla kind of lumbers in front of it and he's got his sights and the Godzilla is right there and Koichi's got his hand on the gun and he's trembling and he can't do it. He can't fire off the gun and that the mechanics in the bunker with their little Arasaka's little guns, little bolt action rifles. They one of them gets really afraid and he starts shooting at Godzilla and then all of them start shooting at Godzilla with their rifles and it perturbs Godzilla. He becomes upset at this and he proceeds to start biting them and throwing them and crunching them underfoot. And yeah, it goes about how you would expect. Yeah, he's a bit mean, which actually brings up a point that I kind of like about this movie. I think that there was an opportunity, a very clear and obvious opportunity to have Godzilla. I want to talk about, I basically want to talk about the absence of gore in this movie and how I kind of like it. So obviously in the first scene, Godzilla is leaning down with his mouth and he's crunching people, but instead of just like biting them in half and just leaving like a torso and legs on the ground, he throws them and they go, ah, he throws them away or he crunches people and we don't see like the flattened gore of people who've been stepped on. We don't see bodies that have been dissected or anything like that. And I think I kind of like that. The film treats Godzilla extremely seriously. The destruction that we see him cause later is ominous and terrible and the mind fills in the kind of death toll that would happen when all this destruction takes place. And I think that being really, really upfront with a whole bunch of gore and body parts and dismemberment and kind of stuff like that, which would be more realistic, sure. I think it would come across as more distracting to me. I don't know that I think anything will fail the other on this. I understand why people would disagree or not feel a certain way, but I think that everything in the movie sells the terror of it and the death and violence of it without showing very what would have been otherwise very, very prominent gore scenes. I could have said with that. Yeah, like that they it's sold whether or not they have gore, but at the same time if they were heavy gore in this based on the damage he does to individuals, I probably would be defending it as consequent, you know, violence. I can understand that. I think I prefer without maybe just a taste thing for me. I would say that like one of the biggest things that took me out of Dunkirk because people getting shot and no blood, whereas by comparison, saving Private Ryan is very honest about like what it looks like when someone would agree in that sense. Yeah, I'd agree that if someone gets shot and there's no blood, that's bizarre. And it's not even like a big ask to have a blood splatter or a blood spray when someone gets shot. That's not that's not really, you know, I mean, I'm talking about even beyond that because having Private Ryan shows people with like their guts and yeah, yeah, I'm talking about like Dunkirk and, you know, even the small allowance of just having blood when someone gets shot. Well, I guess all that highlights is the difference between like how well you can because yeah, I don't see any problem with like not seeing, you know, body parts and arms and legs and stuff flying around when Godzilla is attacking anybody because like you said, the film sells the destruction and the carnage without necessarily needing to see, you know, heads flying around or arms or legs or blood and guts. He is screaming his like lumbering power and then the darkness as well. Like it all works really well together. But getting back to the movie, Godzilla pretty much kills virtually everyone. Koichi is knocked unconscious or he falls unconscious and when he wakes up, all of the bodies of the mechanics have been put together or have been laid out together on blankets by the survivor, the head mechanic. The head mechanic is obviously very much in distress. All of his friends have been killed and he blames Koichi. He says, if you didn't shoot the gun, you didn't shoot the gun at Godzilla and that's why everyone died. This is your fault. Mm-hmm. So now, not only about something because the this Godzilla is not fully grown up yet, if I remember correctly. Oh, yeah. Well, for anybody who's a fan of Godzilla in general, in that opening scene, you'd be like, he's a little small. He's like, yeah. He's a bit small. He's a bit small. But you're right, Metal. That's right. That's a good point. Yeah. When I was I was wondering maybe that that Canon might have actually done some damage at this point. That was my thinking, sir. I agree. I think that they lead it up to interpretation. It might have. I mean, 20 millimeter cannons on a fighter are they're nothing to scoff at. No. So especially if you've got a pair of them, the the movie doesn't say whether or not it would or wouldn't. I don't know. What is even what is super important there is that he didn't even he didn't try. Yeah. Paralyzed with theory. The mechanic believes reasonably that it would have done something. And that and that he in his emotional state and perhaps for practical reasons, you know, you didn't shoot Godzilla and it ended up killing everybody. This is your fault. You didn't do it. You needed to do so. People dying. You didn't do your duty. So people, you know, our friends died, which is also now it's now Ted that as well, his decision not to commit to the kamikaze attack is now Ted that's a Godzilla as well. Like this event has bound. You don't just have all of the weight of this event, but it's now also been bound in Koichi's mind to the war in general. And he's not, you know, doing the kamikaze, which would have killed him. So now he's alive when these guys wouldn't have been. And that's like a looming specter over the entire story for him, like personified through Godzilla. Yeah, to be clear, like it's is a good chance that even if he'd failed to kill Godzilla, the gods would have been distracted enough that the other guys may not have died. Yeah, exactly. But you know, it's an alternate an alternate world that doesn't exist because he didn't do that. So yeah, this is where he's at now. And then the next scene is they're on a troop transport boat. I believe the mechanic has gathered up all of the he's got the photos of all of the belongings of the death. Yes. All the personal photos of them and their families and he gives it to Koichi. And I hear for obvious reasons. Pretty obvious. Yeah, their debt. You failed. They died because of you. Now these are yours. All these photos of their families and mementos of their death. They're yours now. You have to carry. You have to carry this around with you. Yeah, in a very literal sense. So we get our thematic sort of parallel there. And everyone on the ship that they got their caps on. Everyone's just kind of huddled down. Everyone looks haggardly. All these soldiers on this transport heading back for Japan. You can clearly tell it's been a long war. These guys are just the they're just that they're just at the end of it. Everyone looks rough. No one's happy. No one's talking. It's a very somber kind of thing. So it's I think it's good that they kind of have that leads into the I guess environment that we're about to find ourselves in in particular. But then the mechanic goes and he is he leaves the mechanic heads off to go be somewhere else. Koichi looks at the photos briefly has kind of like a moment of terror realizing what these are that he's been given. And then Koichi heads home. Koichi lives in Tokyo. So fun to shit. Yeah. Those who don't know Tokyo was firebombed at this time. Tokyo was specifically firebombed by America. It was a it's a city built of mostly wood. So they got firebombed and everything's everything's kind of destroyed. The there's rebel everywhere. And when Koichi finally returns to the address where he lived he meets he meets a care he meets one of our characters a distressed woman named. So let me argue. I think it's Sumiko Sumiko. Let me just pull up a castle. It's just why I remember I need to get used to. Yeah, I believe my name is so I'm sure everyone will follow if we just say lady. Yeah. Sumiko lady. So Sumiko is there. She's a slightly older woman than him than him. And she's in distress. She's in the rubble. She's going through things and she recognizes Koichi like their neighbors and she says what the fuck? Koichi you're alive. Why are you alive? You're you want to be a kamikaze pilot? How did you possibly come back? I think and then what's notable about this is that there are explanations for why someone may have come back that wouldn't relate to their cowardice or ever. He doesn't provide any. So yeah, he doesn't make excuses. He could have said the war was over before I was deployed. We ran out of planes. I never got to actually see, you know, action. You know, we just we I wasn't able to get to a plane and all sorts of all sorts of reasons. But he doesn't defend himself. So I've seen celebrate about the character, which I think is a notable aspect is that he doesn't hesitate to be shamed. There's no like making excuses or lying to people. There's just there's just nah, I fucked up. I'm a coward. That's what I am. He's got some major self loathing that's driving a lot of the decisions that he makes. This is not a case of him being in denial of what he did. The thing that he's in denial of is whether he's even alive. Sumiko is very emotionally distressed right now as anyone would be in her position. She has lost her children, her neighbors, almost everyone she knows has died in the air raids. War has taken pretty much everyone from her and she is grieving right now and that explains why she essentially says if you would have died like you were supposed to, none of this would have happened. Yeah. If you and all the soldiers would have died like you should have. Yeah. Well, it's like the weight of the entire outcome of the war thrown on him. Yeah, and obviously that's on anyway. Yeah, obviously that's not what would have happened. I mean, it was it was a settled war long before this, but you know, she's distressed. So she kind of takes it up on him. She kind of smacks him a little bit and he just sort of takes it and she's crying and he asks where his parents are, which he wants to know where are my parents and Sumiko says they they died kind of along with everyone else. Yeah, like like her children, like she had two children if I remember correctly. Yeah, yeah, both perished as well. Yep. Very very grim scene. It's really, you know, the bomb city war war sucks and it's really taking very realistic approach to that and the way that people approach, you know, the destruction of their homes and everything around them. This is the second time in a very short amount of time that two characters when faced with the death around them react emotionally to Koichi. So he's kind of gotten a big double hit from that. Consequences of which we see thoroughly throughout the entire film. This is not a man who doesn't get extremely affected by every single event he's been through, including everyone reacting to those events around him. Mm hmm. So he goes to the rebel of his house and he, you know, kinds to put things together and shortly after, I believe we have a scene where he is in a marketplace. They do a really good job sort of selling the the depression and desperation of people just cobbling together everything that they can. There's, you know, there's not that much food to go around. There's no work to go around. Everyone's just kind of trying to figure out what to do. You know, what do you even do when all the homes get bombed and a lot of people are dead and, you know, resources are skint and so we there is a little marketplace with a bunch of stalls and stuff people trying to get by and Koichi's there and there is a there's a call from someone in the crowd that there's a thief. There's a thief stop her stop that thief and there's this woman and she's running through the crowd and as she runs through the crowd she hands Koichi something and takes off. Well, is it not worth kind of pointing out because it's not even random that he bumps into her. I mean, it's somewhat in terms of the wider scale of this whole area, but it would be said that crime is occurring and he feels necessary to try and step in the way of her try to stop her from stealing and she hands him the baby because he's in the way and she has every intention to come and retrieve. It's just that it's an interesting result of probably guilt again that he's like I can make a difference here someone stealing something I'll stand in their way and then this happens as a result. Yeah. Also, before we proceed forward, there was one last thing that happened right after right after Koichi meet Sumiko. I believe she hands him a letter from or no, Koichi's got a letter from his parents with him and the note from his parents wanted him to come back alive. Yeah, come back alive. That's right. So he's that they sit in there all depressed in the rubble of his building of his home where he grew up parents are dead with a letter of theirs that told him to come back alive and yet everyone is really up. You know, she's really upset that he came back alive and you know, his honor was being questioned by the maybe questioned by the mechanic back on Odo Island. So this little thing there. But yeah, he's he's now been given this baby by this this thief who was running through and the thief has run away and he's left with his baby and so he just kind of sits there waiting for someone to come and claim it. Not really knowing what to do. He's just been given this random baby by this random chick and he can't he can't just leave the baby there. He thinks about it, but yeah, can't do it. He can't just leave this baby there. And as he kind of walks away with the baby try probably still thinking about what he's going to do exactly. The thief lady. She's right there waiting for him to get out of the market stalls and kind of out of eyesight of everybody. She doesn't have a place to stay as we learned the baby is not hers in the destruction of the bombing. The baby's mother with her dying wish told Noriko to take it and you know, take care of the baby. So she's kind of been saddled with this responsibility in a way of taking care of this infant who needs help after the mother has died. And they sort of shack up together Koichi and Noriko and the baby whose name is Akiko. Yeah, it's a real easy bit of cause and effect to but she obviously notable about him is that he didn't ditch the baby and she's like, you know, that's interesting that you wouldn't do that. And then it's like, I could just I guess follow up that he's like leave me alone. Don't care about you that she's like, yeah, but you're not going to let us just starve out here. So basically relying on here. Yeah, like, like she knows that she's obviously imposing, but that he will likely help her. Which you know makes sense considering she has a big responsibility, you know, for this dynamic that this is how it manifested probably the most important relationship in the in the film between these two. Yeah, I'd say so. And again, all of this is still, you know, we're still very much using the setting that we've chosen post-war Japan after you know, in a bombed out city. We've got, you know, someone returning home from the war doesn't have his family. She doesn't have her family. She's got the kid of someone who's died. So it's kind of brought them all together in this sort of tragic way. But they end up shacking up together at Koichi's home. We'll call it that. Yeah, it's it's a bit. Right now it's pretty good. It's a fixer up or what is what they say. Yeah, it keeps the it keeps the rain off sort of what kind of hair I think it's kind of rain getting in and later. Yeah, they got little pans on the floor to catch the rain. It is shelter. It's better than sleeping outside. I don't know how we're starting to look for it's got to get a job because of these except the responsibility of taking care of the two. And I believe that's when he starts if he finds the job that pays well, which is like that raises eyebrows. It's like, yeah. She's like, are you sure? Right? Well, because what he reveals is he's going to be a mind sweeper, which of course is a dangerous job. He's directly putting himself out in danger of potentially getting your son. He doesn't want to tell her slash reveal to her yet the the nature of his surviving the war, right? No, he's it's something that it's something that is revealed to like Sumiko, but a lot of other characters don't find out until after they've spent some time with him because the group that he links up with on the mind sweeping boat. They don't find out until sometime later. I know he was part of the war by him together in another details. I think it's actually because I think it's it's after the time jump. So it's after a couple of years that they eventually find out. It's not the kind of thing that he'll proactively bring up for people to know and then criticize him for. But it's the kind of thing that if it gets found out, he's not going to make any defenses of himself. No, that's kind of like the nature of of how he he engages with people on the subject. It's also important that Sumiko, the woman neighbor from before, she's noticed that this woman in the child are now living with Koichi and she gives them. She gives them a bag of the last bag that she has of rice to make rice cool gruel for the baby. So she's helping him out. Again, I like to put on the whole legs. You picking these people up. You think that makes you a saint? He's like, No, no, no. They just they just showed up and she's like, they're still there. You pick them up. You know, maybe like this. No, you can't argue around that. And and moreover, you do you know what you're doing? Because you've taken on the responsibility of raising this kid. So you need to know what you're doing. Like you can't just take on the responsibility and then just sort of like stumbled your way through it. And so she starts to just get directly involved in raising the kid. I'm glad they didn't, you know, that is not like it would have ruined the film or anything. But if she'd been just a one dimensional neighbor who hates him throughout the whole film or something versus like she does still have a lot of hatred for him at this point. But she is like, wait, is the baby OK, though? Do you actually know? Yeah, he's a mother who lost her to kids. Exactly. Yeah. A mother who lost her kids. Which I'm specifically asked. This is if Noriko can breastfeed. Yeah. And she learns that it's not actually Noriko wasn't actually a Kiko's mother. Then, you know, then she gives the rice and helps them out. And then it's on. There's a point. I'm like, oh, this is really they're doing something to get to this point. You start to realize like, oh, OK, I'm probably in for like at least a decent movie. Yeah, it's not because they're sneaking it in almost. It's like, where's my big lizard? It's like right now I'm dealing with a family ravaged by war that are completely disconnected from each other. The baby isn't related to the guy isn't related to the girl isn't related to the neighbor. You know what I mean? Like they're an unlikely combination of people just trying to live. And you're like, wait, where's my lizard? It's like, you don't need the lizard yet. You're OK. And because this is this one's got a decent number of characters like it is. It does. Yes. The characters and each of them have their own temperaments, their own sort of their own manner of speaking and holding themselves and of course their own motives and drives and and and wants and fears rather than just being, you know, characters that will be here to service the plot for Koichi or, you know, to service him without anything going on for themselves as well. When you see that, it's like, oh, OK, OK, we're probably in for like a decent movie at the very least. Yeah, they're doing stuff for the different characters. It's not just a protagonist and some orbiters. It is absolutely a story that has other people who have their own motives and their own stories that are running in tandem with his. He was able to get a government job because in post war Japan getting work is, you know, it's difficult. Infrastructure has been destroyed. A lot of people have died. A lot of things are, you know, in ruins, but he was able to get a job, a government job clearing mines. And when he was very concerned, she does not want him to, you know, perish doing this job. She's very, you know, she doesn't want him to get killed. She values life immensely. The thing is, is that it's the money. But what else is it that you're taking on a job that's going to be putting you in harm's way, putting your life at risk? That's an element of like, hmm, is it just the money? Or do you want to put yourself in a dangerous situation where you might die doing something that you believe to be of service? Well, not believed to be. There is a service to the country. A good time skip as well. Because yeah, it's just coming back in now and she's she's like caring for him as though she is his wife almost like and the way that they dress the house is in better repair. It's just like, we had all the components we need to understand that if you just simply add time, then of course, this is going to be the relationship going forward. Well, it's interesting that they're like in the state of almost a de facto marriage, but they're not married, which will be a thing that starts to get addressed more as time goes on. And again, how does he get a job? Well, he gets a job clearing the mines from the war. So everything the war is an omnipresent factor in this movie living in this setting, which colors everything about kind of what happens, what people think. I think it's useful when when movies do this that like it's not like, oh, you know, September 1945 done so. It's like, well, no, I mean, the soldiers are still deployed for years afterward. Obviously all the countries have to re develop all of their infrastructure occupations. I think America occupied Japan until was like four or five years later that they were still there. Something I can't quite remember the point being that, you know, post war. It's like, well, yeah, there is post war. There is recovery, rebuilding, reorganizing of governments and institutions. And it's good to see what does it look like for regular people to navigate that situation? Cause I just feel like we don't see it enough in media. We got a lot of stories about what happens in World War II, obviously, but not so many stories that deal with the direct post war sort of day-to-day life. Yeah, it's funny how this not only applies into like Star Wars or sci-fi in general. It's like, oh, what about all these normal characters? You can do the same thing with real life stuff. That's true, that's true. Oh, what are we going to do? What are these people all going to do? Like, whether they get jobs, how do these deep sea mines, how are they going to get rid of those? It's like, you just fucking blow them up and cut them up. It's like, oh, okay. Just interesting. Yeah, the elements of the war pervasive throughout the film kind of colors over everything. And in a lesser film, oh, I just got a really good paying job and it's dangerous and it's just a totally random thing that's in no way really connected at all. But a lot of mines that were deployed by both sides in the war, someone's got to clear them. That's our job. This will be a good example again in terms of storytelling and how do you get your characters into a situation where, because obviously the question is, well, how do we get them to interact with Godzilla again? Yes. I mean, that's what's about to happen. It's like, well, we could just have it be that he gets a job that doesn't really mean anything to him as a character and then that brings him into the path of Godzilla. But what does it look like when he made a deliberate choice to take a job that was dangerous knowing that he has an amount of guilt over having survived through perceived cowardice to then take on a job that is dangerous and also of service that then brings him into contact with Godzilla? It's just like a better way of making that happen. They're just, oh, it just happens. You know, just luck. You know, whenever there's luck, it's worthwhile to see if there's an opportunity to make it a choice, like a character driven choice that makes something just worth going out. She's really concerned about his well-being. She does not want him to die. Obviously, she's probably grown attached to him in a way and because, you know, pragmatically, she needs someone to help her take care of the baby. But this is kind of the first time in the movie that Koichi has had someone express very plainly to him that they're concerned for his life and his well-being that they don't want him to die. So it's going to be a thing running through the movie. Some people are upset that he's alive. Some people want him to be alive. So, yeah. Isn't it nice when you have different characters with different things that think different things that should use? They want to say, why are they holding different things? I guess so. I'll do a complete sentence the second time around. And one of them is holding a coffee mug. Yeah. Also, see characters with different approaches to life and what they think about the outcome of the war and about different people. Just, yeah, it's just nice. Characters are nice. Before Koichi goes off to work, they have Nariko and him have that conversation where near the end, he says, don't worry. Just because it's dangerous doesn't mean I'll die. It's not like kamikaze pilots. And then there's kind of a silence between them a bit. As I guess he kind of just realized sort of what he said and maybe wonders why he said it. But then he says in what I think is actually a fairly well executed bit of a joke here is he tells her, don't worry, I'll come back safe because we'll be using special boats that have been designed to evade mines. Oh, yeah. And then the next scene has him there at the harbor and he's just staring at these two shitty wooden boats. Yeah. But that is an interesting subversion because they do evade mines because they're made of wood. It is exactly the kind of specially made for that kind of notion. It's like, well, yeah, technically. But it has a reason. It's a joke that actually has a reason. Oh, my God. Oh, my God. But yeah, there are a lot of mines that were magnetic. So if a big metal ship will attract the, you know, magnetized mine, but they're in these wooden boats. So the mines will not be attracted by their boats. And he walks on to the little dock and he meets we meet our characters. We meet our we meet our boys. Now, by the way, the director said specifically at Takashi Yamazaki, he said that one of his influences for this movie was Jaws, which is something. Yeah, I I almost said I almost poked my dad during the movie and said, man, this kind of gives me Jaws vibes. And then it turned out indeed it he took inspiration from Jaws. So we meet our captain dock and kid captain, of course, isn't is in charge of, you know, the boat. He's the boat captain. We've got Doc, who's our we'll have them are sort of a smart, older guy. And then we have kid who is a younger man who didn't serve in war. Yeah, he didn't fight in the war. I guess he's just too young or it happened ended too quick. So we've got our four characters now together. Well, just the nature of the job is pretty straightforward. They run out the two boats. They have a lines to cut the wires, make them float up and then blow them up. It's just a very straightforward cleanup job. It was the perfect setting. And the perfect setting for weight. Sorry. Oh, for meeting. Well, it's called Godzilla. After all, we get some we get some good characterization right off the bat for the three people that Kouichi meets just their dispositions and personalities. Yeah, the captain's kind of sarcastic and kind of a meme of a troll. Yeah, he's a meme boy. He likes to troll a bit and Doc is the one who tells him about, you know, during the war, 60,000 mines were laid by both sides, but the worst were the American Magnetic Mines. So that's why we've got this ship, you know, made out of wood that won't set them off. So he's the character who tells him that stuff with the specifics and we'll learn, you know, later that is back, you know, his own history is going to explain why I guess he's more, you know, keen on the science of it and the hatching of plans which even brings something unique to the table because he he's the best shot like of anybody on the boat. He's our sharpshooter. That's right. And they don't make that just a he has the gun and he is even tries to give some advice to the others when he's using the gun. Yes, basically they have this. They have a clipper in the water that clips the the metal chains. The mines rise to the surface and then they use a machine gun on the back of the boat to shoot them from a distance and set them off. And yeah, he does describe, you know, being a fighter pilot, you have to know, you know, how to lead targets and things of that nature. So when you're on a ship that's kind of bobbing up and down and things are flowing around in the water, you know, it's something that would come in handy. And so he's able to be a, you know, a good being a good gunner. And also his ability to shoot well is is it's going to be used later. There are two ships. They are on the other get the names, but they have they have their own ship and then there's another sister ship that sort of goes in and out with them. So they're they're not alone. There's them and another ship. But the dog actually says here that he developed naval weapons during the war. So he was an engineer. Yeah, he was an engineer. So they go out and they're shooting some mines. We get a cool Jaws-esque scene. They're on their little dinghy. I don't know if dinghy has a specific this is yeah, this is after a couple of years because it's it's like he's building up his life at home and doing the job. But now it's time for go Godzilla to show up and get to ruin everything. He has a nightmare sequence as well. So it seems that he's trying to. Yeah, the integration of like the different areas of the world together, like his memory of Godzilla plus the where he's living now. Pretty cool. And very dreamlike. It's kind of how it goes. Well, my dream likes on super literal. Well, I mean, you could say that's a form of literal. It's just that it's it plays with your mind. There's all kinds of things at once. What does it all mean exactly? Because it's all stuff you're in processed. Well, yeah, the trauma is so obviously on his mind including because it's just before that as well that you get the kid says, right? It's almost like his regrets of not being able to serve in the war. He's like, if only the war had lasted longer and it like triggers the fuck out of. Oh, yeah. It's like even take that back and even captain troll me, man. It's like you fucking idiot. Why'd you say that? Like it's even he has like a social awareness of what things to push and what not. And even, you know, he's going to know like, you probably never say the war should have lasted longer. Well, the captain specifically mentions that he's not a not a fan of the Imperial government. He's a the film has multiple characters throughout this who criticize the actions of the government and their you know, how they sort of treat, you know, the lives of the regular Japanese people and, you know, and their their hiding of information. So he's pretty he's he's pretty red-pilled on the the federal question, I suppose. There's a lot to say about government. It does. Is that even after this, like reprimanding later in the film, he still kind of has that that drive in motivation of I want to fight. I want to I want to be in like a big battle. You know, I want to prove my prove my worth that even after this, it's not like it's not like as dislodged the idea permanently. Yeah. And that's such an interesting almost variation on the main character struggle being that he's like, I fucked up my chance or rather my call to duty and he's like, I want to call to duty. I want a chance to be able to pull the triggers or to sacrifice whatever. The you know, the thing is our main character has been destroyed by that event by not having acted. Yeah, having this chance and failing. The film is definitely taking this pretty firm position that, you know, don't wish for war. Don't you know, don't be so quick to desire this this I guess chance to prove yourself in that way because over the course of the film, it gets built up even further to like, don't be eager to die. Like for even even for the even for the cause, right? It's like, what exactly you're fighting for the sake of life right and living and getting to live a life. So bear that in mind yourself. But yeah, your life is valuable and meaningful to you also, but a lot of people around you will be, you know, impacted as well by you dying. And we've already had, you know, the mother, you know, Akiko's mother and, you know, Noriko lost her family. He lost his family. When people die, it affects those around them. And, you know, those who are left to carry on. So don't throw it away. It means a lot. So yeah, years go by. He makes some money. He's kind of things are doing all right for him. He's becoming better and better friends with his boat crew. His relationship with Noriko kind of carries on. I think there's definitely the subtle romance vibes, but he's, you know, they're not married yet. They are still living together, taking care of the kid. And Akiko's definitely growing up. You know, she's big enough to at least, you know, speak a little bit and, you know, sit up and do all those sorts of things. So he doesn't consider himself Akiko's father, but she calls him daddy. Things like that. You know, he doesn't consider himself his father and of course doesn't consider himself to be married. He's not exactly allowing that notion to be present. Yeah. And he'll explain why he hasn't married her later and what we'll get to that when we get to that. But we learn that as the years go by things get a little bit better, you know, things get better. Noriko gets a job in Ginza working as a like a secretary or a desk clerk, something like that. But she gets a job in Ginza, a nearby city. And originally Koichi's like, you know what? Don't I give you enough money? Like what do you need a good job for? You know, don't I provide for you? Which I think is interesting because, you know, he feels responsible for their, you know, situation and everything. But she says she wants to stand on her own two feet. She wants to, she wants to kind of not just be given things. She wants to earn stuff. It's very woke, kind of disgusting. Really, really drags the film down. But I guess, you know, I guess we'll just have to deal with it. But yes, Noriko's got this outfit on and she's going to get a job in Ginza. So let me see. And also I believe that Sumiko is going to watch over the kid while they are away. So it seems that the relationship between Sumiko and the rest has sort of improved and mellowed out over time. One is she's it's just nice because it's it's healing, right? And that's part of what this film is really trying to address the people of Japan trying to get somewhere from the horrors of war trying to recover. And obviously all of this takes extreme damage again and is threatened harshly by Godzilla. This brief and tidy light in the middle of absolute destruction. Hmm. So you might have been thinking that this was a well done little character drama that we've got, but actually it is a Godzilla movie as well. Nice. So Godzilla does sort of enter back into the plot here. We get a radio broadcast and announcement of some strange creature that's been bouncing around the ocean and is sort of headed towards Japan. And no one really knows what it is. No one really knows what's happening. The Americans are aware of it. The Japanese are aware of it. But America and the Japan's militaries can't really get involved because that would that would trigger Soviet again. The Soviets would see that as military aggression. So again, we have our sort of post-World War II explanation as to why America can't just show up with big armies to look into some. So you should be mentioned this is a problem to solve for the writer. How do we prevent massive forces of other governmental militaries coming in to annihilate Godzilla? Especially if we don't want the film to be about that. It's like, well, you're gonna have to come up with some some kind of reason and this is the one they settled on, which I find to be if I could give it a rating of like 30 percent effective. It's something. It's not great though. It ain't great. I don't. I think I would need to know more, but on its face, it's something. But it's like the justification because the justification basically throughout the film of why America doesn't want to get involved in dealing with Godzilla is while there's tensions with the Soviet Union that are making it to where they don't want to get involved. I understand that, but it's a giant nuclear powered fucking. Yeah, if we can be, you know, a little bit meta, I think it works great for the theme in terms of like red tape in the government preventing the obvious help needed to the citizens. Like we don't, you know, that sort of angle and there's something that works on a character level in a way that we can make it Japan focused. I appreciate that too. But I was talking about this one. Focus as well. Yeah, something that some of this unreal people see and I feel like a really cool solution you could have had to this would be that when we hit the final battle sort of thing that we have maybe closer to the final battle anyway, we have aspects of other countries of individuals who have traveled from those countries to help because their governments are refusing sort of thing or that there's 200 red tapes too slow the bureaucracy of it all. So we have characters that, you know, like a British sergeant or something with a couple people and then we'll just scattered across all different kinds, obviously American and maybe even throw maybe throw everyone from all sides of the wars. You know, after the war. Well, because that would be an interesting angle because obviously it's all the history to some way. So what if it was the thing where like the US and the Soviet Union were wanting to get involved in. Yeah. I think that really captures it. If you have Soviet and American like units, even though the government to prevent them from coming, you'd be like, oh, see, it's a good idea thematically the element of and like Americans after the war and the Japanese working together to stop something is symbolic of like the wars behind us. We have to move ahead. We need to be, you know, we could be allies now. That's you know, we're not people we used to be. So it's far from an absurd proposition because America was that's what happened. They were on Japan and they're still in Japan. There are still bases in Japan. Yeah. Japan and America are very strong allies allies. So there would have been Americans there to get involved. So yeah, I do because of course I understand the idea of wanting it to be about the civilians who were there grouping up like I understand that premise, but the idea that like America or Russia wouldn't want to get involved in dealing with like nuclear powered dinosaur just wreaking havoc in Japan is a hard. Yeah, at the beginning, right? You can get away with it at the beginning when it's just ships go missing. Yeah, but once the military knows it's done once they're calling him Godzilla, you know, like, oh yeah, that's like that incident that happened there and also we're sending all these ships here and they keep getting destroyed once you're at that point. I feel like the whole world is organizing around trying to deal with Godzilla. So it really is like it's it ain't great as an explanation. Just yeah, something I feel it would help if we had the individual aspect as well because you'd be so easy to characterize like an American gun towing guy being like as soon as I heard there was a giant fucking dinosaur here. I had to see it. That's sort of, you know, different characters have different reasons for being here, but the representative of helping part of what sort of surprises me that there is no American character in this is that this movie doesn't say America sucks or that. I mean, if anything, it's most critical of the Japanese government during the war because I mean, yeah, they didn't start it just they didn't start it and it and it caused a lot of destruction for, you know, the Japanese people. So obviously that's why you have the Japanese characters here who are just citizens really, really critical of the government and and that sort of thing. So this film takes it doesn't take the position of, you know, Americans are terrible for fighting us in this war is like, I know it's war it sucks, but both things you know, both sides kill each other. That's what's bad about it. I'll try to localize a lot on very ground level civilian perspectives rather than yeah, it's not a global political the geopolitics because at that point then you just like well, I mean, there's a lot of history that you have to start delving into there because the war for Japan began in 1933 for the the Sano Japanese war. And if you want to go all the way back to that and then all of the invasions and all across the Pacific and everything like that and then yeah, that that that kind of doesn't help service the goals of this film in terms of being very focused on individuals and how they grapple with essentially finding meaning and moving on in the wake of the war that is very much like beyond their it's beyond them beyond their control like beyond their capacity to do anything about it at this point. It's yeah, post war. Yeah, that I understand them not wanting to delve into like a massive politics things of like now the Cold War and all of this stuff to do with like what what does it look like with America? Like I understand all that but again, the idea that America or Russia wouldn't be trying to get involved in directly stopping a giant nuclear lizard that's roaming around in the Pacific like right near very important hotspots. I mean, beyond just the fact that it's a giant element that's completely out of their control. It's too it's too existential. This thing. Yeah, it is too big especially when we see how much damage it causes by firing its blast. It is equivalent to a nuclear bomb. It is equivalent to the bomb well. Yeah, it's the most dangerous creature to ever live that has no allegiance whatsoever. Exactly. There's no way and like even if you assume that there was absolutely no American interest in Japan which of course that was not the case. There was tremendous American and Russian in interest in Japan because Russia was going to they were enemies out of the plan. Right. They were going to invade shortly before they surrendered I believe like Hokkaido anyway. They just pushed them out of Manchuria. So that definitely would have been a lot of it. Yeah, to sell the idea that it's just the civilians of Tokyo having to deal with this situation with no help from their own government or the American or Russian government. I don't know about that. Yeah. It's it is definitely a big stretch. I appreciate that they at least gave a reason for it. Yeah, a weak one but they did address it and it does work like in a thematic character sense. So I'd say that this is one of the few problems with the film is something like this and the big relevant part because we talked about this before. Generally plot problems influence characters in a negative way. In this case, it's neutral. The characters respond to the information and they have no control over this set of affairs. Well, this is the world as best they can to. Yeah, this. You can say world and then some influence on the plot. But there's no will building that we argue this is what America and the Soviets are up to. I'd be like that's the world they're crafting which I don't buy and I don't think matches the. You know, I mean like I guess the idea was that you're right. The plot because it motivates the civilian lead effort to fight Godzilla. It's like, you know, you you just take an episode of like fucking a normal show and then just suddenly introduce all kinds of nonsense like a Doctor Who episode suddenly and just be like that doesn't make sense. But if the characters react to it all as they should then there's no damage done to them. Which they do. So it's it's it is a problem but it's not it's not that's it's not usually. As I said, I think it's a boon to the theme to the government is not or outside government and the ones that there's there's a wider point of course they've been critical heavily of the Japanese government certainly at the time of war but also just a government in general. I you know, like the the cold nature of the government has to its civilians or citizens. Yep. And it won't matter in a few places. Well, I'm kind of like the notion that the government can't the government is not really in a position to help you as an individual ascertain what your meaning of life is. Now in the wake of a massive war that they were responsible for in the first place. Anyway, they're like at the end of the day, it's up to the people to figure that out for themselves. So yeah, it's a kind of a complex floor. So Godzilla is sort of coming back into the plot. There's this awareness that there's some something out there that's kind of taken out some boats here and there and that the wreckage of the boat sort of implies that's moving towards mainland Japan. That's weird. We get a scene of our crew on the boat. Koichi Doc Kidd and Captain and they're out there. They're out there clipping mine, shooting them. And I think this is where there's a little conversation between Doc and Koichi where they kind of share a little bit of the the post war. I guess Koichi is saying that I feel like I need to avenge them. You know, I feel restless and Doc kind of says the same thing. I think he has a line where he says something along something akin to when I think about the war. I can't sleep sometimes or you know, he's got his own bad memories of the war like a lot of characters in this do. So again, we're really tying in that that's the sort of common thread between characters. It's something that sort of unites people in this world particularly post war Japan. This this terrible memory of the war that just happened. I think that this is where they bump into a destroyed ship. Yes. This is where they come across the wreckage of a fairly big destroyer ship out just floating out here that's been attacked. Quickly conclude no ship did this. No way. Yeah, this is speculation in the in the island at the beginning they think one of the says is could this be a Yankee weapon and then here they say a Soviet weapon like these all that paranoia from the war you'll always assume it's just a moment away from just being obliterated by a new weapon. So I said no it's got these who are recognizes some of the damage we have the destroyers got like bits like torn off of it and big claw marks down the side and there's in like obviously a very very large creature has attacked this ship and they buy it once Koichi says you know Yeah, this is Godzilla. I think I saw it before during the war on Odo Island and they're like Oh, that wasn't an American attack and he's like, No, no. It was the Americans. They were attacked Odo Island. It was Godzilla. This thing really is real and you could see the proof in front of you and they believe him. Thank God. Oh, well, not only that but they start to piece things together. Yeah, I'll figure out like, well, wait. So wait, so what was the deal with you in World War Two? Wait, hold on. Not just that the fact that they're here at all. Why are we here? Why would they have sent us here? If that's true. Yeah, exactly. They realize, oh, shit. Do they expect to fight Godzilla? No, I think it's like, no, they they want us to stall for time until the big ship can arrive. That's right. And they're very happy about that because no, if you remember they have this little dingy wooden ship that is there to destroy some minds not to find the big lizards. Yes. Well, I do like they drop some some sort of seeds here for a sense of bringing up and bringing down tension stuff. They said that they got a delay time for the is the ship called the Takio to Kayo. Oh, yes. I'm like that. Yeah. And the kid is like, oh, that's fucking beast ship legendary. And so we've that's like a reverse ticking clock in the sense that it's like as soon as that arrives we'll be safe. Yeah, the captain. The when Doc says that, yeah, we basically are out here to let's stall for time if we can if it shows up because it's heading for Tokyo. And the captain says paraphrasing because I'm luckily I saw this movie last night. So I remember a lot of it, but the captain essentially says that it's our you know, it's our we have to stall for time and do what we can because if that monster is headed for Tokyo, it'll cause like immense destruction. And I think the line that he says is I don't want to see it in flames again. So again, post war, post war, post war, it's on everything in this movie. That's what the characters have in their minds. And that makes a lot of sense. So he says he doesn't like the government and a lot of the things that they've done. He hates following orders with a passion, but he says, you know what? Someone's got to do it. Someone has to do it so that Tokyo can hopefully be saved by the time that to Keio gets here to stop it. He says, someone's got to do it, which is very interesting. I really like that. He's he's critical of his government, but he loves his country and his people. And, you know, he's got that heroic streak in him and he wants to do what's right, even if it is dangerous to him. That nuance of the nature of sacrifice and duty is this film's obsessed with it and I love it. Absolutely. Even when the even when the kid says, oh, that's okay. That's a big ship. It doesn't destroy anything. You know, he has that very much idealized version of what a warship is. Yeah. That it's just this unstoppable juggernaut and once it shows up, it'll, you know, make all the problems go away. It's appropriate that the young young guy says that. So they look around and oh shit. Right after right after captain says, you know, we've got a duty to do. We someone's got to do it. Someone's got to slow this thing down. Godzilla comes up from the water and he grabs a cooling card with the fish. He's deep sea fish. Oh, yeah. That's right. Yeah, a little rising as like a little goober fish and come up. Yeah. Yeah. These creepy little goober fish from deep down. Yeah. Kind of rise around the surface and that's kind of how you know that Godzilla is going to be showing up. But we see Godzilla coming up from the water and grabbing and destroying the sister ship. Yep. Of our of our essentially our protagonists here and they watch in horror as it just destroys the ship without any effort whatsoever comes up and just destroys it and it is at this point that the captain basically says. Yep, we're leaving. We're going. We're going. So that's a bit of a funny moment. They try to get the engine started and they barely get the engine started and time for them to get out of the way before Godzilla comes and get some and here we begin our really cool ass chase sequence. Do you know it's yeah, it's it's cool but Godzilla he ain't moving to he ain't moving as fast as I figure he would while chasing him. I suppose not. It's tough to catch a lot of the other ships real quick compared to our compared to this one he's a little bit slower. He's a little bit more tired out like tired I guess. Maybe just walk up from a nap from all these deep sea fish. Yeah, but I'm saying it was getting the other ship. The I think we're allowed to sit. We've praised the hell out of the film. Okay. There's particularly a shot where he's basically completely on them. Yeah, I'm just they just they just sort of slowly move away and he's just like, hmm. Okay. Yeah. All right. I'm not that interested in getting I would have appreciated the reason I guess I'm not sure how I would write this, but we need it so that he's on their tail. Like he's actively trying to destroy them, but he just can't catch up. And it's like, that's really hard to buy. What's hard when you smack his hand past? When they start the engine, they just show him sort of just sort of kind of lazily going towards the ship. And then they're able to get out of the way of it of its spines in the water. But yeah, I think it it takes more than down a considerable amount in order to enable what needs to happen to happen, which is that this action scene allows them to escape while also identifying a critical weakness of Godzilla. Yes. Super engaging scene. It's just that Godzilla needs to be nerfed for this scene. Yeah. Oh, yeah. He's moving super duper slow. He is. He's going slow. He's a slow chongus today. It's it. I think it helps a little bit that we're out in the middle of the ocean and it's tough to get a reference of how fast they're moving because there's no objects or anything to measure it against. So it does have that kind of working for it. The things that work against it is a comparable boat. We saw it get up to it without even like giving itself away because it came from under the ocean to grab it. And then the ship that arrives the one that they were delaying and waiting for he gets over to that one fairly quickly and takes out pretty quickly as well. That like the little small boat was the one that caused him the most grief is a little bit funny. I suppose so because they get on the inside of him. But yeah, we have this we have the chase sequence and and what they do with a bunch of of the mines is they've got some mines on their ship. I've got it up. Yeah. And what they do is they sort of as they're fleeing Godzilla they push the mines off the back and then Koichi on the gun he shoots the mines and blows them up in front of Godzilla and there they're not really doing anything other than making them really upset. One of the mines they're basically. Yeah. One of the mines they push off and it gets in his mouth and then Koichi shoots it in his mouth. And it like blows a chunk of its jaw off from inside. But we see that Godzilla regenerates you know the flesh around and it really starts to regenerate. And so they're like oh shit this is bad this is bad man is really bad. Oh fuck. And things are looking pretty grim after they watch Godzilla regenerate because they don't know what they're going to do which is interesting because it looks grim but this is a check off mine. I have a stop. Oh my God. Check goes on. Most of the check off Godzilla soft in a bit. Yeah. That's what they call that trope. Because now check out Godzilla soft in her bit. Yeah. Godzilla is vulnerable to damage he is from the outside he seems to be utterly indestructible but if you can get him on the inside you can deal some damage of course the challenge is this explosion and kill him so doesn't look great but he can be heard. Yeah after after that second bomb goes off he does like square up to them like you motherfuckers just peel off my face. And this is the moment when the Takao shows up the destroyer arrives and it pelts Godzilla with its cannons. This this this makes Godzilla very upset and he moves very fast to get to them very fast very very fast he moves very fast. He wants to beat him up. Yes. He's very very upset at what has just occurred. So Godzilla goes over to the destroyer swims right up to it and he kind of crawls on it and he's kind of ripping it to pieces and his weight is making his way I think this is one of the fucking coolest things ever but his weight is kind of dragging the ship over on its side a bit and as the ship is leaning on its side both of the I guess it'd be the bow guns turn they rotate while clinging on to the ship and they fire point blank yeah the ship is sort of turned over and blasted point blank and I just there was one of those movie moments for me where the visuals and the music and you were totally invested into it and I just thought it was one of the coolest things I've seen in a long time. Yeah, no, it's it's a it's a really cool spectacle film compared to again compared to something like the Marbles for instance. Everything just looks cheap which is funny considering that it cost like 20 times as much money. It is definitely one of those films that sort of justifies the existence of cinema and theater as oh yeah just makes you wonder when they sit in their little offices and talk to the movie makes like so guys this movie over there that cost like half of what's going on Kevin hmm like yeah it makes you wonder where the where does the money go how can you make Godzilla minus one in under 15 million they have to things like wait these guys spent like a fraction of the money we spent on one episode of of a season which is successful what's happening an episode of secret invasion cost what three four times as much as this movie it's insanity we talked about before but it's getting to the point now I just want to you know I said like yeah if we just tweak this but this year change these characters here we can get this story into the MCU and face forward it's like you know you've damaged it so much I wonder now because the ultimate timeline is like equally gloopy of just tossing this movie into the MCU fuck it just rebrand it marketing wise I'd like just just toss it in content fuck it absolutely fuck it and this is like how would that go just like probably fucking would have made loads of money probably would have gone I mean in terms of like extolling the virtue of spending less money on a film this film is like made eight times its budget that's very successful yes what I'm getting I guess is like if it played out exactly the same that they're like the reason we've done this in the MCU is because he'd regenerated over the course of what 60 years or something or 80 maybe but yeah it's you know and then like yeah he's coming back and who's going to defeat him and what's funny about that it's like yeah who fucking different Captain American Falcon like way what was up yeah the Avengers game all that all that was a brilliant that was brows on the wiki on this for a bit and it says that Takashi Yamazaki the director and the writer he spent three years working on the script and it shows yeah it does yeah an actual amount of work was spent on the script he's the only listed writer and again he's the writer director and visual effects supervisor like in head so he was yeah in charge so this guy definitely had a he had a vision he had a lot of work put into it and when people spend time on scripts it tends to work out you just got to sit there but it's just that there's no way that you can tell me that you know the marbles are what is it blood and thumb love and thunder was yeah was like oh yeah we spent three years on the script is like no you spent three weeks may if I wait you know that they don't have scripts when they go into shoot which is oh yeah you're right yeah I've told you forgot where I don't understand how you can get good results when you don't have at least like things change when you make a film obviously reshoots rewrites and everything like that but the notion of not even having to complete scripts while you filming that how can you always complete script that's your story you fuck the beginning of a script is oftentimes what they don't even have yeah they have they have a list of action set pieces that someone else decided that they were going to have and they have to figure out how to string everything together I don't know again it just feels like what you have here is way more pure it's that somebody had an idea for a story just well we're just doing a Godzilla thing so just find find some human characters from and whatever people aren't there for them they're there for the big lizard when it's entirely possible to have people be there for the human characters and the big lizard and Mahler you'd mention this before concerning Tony Gilroy about how during the covid covid pandemic things were kind of slowing down post ponying how he had taken that time to look at a script and go through it the production was stopped so we decided to redraft scripts that's something that's what happened with this movie Yamazaki decided that well we got a we got a postpone the film for a few years and I'm going to rewrite the script several times over you know you know over that you know time period it's rare that you do a redraft and your conclusion is I never should have done that redraft no that's made it worse I can't just default back to what I had if I did make something worse not many people say fun fact as well about and or is that each of the major story arcs of the season were written by one writer like one writer was responsible for each season arc so in terms of like the the level of I guess she could say like consistency and yeah any given so like for instance the first three episodes were written by Tony Gilroy the next three episodes were written by by his brother like that kind of that kind of structure which is interesting you know there's definitely the too many cooks kind of philosophy that probably makes a great deal of sense when you have people who have competing goals and things that they want to accomplish with movies or yeah it's it's pretty rare that you look at a film that has like six or seven screenwriters attached where it ever turns out good usually it's one or two people maybe three maybe but like they've got to be on the same page there you've got to be aligned yeah well a lot of the time when you have a bunch of different writers it's because it went through a lot of different people's hands together and figured out in a room yeah it's more like to you know a guy wrote a script then someone got him to do like a rewrite and then someone else came in to do a rewrite and then you got story credits and everything like that obviously television it's a little bit different you got your writers room there but but hey we got a single unified voice through Michael Waldron for multiverse of madness and I mean that turned out great didn't that is that what we got I mean TL I mean TLJ is you know that Ryan Johnson writer director I was actually going to say that feels like probably the best example of because I believe he's not like you know with everything we know about Michael Waldron as much as I do consider him in awful writer we also know the process was going to prevent a lot of his stuff from even making it to the screen anyway a lot of it wasn't even his to begin with right a lot of it was there already and he has to contextualize it not to say of course that his contributions weren't pissed but TLJ seems to be a film that he was given free reign on for there it is yeah that's that is what he wanted when you have a production company that doesn't follow through making films they don't feel are up to their quality standards and when you have a director writer who actually redrafts and you know uses his time to make the script better and tighten it up turns out you can get some pretty good things out of that who to thunk so returning to the movie yeah this was like super amazing theater moment absolutely loved it it was really nice to go back into the theater and see stuff like this um I think I owe this movie and I may be biased towards this movie because um you love big lizards yeah I mean yeah there's that but you know being able to take my dad out again after he's been kind of home and stuff with his own medical issues now that he's finally getting back on his you know when he's finally getting back out there and he can you know do stuff again being able to take him back to a theater take him to see a Godzilla movie like this big bombastic kind of theater thing that he's really keen on and to have it be good and to be able to have something like this work and know that there's good writing behind it um yeah I really really do appreciate the movie for that if there were one to see this year uh this probably would be the one I'd recommend not to say that I see so many in the theater these days but this one I wanted to see in the theater you know and I'm glad that wasn't a waste amazing this is this is definitely a theater movie through and through the the way that the film uses sound and silence the way that you know just the scale and grandeur of it um it's it's an excellent theater movie there's a lot of movies that you could watch at home you know and you don't really lose much from it but there are some movies where they get a great boost from being in that kind of environment my film of the year I wouldn't say you to see to the cinema you'll be fine what's your film of the year Mahler say probably as everyone's here Sam is mine yes I haven't seen my movie of the year yet because it's a new year I'm not putting years to movies I got a I got to go through like all the movies that came out last year and everything because I'm just bad at putting dates to both games and movies Oppenheimer will be with you considering a course right you like that yeah Oppenheimer I'm consider I need to get like a list I'm just fucking terrible at putting dates to things um moon rubble moon in line obviously rebel moon is up there uh and trash yeah what that's the from the visionary Zach Snyder take it back visionary maybe yeah so yeah we get our cool last sequence of him you know thrashing the destroyer the star shooting at him they shoot it off the ship Godzilla is clearly not uh clearly not pleased with this no and uh everyone's wondering did we do it did we kill Godzilla well we've got another hour left to the movie so probably not however um their their fears are unfortunately realized when we see beneath the destroyer in the water into which Godzilla had sunk this massive blue light and then this horrific terrible explosion on the surface as the destroyer is um absolute like vaporized annihilated absolutely annihilated all of our heroes on the ship look towards the Tekayo in in shock and awe um we have the introduction of the heat ray as they call it from Godzilla uh and it and it absolutely destroys the ship entirely it's quite something in this movie the heat ray it's uh I mean it's a boy even worse later a little later let me get clarification is it atomic or not I don't think it's atomic well Godzilla at least is atomic at this one they go around with a Geiger counter later on yeah yeah that's right yeah after the Ginza attack uh they tell people to not get around the area because they have worries about radiation and they have those guys with the Geiger counters that's right and they're kind of checking for you know radioactive stuff and they use radioactive buoys to check its location later but I think the heat ray as far as I know it's just like a insanely big explosion that creates shockwaves I don't think it in and of itself is radioactive okay um either way better for the film that it's not yeah yes I think so it um it would have been fucked either or Ginza rather or main character basically this is yeah it's an insane energy weapon is what it is God's right itself seems to be somewhat radioactive and uh I'll say the explosion is incredible amazing to watch in a theater and everything but our main characters all sitting on that boat and not that far away no and that would have an immense shockwave um considering how close they were they're they're lucky that their their internal organs weren't turned to jelly do you think the fact it was underwater and we don't know how far away Godzilla is adjust that somewhat I mean the explosion we see is you know the ladies if we think of the laser going from his mouth all the way up and then the explosion the impact of it is surface of the water with the ship and then you just look at the uh for lack of a better term the graphic of what's happening it's an enormous explosion especially relative to the the worship itself which is what we see and it's just like yeah that's uh that's big and I think our lads would be in peril for lack of a at the very least it's like some recognizers are later on that the shockwave uh is is as devastating as we are the fireball in terms of the amount of damage it causes yeah it's uh they've got to be quite a ways away I think to make that uh more believable but yeah I think that's fair I think that's fair let's uh I don't think we did a broad mention of it but plot armor and wheel building of the main issues I took with the film right now well this isn't the most notable instance of plot armor there's one more I agree yes there is there's one more really big one left I agree and it feels as close as you get to understanding the term plot armor it feels like someone must have been wearing some armor around around like haha um let me see so yeah they want Godzilla blows up the Takao he checks it out he's like yeah that's right I blew you up and then he descends back I guess I don't know it descends back into the you know ocean and swims away and Koichi who got uh who's he's got a head wound from when he blew up the mind in Godzilla's face um and he's kind of bleeding from the head a bit when he passes out would you argue this is where the doctor figures out I can't remember if it's a more over example of like Godzilla's leaving now he could continue whatever but he's clearly needs to regenerate sort of thing um potentially I'm not I'm not certain the doctor intuitively somewhat at least concludes which I think is fair that um he can fire the laser but he needs to needs a recharge if you look at Godzilla after he fires the laser he looks pretty rough um but I don't know if that's a combination of being underwater all the guns that hit him I like that when Godzilla fires this laser it kind of hurts Godzilla he's got these scars on his outside that he's not not even he's kind of immune so to speak to his own heat ray that it it takes a lot for him to do that and with all the resources that that the doc would probably have especially with what happens at Ginza and stuff um I think he'd be able to piece it together reasonably yeah I was just thinking out loud about I think so that was where he spotted does he have that same level of uh degeneration after firing a bit later um I think so but I'm not certain I remember looking pretty on his outside might be from the destroyer hitting him maybe that's what I was saying it might be a combination that might be true those things I um let's see um nothing in particular happens through the next minute as the case is um but yeah he wakes up and uh he wakes up in the hospital and his crew's there and they're very glad that he's alive um he's obviously you know could which he's banged up a bit um when they figure out uh they want to tell people that this monster is heading towards Tokyo right the four of them do but you know they've been told that uh the government isn't telling people because they don't want to incite panic um in chaos for which the captain is like oh there there goes our government you know hiding information again uh something that he'll reference again there are times where something like that might be fairly applicable as in like we don't want to tell the people I'm trying to think of like a really ridiculous circumstance where telling everybody about the thing literally would only make everything worse but you know this instance of giant lizards monster and telling everybody they would just panic it's like I wonder if I wonder if that's actually just overall better though if they just they collectively tried to escape you know it makes them they've not got like significant plans to do anything in particular with Godzilla um and there's also the element of what do they really know about it at this point it's a creature that can destroy a battleship um who are the witnesses you know that are left what did they say what does the government think of it do they still underestimate its capabilities there's I can understand hesitation on on basically announcing there's a giant monster that's going to kill you all but but the people who saw it in person think that tofu should be warned but you know there's the gag order on it and captain doesn't like that and you know doc doesn't as well it's definitely it plays into the whole thing Japanese lives too cheaply so when Koichi returns home he I think this is the scene where he explains to Noriko you know his his past is shame is yeah his shame he is kamikaze pilot he couldn't do it he froze up when he could have you know shot the monster with the guns and he just couldn't do it it led to people dying he's got the photographs of the men who are dead and it is something that he carries around with him it's a terrible weight and he has nightmares and you know he relives that moment and he's wondering if he actually is dead and this is you know just the the remnants of memories of a dead man and he's just sort of walking through life as a ghost in a way in this vain attempt to I sort of you know sort of a deem himself it's a really it's a very emotional and finally opens up to Noriko about you know stuff that's been on his mind and it informs later when he explains why he you know didn't it's a you wouldn't marry her a lot of conventional writing advice would likely be don't make your main character coward don't make him fail his duty don't make him get people killed because he couldn't pull the trigger or sacrifice himself that's people gonna struggle to like your main character if you do something like that but man the this is the kind of writing advice I way prefer which is like there is no kind of characterization it's just a different levels of difficulty to get people to endear toward the character going forward and they do so much to help you understand him and to and I and I I think the being a coward and being brave these things are very much on a spectrum for like being able to sympathize with it and understand it a a father who won't protect their child from an attacker right and who runs away is different than you know Kuiqi's situation you know at the end of a war he he's kamikaze pilot maybe he doesn't you know and he doesn't go through with it you know the totally different you know elements of you know cowardice and not doing what you should do a lot of stories comment on the line between stupidity and bravery it's like there's some choices where it's just like what are you doing that's there's just no reason to do that and I think that that was implied somewhat on the on the boat with a captain yeah well and the mechanic talking to him in the beginning saying like yeah why why die to as well yeah we've had multiple instances of that sort of being brought up I mean like a you know the captain said you know we got to do or you know do what we can to stop this from getting Tokyo I can't bear to see it in flames again then they see the other ship get eaten and he's like nope we can't do anything where's nothing we can do we're leaving and it ends up saving their lives so yeah it's just this again you get these persistent thematical elements in this movie of you know bravery and sacrifice patriotism you know the value that life has don't throw it away you know if you're gonna if you're gonna spend your life you better you know you really need to make sure that that's a decision that you don't take lightly and make sure you do it for the right reason don't do it for some sense of honor but that comes from you know very real things that you should be aware of it's not just the performance but the informing how he feels like he's not even alive or that this sense of what he would deserve to have as a life now going forward but also even those those pictures him hanging on to those knowing that he's he's got them just says so much about him and it makes us all be like oh man you know instead of sort of being like I don't like this guy he's a coward why would I like any cow is more so just like no I I mean the first of the second jet you just like it's it's he's not too far separated from any normal person at all you in dear toward him because you you understand why and how he's ended up here and that if you watch movies before you're almost preparing yourself to be like I wonder how this will all turn out wonder where this man will end up and you get particularly interested I would imagine it's just a yeah the main thing is one to say was just that this this could act as a response to the notion that you shouldn't have a cowardly main character slash character who fails in their their duty their honor their retreat which is a lot of what informs him for a long time in this film if writing his rules then maybe rules are meant to be broken so that's a good rule look at that is the writing rule is rules are meant to be broken there you go when it comes to subvision that is the the rule make sure you understand why they were put in place before you break them yeah it's like if you're going to parody something make sure you understand what you are parodying well why would conventional wisdom tell you to have a brave main character no matter what it's like all because we it's much easier to make people like root for that character yeah so heroic and you can link up with them and if I make them and you really feel like you're behind them yeah I make them non brave that I need to provide alternative avenues of understanding and reasons to support the character it's like yes that's right like kawichi's continuous like he he blames himself he feels he feels terrible about what he did and it's it's a I mean like we had with the nightmare sequence of him walking out of his house and then he's back on the island watching all the mechanics on Odo island get killed by Godzilla it like it this is a weight that he's carrying around with him I mean they even say they say the war is not left him the isn't he hasn't finished his war I think they say so having a scene here where finally he can open up to Noriko and she can once again tell him that you know living is an important thing to do um my parents wanted me to live you know that's the thing that keeps me going we have to stay alive for the people around us your life is value it really shows a deep connection between the two and he's definitely being uplifted by not just his crew on the boat who are you know his friends basically at this point but also Noriko and that contrast with earlier with Tachibara the mechanic that survived on the island and with Sumiko originally when he returned home kind of you know cutting him down he's starting to you know see the other perspectives and and kind of learn but he's still definitely carrying you know are a lot around I'm really glad that this movie shows that you can have a man who can just like cry who can like break down who could let his emotions out who can he doesn't just bottle it all up and become self-destructive in his own way he can actually be willing to express that and still be a you know a brave and heroic character I really appreciate that a lot for this because a because a lot of people over here a lot of people and a lot of movies and stuff you know that that they seem to be terrified of the idea of having an emotionally vulnerable protagonist particularly a male one so it's good to see that this film has a very complex and interesting main character who's super believable and that gives us something to empathize with and building up what's going to be the catalyst for his change or rather it's a change of action but you know even just continuously seeing this family that he's built through complete and that's a circumstance like it's something that he's going to gradually want to protect more than anything after the scene with him in Noriko he you know goes to bed he wakes up he sees her and a Kiko and he's just like yep there you know I you get that scene where he's really kind of glad that they're around and that he can be you know I guess there for him to be a provider you know have them as a responsibility this idea that he he does have things and people to live for and to fight for so it's it's that little kind of uplifting sort of thing of that them growing closer is a family Godzilla you know remember he was heading towards the mainland after the last time they saw him in the ocean and sure enough he arrives you don't get a lot of time in between these two attacks nope this is very much a Godzilla movie so we learn on the radio I believe it's Koichi is at home with a Kiko and the radio says that the basically the monster is headed towards Ginza wait a second Ginza that's where Noriko got a job women should stay at home and raise children oh man it's gonna die and then we get a very terrifying long sequence of Godzilla destroying Ginza yeah and it really has it in for that train she's on he really does I he really is she is in the wrong place at the wrong time let me tell you Godzilla shows up he's trampling around through Ginza he's tearing down buildings he's stomping on cars he's eating trains she which is the first part of the film when they play the og Godzilla theme I think so I think so I remember dosing it here for first time by the way it's cool oh shit it's cool as fuck it's awesome this this movie has a really great soundtrack and it's it seems like it's one of those soundtracks or it feels like it's one that was made very much in tandem with the director and the storyboarding it doesn't seem like this is a random soundtrack that's just sort of stuck into a movie um the use of the Godzilla theme is very I think they only play it maybe three or four times in the movie it's very yes I think it is restrained but boy it's hard oh yeah it does because I think it's the one shot where it's like it's sweeping up from like the ground level as Godzilla's there doing his sort of like the classic walk through the city and this is blaring through the speakers it's um it's super impactful it's a cool theme it's a it's a crazy good throwback to the old you know Godzilla stuff there he is he looks amazing he's got that old school look to him we got the old music he's here terrorizing the city it is boy it's you got a scene running around knocking buildings over that's his thing that's right Rita and he does that's kind of cool shots as well from farther away when where you could where they show you how well heavy he is like yeah down and then like a split second later just goes into the concrete ground and you see like people getting flung up into the air because they were like close to it that was him he when he steps yeah the the surrounding concrete kind of lifts up and so there's people I kind of bounce a bit on it it's really like you get like 100% that he's walking around destroying stuff and then you're then there's that little voice in your head that's whispering under 15 million dollars and then you're wondering how the fuck it all happened there's there's also like the vision of flimpy Godzilla running in that trailer running yeah but he's on his way to save the day okay I've seen right before I've seen this I was like oh that's two different worlds isn't it they got to make sure the con gets the infinity gaunt it's going to be great no everything from the trains to the buildings to the cars all the clothes people are wearing it's got an incredible mid 40s kind of look to it yeah I think that like I said before I I really like it when we do period stuff when we go to different time periods when things kind of look kind of things looked a bit different and everything here from the technology to the clothes and the way everything looks it's just it's a great it's just it's great imagery and I really really love it he's you know stomping around you know tearing down buildings you even get the guys doing the radio broadcast on the roof oh my god he's destroying the the nippon theater you know cultural icon of our city yeah oh yeah they had some bowls to just be a very fucking close to I was immediately like I would be there sorry about yeah yeah so the all that stuff yeah the the Japanese radio the cool scene there are people running away in terror all that good Godzilla stuff we just fuck up that building they're like right next to him at one point like like like like a movie this is a way when the yeah doing the broadcast like oh yeah Godzilla's right there and it's like guys you're dead you're gonna die talk about courageous versus stupidity like it is definitely yeah there's I think there's like five of them and yeah I even I think he says he's like oh he's walking right past us his head is right next to us he's so dangerously close it's like do you remember in the Simpsons when Ken Brockman was reporting on the you know how like all of the big um mascots and everything and the Treehouse of Horror came to life it was like that one yes you remember where like Ken Brockman the Kent Brockman one on the sign in the background comes a lie of walks off to what eats him wait does he eat him or does he like crush him I want to see the point being I think he gets one of those two yes the point being that's dedication to the craft right there yes you need to give the best news report possible kind of reminded me of you remember like the the Steven Spielberg War of the Worlds how like everybody was like gawking at the the tripods which um no way the fuck out of there why would you gawk at the like do you think that they're there to say hi and shake hands and be chill it's a giant war machine are you actually highlighting that as an issue oh well I understand that people would do it I'm just saying I wouldn't do it no way I can't actually so I know that I would want to be running away because especially when I'm watching a movie but I've it's not the nature of a tripod like this is the same kind of thing with Godzilla I don't know that I'm immune to the absolute stunning shock of seeing something that I can barely comprehend in terms of its absolute size it's one of those things that you you don't you don't know when you don't know that's what happens because there are which fortunately never will the there are there are a lot of there's a lot of like you know people being around something crazy happening and they just freeze up and they don't do anything yeah totally I'm not I'm not saying it's the floor at all like this is yeah it's it's definitely do you remember yeah yeah independence day I think that's in the first act right when they arrive and all the people when they all looking at the ships before they blow up all the landmarks oh I kind of want to rewatch independence day I don't remember how good it is I don't read that media I think it's shit I mean I would want to see Roland Embrick so you know Roland Embrick doing his Roland Embrick things and to the world baby I remember that it was um because uh wasn't there the there was the thing right whether they blew up and and uh will smith's wife was in the tunnel and then like the dog jumps through the open door and the flames just sort of roll past instead of going into the hero dog makes it yes that's right what's your complaint there with the hero dog no no I'm okay I'm I love that the hero dog lives it's it's more so that the hero dog would withstand the flames but I don't know about the lady or anybody else who was hiding in that area you know yeah I got a we just set up a force field protect yourself it's been a long time since I've seen that so I'd have to I'd have to see it again but I know the it's almost like slo-mo when the dog jumps right yeah that's right because I mean those miniatures were cool as fuck like the mean the actually I love the way the UFOs look like arts and everything as well I remember the inside of the UFOs they have like um where they play that clip to the president in awesome powers he says actually that was just footage from the movie Independence Day but the real one would look a luck like that yeah yeah now that had a lot of cool cause again that was 90s you know so that was the era when visual effects were coming into augment a lot of traditional techniques rather than completely replacing them anyway God's album that nobody watched it's tough to really talk about that God's yeah it's tough to really uh say more about that other than it's an incredible sequence of Godzilla going around uh destroying stuff as far as our characters are concerned hmm hmm uh so oh boy alright so as far as our characters are concerned Noriko um threw it threw it threw it threw a potentially believable sequence of her falling into water after the train car that she's in gets picked up and like okay and this is okay um she's uh walking through the she she is walking through the streets now is um Godzilla is trampling everything in sight and she gets knocked down by the the crowd as she tries to get away and then luckily who should come by to help get her up and save her it's Koichi he made it he came from Tokyo and he found her and he's rescued her which um I don't know in the middle of because I presume that this is an area that's part of like Tokyo Metro um I presume I don't actually know uh but either way I figure if she's going to work there and then I don't have a car it's probably within the point being it's a big city she takes the train it's part of the city yeah oh yeah yeah right right it takes the train car I don't know it'd probably be hard to find any individual uh amidst all those people at all that chaos amidst that chaos yeah who'd be incredibly difficult where she normally wouldn't be wouldn't be yeah she's she's not like meeting up within any significant area that'd be clear that's that's the road she always runs from Godzilla on so that makes sense that he would go there to yeah that makes sense um but uh I bump into each other yeah he's at least they've shown that he knows that there's something headed towards Ginza he is on his way and he does the you know he puts himself in danger to save her he's doing hero shenanigans he is doing hero shenanigans slow him go so yeah lucky that he found her but I I guess he did so fair enough um uh then we get a sequence of we get the let's see I think this is where they show kind of the the process of I'm charging up yeah of charging up Godzilla's it starts in his tail and his little back spines kind of glow blue and stick out a little bit as he's charging up his heat ray and yeah everyone's like holy shit what the fuck is happening oh my goodness they're saying this in Japanese of course um and then um Godzilla Godzilla uses his heat ray and in this on the city in front of him he charges up Rear's back his head and then he you know it it's a quite a spectacle and it's not just the sight of it you get the blue ray come out of the mouth you get the atomic looking shockwave an explosion you get the you get you know the energy radiating off of it the trail from his mouth to the destination for lack of a better term where it's like it throws things up but also it kind of kills around it's the the laser and yeah of course just there's so many things to praise it once but um I don't know how to describe it the spines expanding almost with the charge up of the energy of his tail it's just cool as shit which is an alternative version of the one that you know there's so many ways you can portray that the um the one we've seen a lot more recently I guess in the Western version is that it it charges up like a light it's not like the tail does the chunk thing with we get the spines but it's just I don't know is a very aesthetically satisfying element that helps build tension I suppose is I'd say so I like it more than just the glow up sort of tracking along really find a jutting like the chunk like it's it makes a loud thud it's a nice like punchy sort of movement and sound it's cool I like it more it's very cool and it's the running theme is that this is way better than Western Godzilla that's the running theme that comes in close it's just the execution of a cool idea because then we get the shock wave going out and then we get the shock wave coming back in it's almost like he's vaporized all the air so the energy expands everything and then everything rushes back to fill that vacuum again it's really is really harrowing and terrible and terrifying and awful now now let's have a chat about plot armor I love this movie a lot but boy I really fucking hate this part kind of because his heat yes why don't you walk us through it then yeah go I would I'd love to walk you through this thing I hate so Godzilla uses his incredible insane heat ray and you're in that theater and you are just all the hairs are standing up on the back of your head and everywhere else because I course I'm have a dog some covered in it of course staying character and then you get the big old shock wave oh no you can see the shock wave coming building bits and rubble that's all flying towards Koichi and in Noriko oh no what will they do well Noriko seeing all of this stuff this terrible shock wave heading towards them she pushes Koichi into this alleyway and out of the blast and then she is unfortunately caught by the blast and she flies back and then everything the visuals the buildings are disintegrating and it is everything we're going to skip to that like the the attack would be how the hell we didn't need to talk about her yet I guess we can later but she's covered in the talk of how would our main character survive this like well the buildings stood strong the ones he was between like well how did they stand strong when the buildings that are 10 meters in front of them got obliterated would know because Godzilla so Godzilla shielded the building from the block I think I'd have to look that's you're actually meant to I think that's the best you could do is that the building was but the problem is that I don't think so was I think I'm pretty sure that when there's the big wide shot of the carnage that it's like the building that he was behind and maybe one more in front of him was like behind where Godzilla was and apparently shielded him from the from the explosion yeah I'd have to what they want you to believe I'd have to look at it again to see where he is in relation to Godzilla in the buildings and if there's like diminishing damage over a certain time it's because they cut away a couple of times to show destruction and I can't really get a good gauge of the distance because they don't show like Koichi and Godzilla in the same shot let's go I think all that happens is that you add one more variable which is that oh you just pushing you're kicking the can down the road just a little bit which is oh so the shockwave was so massive that it caught arm it caught a Noriko a in the in the blast but only maybe five six feet away in the building that didn't get disintegrated he was fine it's like wow shit that's lucky aided I mean I think I guess I was under the impression when I watched it that they were getting all of the rubble and crap that had been destroyed closer to the explosion and it was now flying all past them and through you know everything there so it was almost like the the the city shrapnel was now getting thrust back and it was she was getting plus back along with the shockwave as well yes yeah and you basically just have to accept that kawaii she managed to survive miraculously and luckily when he should have been I think everyone everyone's willing to concede that she should be gone there's no way she should be totally dad I I can buy kawaii living um but I I don't know that's like some cool shit I think it's the worst part of the film I think it's like the the biggest thing that you can point to is like an obvious flaw which is that this is ridiculous plot armor for him and her as it turns out um I'd probably even say worst element of the film as opposed to parks it makes it sound like it's more than just this significant plot armor because the rest of this scene is great yeah absolutely it's uh they yeah I and what I do with this afterward the idea of him surviving and her dying and like the transformation that that creates in Koichi of like it basically sets in motion a new attitude towards what he has to do to redeem himself with one that's a lot more um self-destructive uh which will obviously be rebuked by uh several characters and the film by the end so you've got that which is which is which is like great as a thing that's setting up but like fuck me the plot armor in this part is pretty ridiculous on the note of kicking the can like no matter what you can come up with for how he miraculously survived be it this particular strength of the building or the location of it behind Godzilla or that it was just far away enough or whatever it's like all of these would be hyper coincidental none of it none of it is on purpose from the character yeah that they were behind Godzilla rather than in front of Godzilla to the sides of Godzilla that they just happen to in the midst of the chaos find themselves and just the fact that the the only character in the world who is encountered Godzilla twice and lived to tell the tale about it found himself in just that right position to be sped from the blast so that he could continue to be involved in the fight against Godzilla with critical information and inside you know I do love and appreciate that she would push him out of the way of the what she perceives as the primary force of damage which is still worth it and of course it it closes the door on something that was an element that was you know part of the discussion throughout the beginning of the film which is or the first half of the film you should say which is what's the deal like why aren't you why aren't you fully embracing essentially that this is your life that she's your wife that this is your child why aren't you doing that and now the door is closed she's dead when that's obviously what the as far as he's aware and that's obviously what he wants and that's obviously what he needed and with that door closed that now sends him down a much more destructive and cynical path yeah which so yeah it's yeah sorry go for a medal oh yeah just because the next in this one they grievance as a family slash friend group I guess I guess or I get before you do that I I just say like incredible acting by the yeah the protagonist how he's sort of shocked once he's dead and how he just yells in this very primal anger at Godzilla as it just walks away through the rubble yeah because it's why in reference to the damage that has caused to him how much he fucking hates big lizard right now it's you know Godzilla as what he represents is absolutely complete which is that Godzilla is the physical embodiment of Koichi's remorse and guilt over his his perceived cowardice whatever misgivings and grievances in general that he has with the wall of which there are many the fact that it claimed as his family that to put him in this position in the first place obviously the fact that Godzilla is now killed Noriko as far as he's aware it is just like the looming walking specter of his guilt which is awesome what a cool idea for using Godzilla as a component in your film I should always have been instead of just big lizard runs around yeah because it doesn't have to be a stupid silly monster movie it could be like a meaningful emotional you know a thematic monster movie so yep what just makes it way more interesting to want to destroy it beyond because of course you already have the obvious layer of why you want to stop Godzilla which is a big monster he kills people that's obvious for him in the monsters though yeah but in this one I'm rooting for I'm rooting for the people God for me that's the thing is not only do you have just the the clear conflict of we need to stop Godzilla because Godzilla is destructive he's killing people he's a danger to us all but now we've built on top of that extra layers and elements that are making us particularly invested in seeing Kareichi Koichi fight Godzilla and and beat him you know and it's just that's the way you do it that's that's a way better way of doing it take advantage of the material that's in front of you know Godzilla is a cool idea is a cool idea is a cool monster I like the big lizard but you can make him into more than just a big lizard that you have to stop he can become something symbolic to the main character and really to everybody it's good shit um yeah like it's the thing that you had mentioned earlier you you talked about it a lot when we were watching She-Hulk um you know degrading the things that you are using oh yeah uh Dead Evils yellow costume where it's like you're gonna use it as an advertising point for your shitty show while shitting on the creators who made way more impactful and meaningful things than you did it's like they're afraid to be serious about something and I they're afraid to be honest and they're afraid to be honest what it is they can't they can't they're not comfortable enough presenting their story to the world for what it is and what they want it to mean that they have to load their entire story with hey look but this is silly right yeah it's pretty ridiculous yeah wink at the audience we're with you guys we know how silly this is we're with you guys and then it's like cool you're just like cutting what does it sound like cutting off the you're cutting off the potential that your story has like make the biggest impact possible because you're you don't even believe in it you know and if you don't believe in it how can you convince the audience to believe in it yeah it's like it's like when we were watching Deadly night was the Santa movie and they burn the silent violent night and they burn the sack and like oh you've just removed that from the plot you've you've you've made a decision you've drawn a line that thing that you could have done you can't do that anymore and like okay well I mean oh right we're not taking this seriously okay I'd be nice for you guys to take something seriously I mean you're spending hundreds of millions of dollars on it you could take it seriously but if not I mean it's your money it's fine it's whatever you know you do yeah we were more than ready to take seriously Santa fucking up a bunch of people because they're ruining Christmas hell yeah yep but instead oh whatever so we see the destruction of the city we kind of get the implication that you know Godzilla's radioactive they're looking to study him looking for little pieces of him that might have fallen off tens of you know a lot of people tens of thousands of people are dead you know wounded from the attack it's a really big deal and we have a scene where you know it's it's very sad Noriko is dead and there's the you know sort of a funerary you know event going on at the house and you know Akiko wants to know where mommy is and and that's pretty devastating here in that it's and they try to lie to her but she knows she knows that something's wrong has to go back to work for a while it's like yeah yeah but the child doesn't buying it goes there and all of the his friends from the boat are there so it's really rough and it's very sad it's definitely the low point after we see the destruction that very real element of yeah what you saw was really fucking cool for a movie but is terrible a lot of people died and you know people are very sad because of that and then our main character goes over it's like man that's my fault and I think he's looking at the at the pictures of the fallen soldier I mean sorry it's like my fault he's basically seeing this as a curse like he was cursed with this and now because he thought he could I think he says could dream again or can live again or something like that and now he took it away from me because I actually don't really deserve this like I don't know what I was thinking why actually trying to embrace this yeah he hasn't he hasn't yet fully completed his transformation into who he needs to be to move on with his life Godzilla as a representation of his guilt is still looming I know if it was here or a little bit later when he says to one of the guys like I'm not actually back from the war yet basically yeah my war's not over right my war is up yeah hence I think I think that is what Godzilla minus one means I think I think that's got to be it is the notion that him and by extension kind of everybody in the country is not quite back from war they're not quite where need to be we're still laid in with locations pretty pretty soon I think I think when we have to what was the the public plan like the plan they do yeah Doc tells him that he's been he's been working on something which again this is a further continuation of the America Russia and the Japanese government that I want to get involved which just got to accept that cause yeah I feel like at this point at this point when a city's been destroyed yes I I'm pretty sure that the Americans can go up to the Soviets and be like we okay listen this thing yeah first off it's on your side so let's get that clear but we need to stop this thing it's blown up cities but I still think they're they're running with the Soviet stuff part of the the benefit of an alien invasion or giant creature on earth would be that it would probably be the most uniting event in the history of earth probably nothing together like an existential threat if you had a go me of aliens that were about as easy to defeat as the space dogs in infinity war except like one big mastermind type alien that we could kill with you know independence day style the whole world like they'd have the attitude of we kill each other you don't get to kill us that's how that works okay and that we would for the in that moment unite is so fucking hard and have all these networks and relationships that would have been built from it in a sense you know that would be kind of a cool movie to make as well and Godzilla could absolutely play that role Oh yes when I got a great fire yeah that everybody unifies to oppose him it's it's it's after the the fact that Godzilla has essentially now very publicly demonstrated himself to be a walking like he can just essentially create new Hiroshima's wherever he goes you figure that at that point especially after just having the world having seen the absolutely devastating power that this would be the point that they'd go alright guys we got to get involved but they don't so that just leads us with essentially the way that the film wants to go which is a civilian lead yes operation which I like the civilian operation as a like a plot point once we get past that we do have a cool thing where they actually come up with interesting creative plans to try and take down Godzilla like they were surprisingly interesting people in their governments are different things yeah yeah the the this begins a scene where you have all of our boat crew going to a meeting a bunch of citizens and civilians led by X he's an X destroyer captain forget the name of the destroyer but I almost want to say I noticed I think the destroyer that he was the commander of makes an appearance later in the film as one of the ships but I can't remember but I think Captain Hott is his name Captain Hott is sort of leading this effort to try and kill Godzilla because the military's can't get involved apparently so they come up with a plan he gets all these people together they got all these scientists some people who lead some companies and doc explains the plan to everyone because doc was you know he developed naval weapons during the war he's a smart man you could tell because of his glasses and he says alright here's our plan our plan is to wrap all these cords around Godzilla and then use bubbles to make him sink down to the bottom of this trench and the pressure will probably kill him and if that doesn't work or then going to initiate plan B which is to have all of these balloons go off around Godzilla which will rise him back to the surface and that pressure change will will will hopefully kill him no which I think is very creative and interesting beyond gas specifically yes yeah that's right gas the idea of using the environment itself to destroy Godzilla is an interesting idea yeah it's it's not just we're gonna we're gonna make a big gun and then we're gonna shoot the big gun at Godzilla it's definitely because the plus these are civilians they don't have access to military equipment especially after the war yeah they have to use the the ships they have they often demilitarized already they have no guns on them anymore yeah that's right so they don't have like big cannons destroyers with guns anything like that so they're using the power of science and ingenuity to try and kill Godzilla I really like to play and I think it's super neat it's it's just sort of inventive and interesting what I liked was that as they were explaining it I was sort of listening to that and going I mean that's probably worth trying compared to having already shown that like shooting out it doesn't seem to be a particularly effective idea if I would that room and they presented that to me to be like well I mean that seems to me like a better alternative than doing nothing so you know I understand the thinking I understand the notion that if yeah sure this is a giant dinosaur um that seems to be very difficult to stop but surely they our plan to leverage essentially water pressure the the the like the the world itself against him that's that's probably the best shot we got doesn't you describe it as a we're going to kill it with the power of the C the C yes it's kind of a cool mode of like humans and earth working together to kill Godzilla yeah it's cool as a you know so again as the difference where it's like I know see Godzilla he's in charge of earth he's the he's the one who determines the world or the big lizard they're fighting fighting the bad what's the one Ghidorah the the one with the three heads King Ghidorah Ghidorah yeah and so you know they they have this plan that they've hatched up and they need people to actually do it because it takes people to you know do all this stuff to man the man the ships and fly him around and drive him and all that stuff and can't rely on the Japanese government or the U.S. government or the Soviets or anything to get help they have to do it themselves this has to be us we've you know the future of the countries in our hands that kind of thing and Hata is making this appeal that he wants people to know that this is dangerous they can't guarantee it'll work but he's asking them to help and he doesn't blame him if they don't want to because you know he's a veteran himself he knows a lot of the you know all these people in front of him you know that the war was only a few years back oh yeah you know yeah he didn't blame them you've been asked to do a lot you've been asked to do a lot and now you're being asked to do a lot again so and a few people leave few people yeah a few people leave which I much prefer at the yes like normally cliche is oh one guy that's like a rallying crying and everybody's like yeah I like it way more oh yeah he says I think the cliche is that he says or they all leave all leave except like one of the main guys yeah yeah he's there's one guy something like he's like are you sure that we're it does like is this going to be certain death and Hada says like I maybe I don't know I can't I can't promise it to you and he's like well it's better than wartime and everyone's like oh yeah that's right and they they all get to you know and they all do it so there's everyone bands together and they're they're doing their part so I really like that and afterwards that night our boat crew kid doc captain and Koichi are together and they're having a bit of a dinner sort of discussing the plan a little bit captain's a bit spec spectacle skeptical of things and he says that the way that they're going to lure Godzilla over the trench to drop it is they've got this big like underwater speaker that's going to play Godzilla noises so that it will think that there's a competitor to its territory and so that it will go and fight him and that's how they're going to kind of lure him into place but captain he's got you know he's got Koichi he's like you fool you know she's gone now why didn't you marry her and Koichi says because he wasn't mentally ready to he wasn't like he had his own demons to fight and I think he wanted to take care of that before he got involved with somebody else the read I took was he was too like emotionally and mentally not there to which I'm kind of to make that step with her and make her like officially a part of his life in that element what's interesting is that obviously it's kind of leading to the point that by the end of the film he'll be in that place which is you know that's cool in terms of like constructing an area right that's the way you do it fight you know by the end of the film he resolves it but I the idea I find interesting would be like what if part of it is that he could have done it anyway as part of his attempts to like move forward that it that for as much as a destroying Godzilla is obviously incredibly important symbolically for demonstrating his growth and having moved past it and ready to move on with his life that he still could have like made those kinds of efforts beforehand anyway yeah I think that about himself and go so self-destructive is because he knows that he could have done that you know he could have actually you know married her and tried to move on with his life more so than existing in this state of limbo where he's kind of moving on but kind of stuck in the past yeah I think he says my war isn't over yet so he was just too hesitant like a part of him wanted to but he just couldn't mentally yet yeah yep it's partly because he's like it's almost as if he has the belief that he doesn't it's like he doesn't deserve to live he doesn't deserve to have a life yeah like until he's atone he's not worry about it yeah and now that she's died he's starting to get on the path of my only redemption is death that's the only part to redemption that I have is where he's starting to be moving towards in this second act he says that to you know captain and you know he's clearly not in a good place and he really wants to fucking kill Godzilla yeah really he really wants this big thing dead because he asked for a plane if he can get a hold on a plane that he could fly mm-hmm and anger good you're right yeah so his job he asked if there's a plane and they don't have access to you know like aircraft like a fighter because you know it's post-war Japan you're not allowed to have really a military so they don't really have access to a a war plane or a fighter plane they find one that's in rough shape it's like a prototype that was used to shoot down bombers and it's in this old hang it's so it's basically in a wooden shed they only had a few prototypes of them they're kept here in the mainland thinking that they might get used for a like a war that never ended up getting this far into the you know Japanese mainland but it's not an estate to fly yet it's not air worthy so he needs a mechanic we need a top mechanic to fix this plane oh he knows one he does know one that's right he does the the mechanic from the very beginning Tachibana the guy who blamed him for you know all of his men dying because he didn't shoot the guns on the fighter so he needs the plane to sort of distract Godzilla and sort of help bring it in if that's the case but he has some other thoughts that I think that's what he tells them but what he's really going to use it for will become a parent yes but he needs but none of that's going to happen if the plane can't fly so he he goes on this quest to find Tachibana who sort of disappeared after the yeah deliberately made himself hard to find and to bring him out into the open he does that by deliberately antagonizing him which is kind of a clever twist yeah he sends a bunch of letters saying that it's Tachibana's fault that all those men on the island died and that pitches that pisses Tachibana off and he goes and he finds Koichi likely because how do you send all those messages out saying please I'd like your help you would never have come yeah exactly like I'm going to help you reminds me of how a lot of people said conventional wisdom says you should ask for help online and you'll get it's like no you should present your answer is correct when you know it's wrong and you will get the correct answer in response it's unreal if you're like which cable do I need to do this just make a post say to fucking amazing the work around to just use this cable do this thing they're like no it's not you have to use it and then they will source everything explain everything just because they're like I am so right you're so wrong you said they're like thank you there we go and that's kind of what he does he does that's right and when Koichi is heading home one night Tachibana hits him in the back of the head ties him up and says you fucker you you jerk you asshole how could you possibly say these things and Koichi says well I just said those things because I knew it's the only way to get you to come I need your help I'm putting together a team I need you to help fix this plane so that we can save you know Japan so that we can you'll destroy Godzilla we've got this guy we've got a plan going on but I need your help and he convinces convinces him to help though not without trying he has to really bad and he has to really say that you know I know I really need this I I've got to do this this is something that I have to do I can't let you know Godzilla destroy everything Tachibana I forget what he says specifically to him that changes his mind he but but he says like I I've lost everyone and I think he mentions that it's vulnerable from the inside so he has like some information to work with but he says it's vulnerable from the inside I need a plane do you understand what I'm getting here and Tachibana is like alright let's do it so they start repairing the plane Tachibana comes in to look at the I read it's called like the local fighter Shinden I think it's called something like that yeah yeah it's local fighter Shinden I think is what it is but the Shinden is the is the experimental plane that he's going to be flying and Tachibana is set to fix it up along with some modifications as we'll find out I'm putting together a team that's right he is and what a team it in all of the civilians all of our protagonists they're getting the destroyers together they're loading up supplies they're prepping the cords and cables and all their science bubbles and their big buoys they're getting everything ready because Godzilla's coming we got a hurry we don't know what he's going to be back so they're all at the destroyer they're loading everything up and getting ready to do the plan and oh no the buoys that have the buoys that are outside of Japan that are set to detect radiation they are they can see Godzilla coming they start going off and they try to blow up some mines but that doesn't stop him there's nothing they could do Godzilla's on his way and he arrives way sooner than they expect they thought they'd have more time to get this trap ready but they just they just can't quite do it Godzilla starts to head in to the mainland to start attacking things Godzilla's coming in they may only have like a day or two left they're prepping they got other destroyer stuff getting it ready together and when the buoys start you know going off and saying he's coming he's coming Doc gets all the papers together and says alright and he does his little triangulation whatever with the papers and the you know those little slide rules and what not and he says alright we think he'll be here anytime he's coming this way and he has this speech that he sort of tells to everybody in their intelligence office all of the technicians want to personally go on the destroyers to make sure all of the equipment goes off smoothly and perfectly even though it'll put them in danger he gives this inspiring speech Doc does he says this is the part where he talks about how the Japanese government treated lives way too cheaply it would it would give them faulty equipment planes that didn't have ejection seats tanks that didn't have thick thick enough armor it would tell people to you know drive planes into buildings as kamikaze pilots their lives were treated too cheaply by the Japanese government so he wants everyone to you know make sure that what they're doing is what they really want to do but we're going to do it this is a citizen led effort you know we can do this on our own you know everyone's kind of like yeah this is our last little hara before they get their night of sleep before the mission gets carried out which is really cool to have a story where you have a bunch of characters that are essentially committing onto a very dangerous path and yet the characters want to make sure that they treat their lives and the lives of everybody who's agreeing to do this with some amount of reverence and respect that ultimately the goal isn't for all of us here you know to die right the goal is to win and to live because that's what it's all about it's preserving life and if necessary sacrificing themselves to preserve life but hopefully getting out of this alive themselves so that they can go back to their lives and lead their lives it's nice to have that amount of reverence for human life and when it feels like a lot of the time it can get way more in the realm of like yeah we're all going to fucking die in a blaze of glory fuck yeah like well I mean let's let's try and let's all try and you know get out of this alive so that we can return to our families and to our lives that we want to live I like it it's a very good scene very positive but if you have a few things happen that night a few things happen that night the day before the big operation as they're leaving the intelligence office and you know the HQ after Doc's speech and everything kid who's with him and his arms in a sling you know he hurt his arm during the Godzilla attack at the Tecao he's like I'm finally ready you know it's finally going to happen we're finally going to do this I can't wait and then Captain and Doc who are walking in front of them they say no you're not uh you're not coming with us you know you're one arm down so you're kind of useless and he's wondering is it because I'm are you not letting me come he's Shigashima you know Koichi he's he's coming like why can't I go is it because I wasn't in the war because I'm not a veteran and they say no like not having been to war is something to be proud of you know be glad that you have to do that essentially um getting getting those AMR vibes uh kind of yeah that's that's cool right of um of emphasizing the idea of take solace in the fact that you don't know what it's like you know yeah hold on to that like grab onto that with two hands and hold it dear um and then as they're walking away he's screaming at them yeah he's begging him he's like yeah I want to defend my country as well I want to you know I want to do my part I want to do my duty I want to I want to help you take me with you but they just yeah you know Doc and Captain they walk away presenting it as it's motives are quite pure then they're not like these self-serving look at how awesome and great I am I want to create like a legacy for myself it is very much the pure sort of I want to help um because as that's right because as uh Doc and Captain are walking away from him as he's you know begging in the background to take him with him I think Captain says essentially that the we're leaving you the future yeah you gotta be alive because you're the person we're doing this for whole film in terms of encapsulating the nature of sacrifice the reason we sacrifice yes very similar to don't waste oh wait earn this uh and uh saving Private Ryan you know the same kind of uh the same kind of idea they there's such a strong sense of nobility when you know it's like yeah but like like the the they get a really strong sense of motivation when they know it's what we're doing is providing the next generation a better life than we had mm-hmm yeah we're just much different from the end of the war where we're just throwing away the life is much different than a government telling you to go die for something that's really not going to make a difference so this however will make all of the difference exactly yeah um yeah that I love this idea of you know because Doc and Captain they're they're older you know they're older guys um he's clearly I mean the fact they call him kid and he doesn't they said he doesn't he's not really fond of that name uh but this idea of yeah we're doing this for you we're doing it for your generation you need to be here to you know make sure things go on after work on you know if things go south the next scene we have uh Koichi checking out the plane he's doing is look over everything on the plane uh everything that's gonna happen everything that's gonna be you know going on and I believe this is where we learn about what really was what the plan actually is yeah what the plan essentially really is and it was this point is ever explaining the plan that I was thinking ah I see where you're going movie mm-hmm so we've got um what he has done is Koichi told Tachibana and his mechanic buddies that he wants to remove like the gun and a bunch of ammunition from the plane so that in its place there's some big ol bombs that can be put in big ol big ol bombs uh so I think you could see where this is going uh it's pretty clear that now his intention is to fly this thing into Godzilla's mouth and blow it up and that fly above himself of his uh of his sins that is his belief mm-hmm and when you see that it's just I was sitting there and it's like ah I think I uh I think I see where you're heading movie is your uh your resolution here and I really like the angle that you're going down here if you end up going that way but we was a little bit later wasn't here yet but uh yeah I got through that I think for me it was it was because um I understand why because it's kind of like um the conversations with the mechanic kind of reinforce the idea of yeah you you should do this you fucker you you run off you didn't do what you were supposed to do yeah maybe this is what you should do the fact that the mechanic is so cynical yeah a lot of his interactions can lead in the direction of maybe we are just doing exactly what you know his plan is which is he's gonna do this and then you know like what is playing up with bombs and then flying into Godzilla's mouth and blow himself up and it's like okay there you go and that's that's his story full circle but it's just looking at that and with all of the things that have been said by all of the other characters in the film you just like I feel like you're a bit more uh life affirming um film so I'm curious what I like like how it's all gonna play out it's funny very easy say that um I was like kind of on the position of like I appreciate the uh the value of um knocking out sorry I forget her name um Noriko yeah the what you can draw from it in terms of a journey but I was like I feel like that's at odds with like leave if we're gonna have our main guy die which by the way maybe I can explain now when I was listening to people describe the story for this and they tried to do spoiler free they were still saying the way they would describe the final scene is basically the like he turns up he's got the ship everything set and you know oh what an amazing scene so I was just like ah so okay he does actually go through with the kamikaze interesting like that from you know without seeing the film and so I was like at this point like it's kind of weird that we're gonna have her die and then we're gonna have him die leaving the child like without the paternal figures when the film's point is more so about like the saving of life so I could have accepted him dying to save those two I was like knocking both of them out really it's so funny isn't it considering how everything turns out yeah considering how things do turn out and we can certainly talk about that when we get there and I'm sure we will but I think that you could have done a number of things that were thematically appropriate here because a lot of it is based off of the situation and how people contextualize what they're doing if it was if it was Sumiko for instance who got Akiko to basically become her mother figure fully that would have been something and then the parents die one tragically one you know I guess they both would have died you know heroically in that sense one to save the other and the other to save essentially everyone I think it it's kind of open-ended in that there's not one thing that could have happened that kind of would have worked you can definitely argue that still appropriate that they both would have died to create a better world that's what I agree I agree yeah I think the read was essentially is this going to be a very melancholy kind of like bittersweet of yes he died but he saved what he loved kind of ending or is it going to be you rose t-code rose t-code saving what we love yeah because I definitely felt that it was going to end the way that it did end but there was a part of me that was wondering but you could go the other way as well that's right it's well constructed enough that you could take it in either direction and then it would still work but yes at this point it was like that was particularly interesting because I got the impression it's like that would be what he was going to ask him to do was that he was going to it's you know it just it's just storytelling rhyming you know it was a pilot who couldn't go through with it that now he's going to be piloting this plane maybe he's going to maybe he's going to give it another try you know maybe he's going to give it another shot so at this night right before the big event we have Koichi sharing sort of one last night with Akiko as far as he can see he's concerned it's very sad she you know Akiko's really worried she you where's mom you know like I want to see her again and I miss her and he's like yeah I know but I'm not going to leave you though and you know she calls her you know is your daddy and that kind of thing it is very you know it's like it's it's a you know they have that father daughter kind of thing going on he gets this envelope and he puts it next to the sleeping Akiko and he heads off to the plane that night and then we have him you know with the bombs and everything but you see what's interesting about the scene where we have Koichi at the the Shinden the fighter where it's got all the bombs and everything on it him remember him and Tachibana they have a they have a history you know from Odo Island and he is Koichi is pretty much telling him that it is my intention to essentially sacrifice myself to fly this into Godzilla's mouth and kill it and stop it Tachibana you know Koichi is in the pilot seat and Tachibana is running through all the stuff you know here here's this red lever pull this to arm the bombs before you hit and Koichi is like yep I'm doing it I'm ready and then Koichi has brought with him all the photographs of all the mechanics on the island who died from Godzilla and he's got his the drawing a drawing that Akiko made of him Noriko and her and it is here that I think Tachibana sees that Koichi really is truly committed to doing this that he really has things to save things to do this for that he he's fully committed to doing this and that is what you know kind of sort of repairs their relationship essentially and then before it you know that he's shown him the plane and how it works before the you know the takeoff later and he's you know as the camera pans out he's shown him some more stuff in the back of the cockpit so who knows what that would be I think he even says like oh also does one more thing yeah one more thing and then he made him like a little sandwich and put in his lunchbox yeah one more thing there you go that's very nice I like a pre Godzilla fight lunchbox don't want to fight big lizard with an empty stomach so evening passes in the next morning Akiko wakes up and she she brings this envelope over to Sumiko who's basically I think they even call her an aunt at that point because of their close relationship she brings this brings an envelope to Sumiko and this envelope is full of money and what looks like to be some sort of a like a government check or something like that it's a whole bunch of money it's full of money for you know Akiko there's a note along with it that says use this money for her and I think that's Sumiko being like oh shit he's gonna go and you know he intends to die on this mission to kill Godzilla so there we go those two are together now the buoys detect the Godzilla Godzilla's getting closer and before the destroyers can actually leave the harbor to go and get into position Godzilla is already there he's showing up he's faster than they thought he'd be he gets close to the mainland and he starts moving in and they say no you know we've got it we've got to take off we got to do the plan hopefully Koichi and the Shinden fighter he can distract Godzilla and lure it out into the ocean over the trench so we get a scene of Godzilla going through the countryside he's stomping stomping trampling on farms and Koichi goes to it and he's you know he's flying around he shoots it a bit with some of his some of his guns that he's got to lure it away and with that I need to use the loo so one of y'all can pick up I'll be right back sorry Godzilla is definitely like what the fuck he's like I just want to do my rampage and this fly that keeps above the ground spitting on me what are you doing so you know it can be awkward there's a big lizard to have that kind of shit get in your way but I was thinking this could be where you could incorporate the those people are talking about the elements of the different countries if it was their job to lure Godzilla because it gives you then people for Godzilla to hit down or to you know attack so that it feels like a full action scene because he has to fly very very close a couple of times to yeah he flies real close and I was thinking imagine like a ragtag group of a bunch of different nationalities all you know communicating and trying to lure Godzilla and someone going down during this I just think it would make for really awesome and representative battle of what the film is trying to put across even though the set piece itself is still pretty cool absolutely even with the one even just with the one plane flying around and I guess you get the because you the the ship that gets thrown on to land when Godzilla shows up early the ships that were meant to be like the lure so you already get a bit of your destruction there that you look at that everybody's looking for in a Godzilla movie and what's the nature of this they have four is it four battleships and two of them yeah four I think the two of them were meant to lure it to a specific location and then and then from there the other two would like use the tethers and stuff to surround it was there anybody on the two that get nuked oh yeah yeah I think so right I'm pretty sure the ones that get nuked they like tied together with the steering wheels do you remember something like that a bit of a contention I was trying to remember this right on real BBC I couldn't remember if it was a lot of lost life or partial lost life or no lost life I wasn't sure I thought it was I thought it was partial I thought some people died because of that because I remember the two ships were tied together those were the ones that they were piloting because I don't remember they show us that they show the bridge and there's no one in there oh and then they get nuked so I think there's two of them that are empty at least that's the implication that's the impression I got I could be wrong but I think there's a guarantee when Godzilla gets the laser ready dark even says at a boy right like like this is the plan to lure out the actual laser first oh oh sorry I we're getting we're getting mixed up there was the ship that didn't have anybody piloting it that was the distraction to get blown up I was talking about the the ship that got thrown into the pool I was I'm also curious if there was anybody on that as well I assume there was definitely I think there was definitely people on that one and that there was nobody on the decoy the decoy was empty on purpose they wanted to put it out there blow it up nobody dies so that it gives them an opportunity to have Godzilla on cool down essentially yeah which the throne one definitely had people on there yeah because the throne one was them like thinking oh shit we doomed and then and then they're like well no let's still we're still gonna go ahead with the mission yeah and there's a cool element of dark being like because even this show Godzilla's face is all fucked up from the laser again in that moment so it's like he's got to recharge we're free from the laser for now which yeah it gives you the nice it's like I said I almost described as a reverse ticking clock what I guess I mean is it gives you a refresh rate that's super important because otherwise we wouldn't be able to buy this as possible because it was just out of everybody a refresh rate that would then turn into a new ticking clock yeah have a good little pee there Rex I did I had a little minus one if you will nice oh my god oh my goodness um well where are you guys at I guess he's he's the laser was just fired oh with the decoys the decoy yeah yeah somewhere before there the lady onto you gets a telegram as well from someone but we don't know from who from who yet but yeah so we get some telegram oh Santa Christ no oh and that's just a thing it's it's one of those other little things about having it in this setting because we're just probably never gonna have that again a guy in a little outfit delivering telegram messages or telegraph messages or telegram messages I guess it would be I mean telegram messages yeah so um yeah that's like one of those neat little things from the period that I like to see good flavor good outfits on his on his bike look at him go um so who knows what that could be I guess we'll find out later and also I really did like the whole the decoy ship thing because there's a part of you that wonders like what if it just uses its heat ray you know how do you account for that is like well we got some decoy set up that it'll target it's like okay it's good yeah it's fair enough the one thing that maybe doesn't quite line up perfectly is that they panic when they see that and then the doc explains it it's like wouldn't you've told them this was the plan isn't that the whole point of the plan oh yeah I would have told them I had a time they're like oh my god the he ray it'll destroy us and he's like no no no it has to recharge because now it's been used on the on those two ships which was his plan that's why they had the decoy ships right just making sure I get it yeah there's like that's way more for us yeah yeah yeah decoy that shade so uh I guess we're at the point where they they let go of their little they got each of the ship has a line and they're gonna basically wrap these lines around Godzilla and on these lines are the buoy slash um the the bubbles of Fleur fleuron or what was it um fleuron gas that's a freon gas and yeah the freon gas and the these are the science things that will make it two things about this one um if Godzilla the Godzilla doesn't do a lot of moving in this part he's uh he's mostly just chilling out watching them do the thing mostly distracted by the plane he's flying around with his plane he's not really I struggled to buy that he's not really doing anything he's sort of just well the thing is that Godzilla is clearly not stupid he's not like dumb you know he has some sense of hmm should probably deal with that first or that now you know and like you can't argue to me that like Godzilla is dealing with the airplane when this is like he's probably just looking at it like it's I mean we're casually when it comes by he'll try and munch at it like I would have liked I think uh and I think it would be high stakes too I was saying this earlier if we had more uh pilots than the our guy is the last one because he's the best that would be something but in order to keep Godzilla still they have to get close to him to give him a chance to swipe at them to keep him in place you keep him busy and you know we do lose a couple of people from that because it's just that's that's the job or if you want to make it so nobody gets hit by him that's totally fine too yeah yeah yeah that'd be a way to do it because I I do like the nature of trying to make it so no one dies in this big fight even though they all expected to sort of yeah it's yeah cool it's it's something that is a possibility but working to you know live because people generally want to live yep and the film advocates for that uh of how you know doing your own things is cool but try to make it out in one piece if you can and then the other thing was just maybe I'm not understanding this but how did they fuck it up so that they actually smashed into each other the two ships yeah wasn't it that they just that was something that they had to do I think it's intentional to make sure that those there's like as little distance between the lines as possible was that it like they couldn't pass otherwise because I think the dock even says something along the lines of you know it's alright you know the ships can take the the ships can take it just everyone hold on yeah the implication from what you said was we have to do it this way so hold on is it like the cranes wouldn't be able to pass over the ships otherwise like the wires uh very possible that literally might be it yeah but it's I've not seen it twice the second time for any film is where I pick up all the smaller things yeah it was it was part of the plan they knew it was going to happen you know how to knew about it and dock knew about it and they just said you basically brace for it the ships can handle it and then once it's done they even say like the transfer is complete or the passage is complete full speed ahead so it was it was part of the plan for them to do that alrighty then but they do the ships kind of scrape together as they you know make their crossing and then they get their lines around them and then wait until it's taught before activating the freon yes obviously the laser's coming yeah you get the you get the scientists at the at the nice analog depth meter with all the numbers scrolling by yeah so all the little technology details it just it's really cool to see this old analog stuff being used against you know this big creature you know that human well I also like the when it's activated you do get that shot of Godzilla like being like wow what the fuck do you humans do to me um but yeah they do it they wait until the the ropes are taught they hit the the freon gas bubbles and Godzilla starts to sink and he gets deeper and deeper and he's going down he's really really surprised as anyone would be probably in that situation and they have that shot where he lands so to speak and the tail turns off and it just gave me a sense of like what the fuck what just happened to me they have that great scene where he's he's going deep down into the water and then he sort of implodes a little bit I thought I was like oh that's really that's really neat to show that um so let me see they I think that because I hold him down there and then when they start to raise him up it starts working but then Godzilla starts fighting back he cuts through the yeah it cuts through the cord yeah he cuts through the cord balloons so their line is still like tethered on him but he's cut the things off of him that's something I was going to ask about as well as how does that work exactly because he gets rid of the ring of um floats maybe he tore the things off the ring or he tore the things off the line but not the line itself because the buoys go off and then they rise to the surface so I guess he tore those off and it wasn't part of the ring itself I think we both described it was that we would have torn because that's the reasonable thing but the characters as he chewed through it I was like chewed through it I don't think he chewed through those yeah maybe yeah I guess he grabbed them he ripped them off he yeah I would have thought he would claw at them until they come off I was just uh it was like so he detached from them but not from the cable um yeah I think so uh I guess he ripped them off from the cable because um that was the problem that was happening with the ships it was starting to pull on the cranes and destroy him yes it was like a tug of war between them and Godzilla and as we heard before from Doc saying it because it was suggested by it was on it it was kid that had suggested we got the two destroyers why not just pull him up with it why not use the balloons and Doc said well two destroyers can't pull you know Godzilla up he's too heavy we can't do it more than two destroyers but it turns out that uh yeah they're trying to they try to pull him up with the balloons but he cut he gets the balloons off of him and they rise to the surface without him and they're like well we you know two destroyers can't pull him up but Haught is like well we gotta try you know we gotta at least give it you know give it a try to give him as far up as possible so the pressure hopefully kills them the pressure change and so they start trying Godzilla is really heavy the destroyers are you know powerful but it's it kind of like pulls the crane down a little bit and they're having a lot of trouble trying to pull him up and they just can't do it and that is when we have the rise of Skywalker the rise of Skywalker is actually what came to mind yeah don't dare don't dare Rise of Skywalker did it first okay the first ever thing to do that yeah a whole bunch of little smaller boats being like yeah a bunch of tugboats and stuff have shown up including kid at the front of it who has who has decided that even though he's told not to come up he's going to show up with the tugboats to help them out which is really cool a fun way to incorporate him into the story so they all in a in a way that is explicitly not shown hook themselves up to the destroyers very quickly we do a little magic it would take a bit of time yeah I guess they're just really good at it we'll go with that that would take a while to get them all in position get all these lines on for the other ones yeah yeah all of all of the tugboats they separate into two groups and each of those groups and a very orderly fashion and a very orderly fashion but you know I that's just that uh I just Japanese organization you know winning through the day but they would lead to the question how long can Godzilla stay underwater for without drawing I don't know I guess a more relevant part would be how long can he stand there before you lose the value of the rapid shift in pressure it's uh well they should that yeah they show us he's pretty fucked up when they get into this yeah well that's what I'm saying is that that's the question but we get the answer which is evidently I mean it's still good like they still manage it because I guess the thing is that you've already done the rapid down now you're doing the rapid up so it's still the same the same thing in effect yeah the pressure change would kill anything I guess except God's it well maybe if it worked correctly maybe it would have killed him if it worked correctly you know but but you know the the hitch and the plan of the buoys not going off properly only brings them up so high it only brings them up about halfway I think yeah and then they got to bring them up the rest of the way but what's cool is that even though things went wrong they still dealt considerable damage to Godzilla oh yes and even even when they eventually win I mean you've got to come away from that believing well that that effort was valuable that that made a difference um if they didn't manage to deal with that kind of damage maybe it wouldn't have been so effective what eventually happens which is just a good way of making it to where it kind of gets annoying in movies when like the protagonist makes the only difference and you can have a whole bunch of people working together and it doesn't do shit and then like the hero is the only person who doesn't there's a team effort through and through everybody contributed everybody was um a meaningful factor in taking down Godzilla because yeah they didn't get him but they fucked him up quite a bit absolutely um well they they do their part everyone chips in everyone's helping they're pulling and pulling and they do bring Godzilla up to the surface and uh they show a bunch of like Godzilla's clearly hurt he's got like it looks like ice crystals and shit and weird like a lot of damage has happened into Godzilla he's he's really not having a good day he's not enjoying this whatsoever but it doesn't look like Godzilla's actually dead but he's clearly wounded in some way but he's not dead um and unfortunately uh because he is not dead and only wounded uh he begins to charge up his heat ray once again he's up at the top they got him you know anchored but uh oh bad news he's not dead yet and the heat rays coming and everyone's like oh shit he's gonna totally blow us up this sucks um and it is a very somber moment is uh they think it was half of them think they are going to die with from the heat ray their plan did not work um but at the last moment as Godzilla is rearing up and he's ready to go and he's all turning glowing blue and he's got his mouth open and he's about to hit him uh that is when Shoeichi uh takes his plane and turns it around and he flies the plane right into Godzilla's mouth little bit of time-stretchy happens but yeah it's still pretty awesome because yeah how they do it with like no music you know because yeah they it's it's a really uh because I guess the time-stretchy it's on both sides Koichi knows what he's going to do so on both sides they just lengthen it out for drama but in I think in reality he would have he would have been there to do it he was flying around the whole time the main thing I'm targeting is that Godzilla looks fully charged and they react to that fact then they spot him and he has to you know travel what looks like about a mile or so and like Godzilla probably would have popped off the shot by them but that's okay he's going to move things around you know it's slowing down but the pertinent reveal is that we flash back to the conversation between Koichi and the engineer, mechanic guy um back when he was explaining all of the functionality and it's at this point it's like ah yes we're doing it it, of him telling him, yeah, you pull this and you can you can eject. Yeah, yeah, the ejection seat. Yeah, it's this was a little bit, yeah, this is it's cut quick. He does pull the eject right before crashing. Yeah, you can see it. Yes. There is a few there's a few little details that I like about this. First off, when he was first being told about it, we didn't know exactly what he was referring to the scene just kind of pans away from Koichi and Tajibana at the Shinden. And to me was that was what made me believe. Yes, that was a detail. So because in good movies, when they show you little bitty details and things like that to pick up on, it normally actually means something. So they kind of dropped a hint of it later. But the flashback that we get upon his ejection from the plane is that Tajibana sees that Koichi really because Koichi commits to doing this before he knows there's an ejection seat. He believes that he is going to die. It was the mechanics idea to put in the ejecta seat and then tell him about it. Yeah, which is not having that. I mean, it was referenced by Doc that the, you know, there are no ejection seats. Kamikaze planes were designed to not have ejecta seats and to make it really difficult for you to open the cabin to get out. Sometimes they didn't have landing gear that have the gear to get you up in the air, but no landing gear. There were a lot of ways that they were designed to make it really difficult to come back. Yeah. So I mean, if you're strapped for materials, then I mean, the I think the Germans experimented with a similar idea and concept, not a suicide thing, but they they experimented with a little tiny rocket plane that was literally disposable. You'd get a pilot in it and he'd take off. It had no like landing gear. He only had just a little bit of fuel. But he was you're supposed to get up there, fly around, shoot down a fighter or two, if you're lucky, really lucky, and then eject so that you could land and then do that all over again. But for pretty obvious reasons that never came to fruition, but even the Germans in the war were experimenting with the idea of disposable aircraft, though Germany's problem, particularly in the near the late last years of the war, was they were literally running out of pilots. They just didn't have trained pilots to actually fly stuff. So Germany and Japan had the same problem of no oil. Neither of them have very little oil. That's the reason why Germany, the Caucasus, they wanted to get to the oil fields and yeah. Yeah. Well, that's, you know, Stalingrad, right? The whole idea was to cut off the Caucasus so that they could get that so that they could use the oil. And the reason why Japan attack Pearl Harbor was stemming from the oil embargo that America put on Japan that cut. I think I want to say like 90 percent of that oil supply. Yeah, neither of them. And then, of course, the longer the war went on, it's like, well, I mean, you're you're just plain running out of people. You're running out of people of military age to participate in the war anymore. And it takes it takes time. And they even talk about in the movie how Koichi is actually trained to be a pilot. He uses that with the gun shooting the mines and he uses it for, you know, flying the plane as well. But train actually training personnel to do these sorts of things. It takes time and it takes a while, you know, you know, this is like autobiography is talking about like American soldiers. And it's like, what, six, 12 months of training before they actually get deployed. So to me, like you might sign up in like 1943, but it's not until 4445 that you're actually getting deployed. Because if you send someone out there and they don't know, that's why, you know, as Germany was losing its pilots, the the casualty rates for the Luftwaffe were just like, we're talking 90 plus percent because you had all these trained, you know, American pilots who had seen action or who got, you know, those months and months and months of good training in Germany just couldn't do that for the pilots. They had too few and they didn't have the time. So they were just getting absolutely smoked by the allies in the air. Of course, again, as was mentioned before, the allies were able to replenish losses of equipment in ways that Germany and Japan could not do because they just didn't have the resources. So part of war is logistics. That's right. You got to have people and you got to have stuff. If you don't have people and stuff, it's it doesn't look good. What's interesting about the payoff here because it really does feel appropriate that the mechanic, the one who was the most critical the land for the debt and chastised him for not doing his duty that looking at Koichi, it's not like, OK, I understand that you want to do this now and that's really good. But you have to kill yourself here for this. You don't have to die. That's not what I want. I don't want you to die. That's the same reason you have to sacrifice yourself is the reason why you should live. Yeah, exactly. It's and so then that's what he tells him, you know, live. And it's like, oh, damn, full circle theme. You pulled it together like wound tight in a nice bow. Like that's some good shit is what that is. That's some good life affirming positive storytelling there. And also you get the when you get the radio broadcast from the destroyer of, you know, the pilot is ejected safely. You have, you know, Tatchavana and the mechanics back at the the hangar, essentially, who are like elated to know that he actually did survive and that he made it. Exactly. It's just like a really cool because because what the story looks like is that after Godzilla rampages through the city. And as far as he's aware, has killed Noriko that he has now his attitude is Godzilla represents my failure. I have to destroy it. And the only way that I can do that, the only way that I should is by destroying myself in the process to then have the perhaps the the big the person who was the main reason why he felt that that was the case, not because it was his fault or anything, but just because of his reaction to what happened on the on the island of saying, this is your fault, you fucked up. And the fact that that would have then be paired with him not following through on the kamikaze mission to have that man tell him, I want you to live I want you to I want you to I don't I don't want you to die. I want you to do your duty to be a hero. But I want you to come back and lead your life because that's what it's all in service of. And then when you tie that in with all of the speeches given by doc and whatnot, all of this sort of messaging through the film is like, Dan, that's that's some tight thematic writing, you know, that's some good shit. Yeah, maybe. He blows Godzilla up blows up the plane. Just the plane just smashes into Godzilla's face. And then after a couple seconds, it blows up and takes off Godzilla's head. So I do like Godzilla looks almost completely like war. And then just crumbles away into like little little pieces with the little laser pieces poking out as well. Yeah, which I got to say, I didn't expect them to just crumble. To be honest, I thought you just have to think of something when you just like. So regarding the crumbling element, something that I think I like about this movie is that they just present Godzilla being able to do these things without trying to get deep into the science of it or trying to look into the, you know, you do this because of this. And this is why you could do that. The other thing, the origins of Godzilla, we don't know what they are. Apparently, he's just a local, a big local legend that there is a there's a short sequence in this. I don't think we brought it up. But the beginning Bikini, a toll test in 1947. Right. They imply that it's sort of super charged. Yeah, they have all shot where his skin is getting completely blown off. But I assume it's irradiated him. And it's a little subtle. I can believe why some people might not know why he's small at the beginning and bigger at the end, but they did. They did sort of, you know, they hinted at what happened there. So hence contributes to the what we talked about before, which is maybe Koichi could have killed him. Maybe maybe before he was radioactively charged and all that. But they got it, which I got to say, compared to I think it is really, really, really hard, especially when you present a big movie monster as being impervious to conventional weapons to present the defeat of that entity in any way that isn't like eyebrow raising. But in this case of them flying it into his mouth and blowing it up, especially after what was shown before and maybe just aided by the fact that I like the characters felt like one of the few times in one of these types of films where I looked at that and again. Yeah, good job, guys. You deserve that. I can lie. You know, you beat him. I mean, you know, blowing up the head of the creature is typically, you know, it's generally going to be the way to go. Well, in King of the Monsters, they blew up a nuke on Godzilla and then he was a nuke walking around and he melted King Ghidorah. That's right. He melted Boston, all the city and all the innocent people. It happens. It's fine. That's an honest mistake. OK. They were they were Bostonians. It's fine. So we we we get our like, oh, my gosh, she was able to eject safely. Everyone's everyone's thrilled by that. You know, he floats down Godzilla crumbles into the air. Yes, it is it is indeed a very happy ending. And it's going to bizarrely get happier. Yes. Against all against all odds, the reason it's about to get happier because the everyone comes ashore from the destroyers. We did it. Oh, my gosh, everyone's cheering. We were able to turn Godzilla into a crumpley crumpley ash bits. That's that's great that that happened. Everyone's, you know, embracing and hugging us. Oh, we did it. We're so happy. And as Koichi steps off the destroyer, it is, you know, he's bundled up. He's been in that cold water. He sees he sees Sumiko there and Akiko as well. And she hands him that telegram that she got while he was gone. Oh, my goodness, whatever could this mean? I don't know, maybe his Amazon delivery had arrived or perhaps, I don't know, a check bounce to know who knows what it could be. But I think, unfortunately, I knew before we actually got to reveal as it as it turns out, Noriko is alive and in the hospital and he rushes off with Akiko to meet her in her hospital room. And we have our big reunion of our our happy family. Incorrect. It's actually just a shared psychosis from the events of Godzilla that they all believe she's alive when she actually that's true. That's Akim's razor dictates that must be what I actually. Yes, that is more plausible. That is more plausible. A mass delusion is indeed more plausible. She's got her arm in a sling and she's got a bandage on her head. But otherwise she's OK. And they embrace a weird like a weird bruise, a weird glowing black bruise on her neck. Sequel bait. When I saw that, I was like, oh, really? Like, you know, like, why'd you do that? Oh, my goodness. Godzilla. No. Well, I mean, Sequel bait goes way further than that on her neck as well. But if that sequel bait wasn't enough, but yeah, they embrace in the hospital room, we have the, you know, the the the lover and they embrace and we have the kid and Godzilla has been eradicated. And hooray, isn't this is we're able to do it. I'm going to say, like, the is your war finally over and giving him her like that hit me hyper in the fields, even though I was like, you should be dead. It's the thing about it is the movie that you could so blatantly have. Well, this this makes me for the degree of separation with these with me sometimes because of the fact that this isn't this doesn't affect them as people or motivations, whatever. Everything's intact for them. It's that God came down and fucking placed, you know, a hand in front of her and somehow prevent, you know, I mean, like, I'm like, it's not her fault. It's not his fault. And both of them are behaving exactly as they would. If all of this had happened the way that it did. So I was like, I was still very immersed in characters are totally intact. It's just that the the plot saved. I mean, definitely her. So yeah, but we get a happy ending. But then we get our proper sequel bait. Yes, as the as the little steaming hunk of what remains of Godzilla's body sinks into the depths of the ocean, it begins to regenerate. And then the thing flies. Godzilla minus one. Yes, which at first glance, this is a quote, one might assume Godzilla minus one is meant to denote a prequel, as mentioned above, though the film isn't directly connected to any of the Toho Godzilla film. Instead, the title is a reference to the tragic story that movie captures in an interview with Forbes Toho International President Koji Ueda stated the concept is that Japan, which had already been devastated by the war, faces a new threat with Godzilla, bringing the country into the minus. Anyway, Godzilla minus one is a pretty good movie. It's pretty it's pretty good. I like it. I really like it. I like it a lot. I think it is excellent. I mean, it's quite frankly, it's the best Godzilla movie that I've ever seen. And I would be it's going to be quite a challenge to top it just because it's so good. Well, how much do you remember Roland Emmerich's one? The the Matthew Broderick one. Hell, yeah. Fish. A decent amount. Jean Reno is in it. He's a missionary. Hank Azaria is in it. He almost gets crushed. There are stand-ins for Siskel and Ebert. They're pretty great. Everyone loves them. I remember a decent amount because I watched it a lot as a kid. There is a crazy amount of the Simpsons cast in that movie for some reason. I don't know if Fringy knows that as a fun fact or not. Yeah, Nancy Cartwright is Nancy Cartwright's in it. Who else is in it? Voice of Smithers and Burns. What's his name? Harry Shearer. Yeah. He's in it as well. Yeah, he's like a high level businessman or a person. Because I remember that there was an ad for like on Channel 10 back in the day for like TV movies. And this was, yeah, this was this was back in the early 2000s when Channel 10 was playing the Simpsons every night at six o'clock. And they even had the Simpsons Hour, which was three days a week, an hour of the Simpsons. They are they played a lot of Simpsons. And so part of their little ad talking about the film was, oh, my God, Nancy Cartwright. But, you know, she's in it. And then I watched the movie and she's not in it that much. Oh, yeah, she's barely in it. Yeah. You like me, Channel 10. You fucking lied. You're plenty of hangers are, though. He's in a bunch of it. Yeah, because he's in it again. Wow, three out of six, you know, I don't remember shit about that movie. I just remember that she wasn't in it much at all. Well, we'll have to check that out again, because that's the only one that might have a chance of dethroning this one. You know, that's got to be part of the arc. Because what you always hear is that the design of Godzilla in that movie is everyone's favorite. It basically changed everything about, you know, designing Godzilla. It was becoming the new standard. So. Well, I mean, I mean, this one's got it. How do you think that this film now that it's come out and has gotten a very widely positive reception? How do you think this influences actually the course of these Western Godzilla movies? If there's anything we know to be true, it's that they always learn the wrong lesson. But what is the wrong lesson that they learn from? Well, from this film, who are we going from? Like a different time period. I think we're doing Hollywood first, because what they they just they just don't have the fucks going on anymore. They just need a romance. We need a romance. Well, so because that was cut. Yeah, but there was a romance. There was a romance in this one. Yeah, but it's like balls. No, that's kind of the thing to me. It's like I don't see how you can misunderstand because everybody's pretty clear on what it is I like about this one, which is the characters. Right. How do you how do you learn a bullshit lesson other than you got to write it well? How do you how do you learn an adverse lesson from that, you know? Set it in a different time period and maybe have a war flashback and maybe make sure the main characters of veteran little things like that without knowing how to connect to anything. Maybe they would go hard with the with the whole being vulnerable from the inside. So they just kind of go inside of Godzilla in a Hollywood movie. Maybe they shrink themselves down and just go into Godzilla's mouth. I think my worries will be more so at the idea of a sequel to this movie. I hope they wouldn't try to just repeat everything as in like well. Seems to be some level of like creative integrity that's happening at Toho and with the the director. You know, hopefully that's like the more classic form of bad sequels that we used to get would be if they made another one and he's like, OK, so people loved the Godzilla is allegory for this. And then character going through this like we can kind of just roll him back a bit and make him go through similar things again. Be like, no, I guess the thing is, is that I could accept if they wanted to do a sequel setting it a good while later so that the victory of this group of characters that I really like remains a victory for a while. So maybe it takes 30 years to get back to full strength so that you can like you can leave that story intact and then get a new set. Here I say, maybe bring back one of the old gang. Maybe in somewhere in the Philippines or something like that, you have a like a small Godzilla that hasn't regenerated all the way. And there's like a storm so they can't contact the outside. And this this one island has to come up with some way to fight Godzilla on their own thing is we don't know. I have to think we're going to closely time sequel considering she's got that stuff on her neck. Probably the same group of characters, which gets me a little bit. I don't know what the angle I'm always worried. Yeah, even with stuff like, you know, and or season two or House of the Dragon, stuff like that. I'm always worried when it keeps going because I've just been because I just have been battered and bruised. Well, this is what I was. Do you remember the Chris Stockman reviewer said, like, you know, movies that are all filmed together, they're more destined to like veil. Because I know I was just like, well, you got to consider the angle of when you make something that doesn't have any audience response. You don't know what they like the most and didn't like. And therefore cut out the things that you think, oh, that didn't work very well when it's like a part of the cohesive whole. And then you double down on things people liked. And then you have like the cake effect or whatever. Too much icing, you know, like a cake effect. Yeah, like this before if you eat too much cake, like you can feel like shit because cake's great, but you don't want to overeat on cake. You never heard that before. I've never heard of the cake effect. I mean, like I mean, specifically the term the cake effect I've never heard of. I know I know that you can get like I just know I don't want you to feel bad by cake. That's all I know. I just it just was funny. That's the phrase, the cake effect is just made me smile. I really, really like this movie a lot. I'm glad that it happened. I'm glad it was a great theater experience. Rock and record, but it is far and away better than the fucking West and Godzilla films. And hopefully this puts the rest, the really stupid idea that nobody is interested in watching a Godzilla film with human characters and that that needs to get out of the way just so that you can have the Godzilla fight. Like many people were saying about Godzilla, King of the Monsters. I'm sorry that I keep having to bring it up. But it's like, I remember a lot of people were saying that shit. A lot of people were saying I'll be even more bold than you. It's better than Godzilla X Kong. It's not even out yet. Oh, what? I have I'm a pre-cog and I know this this sort of thing. I know it's going to happen. So I'll be cool to be proven right about that. And I'll prove that I'm a pre-cog. They will burn you on the cross. Probably. I think, yeah. Well, it's just I would hope that. But I don't know. Because the thing that's kind of lame is the idea that someone would say, well, no, they have a different place. You know, you have the real story and then the bullshit movie as though you can't also have the movie. You can have the movie that is Godzilla and Kong having their big fucking fight and doing their cool like superhero shit. And you can still have a story with human characters that are interesting and whose stories are meaningfully tied to Godzilla and Kong. But I'm just not very I'm not optimistic at all. I feel like that one is going to come out. It's just going to be some bullshit. I think I think this one having come out is going to hurt that one now because people will be like, oh, shit, right. This is what we get. You can have like a real you can have a story where again, Godzilla is meaningfully integrated into the story of the characters whom you like. And the story has something to say beyond, look, Big Lizard, ain't that something? If anything, the Big Lizard, even though obviously and is a central and important part of the story, it really is about the characters and the journey that they're going on and what Godzilla represents to them rather than, you know, Godzilla as a physical entity in the world. It's way more important that Godzilla is a representation of a Kuichi's guilt and the attitude that he takes towards the belief that he needs to destroy it by destroying himself. But then coming around through all of the characters that he interacts with who care about him, who all have a different outlook on the world, presenting him with a more positive, life-affirming path that he can take to ensure to remind him that what is it you're fighting for? It's like, well, you're fighting for life, including your own. And that's a really cool. That's a really cool message. It's a cool theme. It really is, absolutely. Because so much of our stories revolve around these concepts, no heroism and sacrifice and things of that nature. But a take like this and coming from a Godzilla movie is, I mean, like, wow, I'm glad we got it. Really cool. And yeah, and make sure is it still in theaters or is it starting to end? Because it had a very limited. I don't know how long. I mean, I saw it yesterday in theaters. So I think here it's going to be as long as I saw it like a couple of weeks ago. If you get the chance, go watch it. It's worth it. It's really good. Yeah. Yeah, this is an easy film to recommend. I wouldn't imagine I would be. I would be like stunned if somebody went to watch it and didn't enjoy it. Yeah, like you don't like this, you're wrong. Well, no, it's just more so that this is a film that I don't. I just don't see somebody leaving it not being happy with it. I can't imagine what it is. Literally filter a single person who knows the title of it. If you know it's Godzilla and you still chose to see it, I don't know how you'd be disappointed. Yeah, you get all of the Godzilla stuff that you want and then you get like a right proper actual story in there as well. Mm hmm. A nice emotionally riveting story with a lot of because we talked about it briefly, but the performances are great. Oh, yeah, absolutely. Especially Koichi. That's pretty challenging role. There's a lot of very emotional moments in the film that he portrays with a lot of conviction and intensity. Well, Yeah, what's? What happens now? Do we leave? Everyone say goodbye. Do I go home? Oh, goodbye. Goodbye, everybody. Thanks for showing up. To the pit. We will see you later. Bye, see you later. Bye, bye.