Cinema PSYOPS

There is very little time or point in an explanation. To be

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10 years. Man 10.

10 years.

10 years Man 10 years. 10 years.

10. 10 years. 10 years.

What is the most likely way humanity will be wiped out? Maybe it's

something from or us. Although the way the

world ends might. Be because of you. And if this is the case,

you. Wouldn'T have any control over it. The global temperature rise underscores

a chilling reality. Our planet is trying to tell us

something, but we don't seem to be listening. A recent study has suggested

that one. Third of an was death due to heat are directly related

to global warming.

On top of the initial flash of thermonuclear light,

which is 180 million degrees, which catches every everything on fire

in a nine mile diameter radius. On top of the bulldozing effect

of the wind, all the buildings coming down and more fires

igniting more fires on top of the radiation if they happen to have survived

poisoning people to death. On top of all that, each one of these fires

creates a mega fire that is a hundred or more

square miles.

Timelines across the entire continuum are collapsing and changing.

The destruction has a nexus that centers on Cinema Psyops.

A breathtaking scientific revolution is taking place.

Biotechnology has been progressing at stunning speeds, giving us

the tools to eventually gain control over biology. Solving the

deadliest diseases while also creating viruses

more dangerous than nuclear bombs, able to devastate

humanity. It's man returning to the most primal,

violent state as people fight over the tiny

resources that remain. What if the world we live in.

Is just a dream or a simulation? Whether it's a dream or some advanced

computer game you are playing right now, now when it ends, you would be

what causes the end of the world. Please do us all a favor.

Continue dreaming or playing this game of life. Because when you wake

up or unplug, there's a chance the rest of us. Will be blaked out of

existence. Timelines across the entire continuum are collapsing

and changing. The destruction has a nexus that centers. On Cinema

s 10 years.

10 years.

Oh, and welcome to the 485th consecutive week

of Cinema Psyops. I'm your host, Cort, the guy that is More

than stoked about the subject matter of our run to the end of our year

10. And joining me in the joy of. That is my co host,

Matt Big Giant Monsters. Kind of like what's happening to our

country, but okay, yay. Eh. I can't get very political,

but I mean, I pretty much figured the world was over. There's a reason why

our show took the weird somber tone. Tone. It's taken as far as like the

music and everything like that and why I'm picking Giant Monsters Fucking

Shit Up. That's basically. I think that's what I'm just going to call this series

for the end of year 10 run that we're doing is Giant Monsters

Fucking Shit Up. Because it's all Kaiju movies. They're all Kaiju, they're all

Japanese made. There will be two different companies. We're going to be covering Toho

films and a small amount of the Daiya

films. We're not going to be doing any of the Gamera stuff, folks. I'm sorry

about that. We're doing pretty much every Godzilla film that we.

That was made in Tokyo. Tokyo or Japan, minus the animated

stuff. So it's all the live action actors movies.

I hate to have to add that preference, but I am. That's basically what we're

stating. There is one Godzilla movie that we have already covered

in very early days, like our fifth episode or something like that. We did a

Godzilla movie. That one we won't be covering. And then there's like a mashup

Godzilla movie where it's like the one with the kid in it and that weird

fantasy movie thing that's just fucking awful. And we're

not doing that one because it's a reaction. I don't even know what that is.

Yeah, you won't even see it that. But the. It sounds like.

I don't want to know what it is. Yeah. So eventually we'll get to like

the DAIM movies as well, which is a very different kind of Kaiju. But mostly

it's safe to say that we're doing just about every Toho giant

monster film in existence, minus a handful of films

that I couldn't get to fit in. Like the really less known ones that are

harder to find, like Varan and stuff like that we won't be doing. But Mothra,

Godzilla, Dimagine, I mean, you know,

all that. We'll be. We'll be hitting everything. Basically.

We'll just be leaving out like Varan and a few of the other

movies as well. But pretty Much from here on out until we hit

was 520 episodes is 10 years, I think.

Nice. Yeah. Because it's 52 weeks is how we've been doing our years.

And so from now until 500,

episode 520, we're doing some kind of giant fucking monsters. I'll Kaiju

all the time. Yeah. Giant monsters. Fucking shit up. That's what I'm going to name

the series. What do you think? You like it? Yeah, I like it. Giant monsters

Fucking shit up. All right, up first is the King Godzilla

1954. I'm assuming this is the first time you've seen the full Japanese

version. I'm like, you may have seen the Raymond Burr version when you were a

kid or something. Yeah, yeah, I did. This is definitely

the first time I saw this Must be original, right? The first ever

Godzilla movie. Yeah, 1954 is Godzilla. This is the very first one.

And if you watch the Criterion Collection copy that

I had, that is the 100% legit Japanese

version. There's a lot of other versions where they threw Raymond Bur in or

it's dubbed and they recut it and everything. But this

is the original way that the film was written and produced.

That 1954 that we're covering today. Yeah.

Nice. Absolutely. And as much as I would like, I liked it.

As much as I would like to BS about it, before we actually get into

the coverage, why don't we just jump right in? Because we got a lot of

stuff to talk about. Because it's original Japanese language, so no clips

for the next two weeks. This week. And. Oh, God damn.

Yeah, Life is going to be rough there. So note taking.

Yeah. Yeah. But we're willing to suffer for it. So what we're going to do

is on the pirate radio, since there's really no songs

about giant monsters fucking shit up. Really. Or at least enough to sustain us for

the next however many fuckload of weeks we have left to do this stuff.

I'm gonna just pick songs. I'm just gonna pick songs that were released in the

year that the film was released, like I've done before. So up first on the

pirate radio edit for Godzilla released in 1954, the song

Shake, Rattle and Roll will be on the pirate radio edit after

this. This will keep you quiet. You started moshing with the

robots. It was weird. Yes, I was moshing

with the robots. Let's. You know,

I heard that Robot Matt has actually been a little bit upset about

this particular film. I don't know if you. You've heard him complaining? No,

I tend to tune him out a lot. Yeah, he actually called it robot.

He's got to be a whiny little bitch. He said it was robotics. Like it

was robotus. Yeah, like it goes against robots, really. I mean,

it kind of does. Yeah. Well, kind of. Yeah. He's not a lie.

He's not lying. I suppose I can understand how he feels that way. He was

not happy at all. I don't know what's going on with him. My gosh.

What is all of this? Holy Jesus. It smells delicious.

Right? Is this chilly, guys? Yes, it is chilly.

We wanted to do something to commemorate

your 75th episode. We felt that it was a

good idea to get something together for you guys.

Mine's got bear. Thanks, bot 4592.

It's cardbot. That's right, bot 3472.

Why can't you remember my name? I always remember your name,

bot3598.er2 Matt.

It's Cort bot, dude. I build him to be more patterned after

you, and you have this strange animosity towards him. I don't understand it.

I don't know what you're talking about. I always get along with 5:9

or 5:A is an Alpha 2:1.

You constantly berate him and tell him he has no personality and he's got your

personality. I have never done that. Hey, hey, hey. Dumb, dumb,

put the bull down. I'm not done with that yet. Anyway, I'm always

nice to bot54921. I'm sorry,

Matt, but why do continue to make

fun of and antagonize the creator's creation?

Cart worked very hard on Corp,

and you should be nicer to him. Isn't that right, master?

Well, yeah, absolutely. I don't understand it, man. I mean,

he literally has your personality. I cloned your personality directly. I don't

know what the you're talking. I really don't. Sorry, guys. Well, let's.

Let's get to eating some of this delicious chili that Matt bought in

bot 218-677-5309 made.

Spoiler alert. I pissed Dan's ass. And that was

before I tasted any of it. Good job, bot94.

21874. I also switched the labels

between me and Matt. Bot. What? Hopefully I

found the Bill Haley version, because that's the one that I'm going for for

1954. We're kind of recording this in a bit of a

rush because, well, I overslept. Let's just

put it that way, and we'll explain it another time. But. But why don't we

just go ahead and get into actually talking about Godzilla now? All right. Godzilla,

1954, the first 30, a boat we see is attacked. Full of,

I don't know, probably fishermen. A gentleman.

His name is Ogata.

He and his female friend Emo get

a call about it, and he has to go out to handle some situations.

Guess he is, I believe, with the Coast Guard. Yeah. The boat

sinks, we see at the beginning, and he's the one that has to deal with

it because it was one of their boats. And it's a really weird thing that

had happened. Yeah. So we then cut to.

The military is getting alerts, and they don't know what's causing all this. We see

more boats burning, and then we see,

like, the. The civilians, they all want to know, like, you know, who survived

if they're survivors, like their family, all that.

Three dudes do get rescued, and they just describe it

as the ocean blowing up beneath them. Another boat gets

destroyed, and people want answers. This kind of goes very quick.

And there's not a lot to say other than

panic and destruction right now. Yeah. And the only other, which is most.

Kaiju movies is panicking destruction. I would also add that the

thing that seems to be destroying the ship, you can actually see a creature in

some of the flashes, but it's actually. It's absolutely portrayed 100%

as an atomic blast is what you end up seeing more than actually Godzilla.

At the start of this, the news starts coming out. They're reporting on

this, about all these issues happening. And then

a couple guys. It was for people on the shore. They're seeing

a person on a raft, and so they freak out and they grab the

person, and it's a person. They keep saying it's Masagi. It's Masagi.

And he tells them that it was a monster and then passed us out.

An old man on the shore said it must be Godzilla. And they

all kind of give him, because Godzilla is a legend to

them. And so everyone gives him shit about that. Do you notice

how fucking misogynistic he gets where he threatens to feed a bunch of cows,

meaning the women that are making fun of him to Godzilla. Whenever Godzilla

shows up for making fun of him. Oh, yeah, it's.

It's not good. The patriarchy is alive and well in that dude's heart.

Yeah, right. No kidding. So then we have a ceremony

where I think they're trying to interact for

better. We're not trying to Interact. They're trying to appease Godzilla. And the old man

tells a story how they used to do sacrifices to Godzilla. All this

kind of stuff. Yeah, he almost sounds like he misses the days whenever he could

just have a woman killed by being thrown into the ocean for talking back to

him the way he. Well, that's for sure. Yeah, He. He was definitely more into

like hating women than more people than I've seen.

Yeah, he feels like the ritual, at. Least he feels like the ritual is.

Not going to work because he's not allowed to kill women. Yeah, basically. Yeah.

So then there that night, everyone's sleeping and there is a big wind

and all of a sudden the village is being destroyed and everyone's

freaked out. Later on they all the survivors give testimony that it was

a giant animal who did this. Then A paleontologist,

a Dr. Yamini, he speaks

and he tells that this is something they have never seen. But he

and a group will go out to Investig. He is joined by

of course Oada and his daughter Amiko

out in there. And Okada is very nervous

that this could be their last journey. So he's afraid of this

mission. As they check the village that was attacked,

they find that the well is radioactive. And then they find a giant

footprint of Godzilla that is radioactive as well.

Can we go back a second? As they're leaving, the scientist Serizawa

is there to see them off. It seems like Amika and Serizawa may or

may not have been a thing before the war. Sirazara lost his eye.

Agata and Miko are now a thing and they feel

very guilty about that because they're essentially

seeing each other and falling in love behind Sirazawa's

back, who it was presumed that they were going to be. They are an arranged

marriage. They're not in a marriage yet, but arrange engagement.

Yes, Sirazawa is. And she says that he's more like with.

With Amiko. Yeah. And she says that Sarah Zaw is more like a brother to

her and she's about to break off that arrangement. However, that comes later.

Right? That comes later. Which describes him as a brother. Yeah,

but I'll get to that. Yeah. But as they're going away in the ship,

he says that he's surprised that he left. And you can see the tension there.

I'm just saying that that's all in there and we have to mention it.

Oh yeah, There's. There's a love story weaved in here and also

tension of that sort all weaved in. So. And we can Absolutely

ignore it. It's just that Sir Z's first appearance was there

on the docks, looking all dour as. And we need to mention that for sure.

Agreed. So. So then.

Then they find a small little creature that they believed like

in the footprint that they were believed it was long extinct.

Alert is sounded and all the villagers go running and they

say it's coming out of the mountain. Coming out of the mountain. And we see

Godzilla really for the. First time, peeking out over the mountain,

looking all adorable like, hey, what you guys up to? Why is everybody running

away? I was like, come here, Godzilla.

If not friend, why friendship? Yeah, yeah, he's definitely got the friend

shape. I wanna. I wanna scritch him behind the haunches, but he's like, this one's

165.

Then we cut to a presentation about dinosaurs.

And really, it's just. They kind of discuss about the timeline of dinosaurs

and then what came after. And they discuss how Godzilla is a creature

that may have been between the dinosaurs and other sea life that we know

today that we've just never learned about. I just did the math.

Godzilla is 33 times my size. Yes.

Nice. And they believe the

atomic testing in the water has actually freed Godzilla,

so. And that Godzilla probably

absorbed radiation while he's leaking it. Well, most of the dudes in

this cabinet want to keep this information quiet from the public

because it could cause a stir. Of course. Yeah, it's going to. There's a lot

of fighting about that. Yeah, it's going to affect his bottom line.

Whereas people who want actual people to be safe are arguing,

which. It's funny that the men are concerned about the bottom line and the women

in there are concerned about keeping people alive. Oh, how times have not

changed since 1954. Yeah, right now. Yeah, we're well away.

Still just as dumb, folks. Yeah. But as long as you can

create shareholder value, that's all that really matters in the world,

Right? Well, what's. I mean, duh. Hey,

are you a capitalist or not, motherfucker? I mean, come on. Anyway,

you might want to be careful. We've had meetings

about that.

MacArthur got in a lot of trouble about shit.

So then, peeps, we have some peeps on the train, which is Okada,

I believe it's. I'm sorry, Oada and Emiko and somebody else.

They're all talking about what if Godzilla comes out of Tokyo Bay,

attacks the city and kind of what they do, and they want to get shelters

built. And that's the end of the opening. 30 minutes. Yeah. What a great

solid opening. One of the things that I wanted to mention

is when they're talking about Godzilla,

they think that he is a dinosaur that had been living below

the, like, ocean floor surface in like, underground caves,

even further below, like deep in the earth, which is something

that gets brought into a lot of other Godzilla movies, particularly in

the American Monster Monsterverse. They have this Hollow Earth theory where

there's like underground tunnels where all these monsters come from. And it turns out that

it's actually like sort of like a portal to another dimension that we're connected to

of what we thought was the Hollow Earth and stuff like that. In this case,

they're just like, well, look, there's, you know, the Mariana Trench. There's a bunch of

unexplored. He's been living down there. And it's the bombs

and the testing of the H bombs underwater that we've been doing to keep it

safe for us. That's been up for Godzilla. And basically

we fried his natural habitat. So he's leaving his natural habitat

to come hunting for food. And it just so happens that he finds us very

tasty in this. Yes. Or it's that fact that we

woke him up like a dummy. Right. He's also a

radiation burned dinosaur. In this as well,

is what they basically explain that he is.

Essentially, Godzilla is us. Right. He's a

monster from a long gone era that has been powered

by atomic radiation through the discovery

of the H bombs that is just rolling through and

destroying life everywhere in Japan. Godzilla is us.

Godzilla is the United States, for fuck's sakes. Let's just come right out and say

it. Sorry about that, everyone. Yeah.

Their view of us is what changes. How Godzilla

changes over there as far as a character and like,

how he. Like we see him behaving very much like King Kong in the first

King Kong film, because that was a heavy influence. Whenever he appears,

he's like, you know, he's stomping shit, he's biting shit, he's eating shit.

Later on, he just stops eating things altogether. You're not even supposed to see Godzilla

eat anything. No, he just destroys. And also later,

he becomes the defender of Earth from other Kaijus. Yeah, yeah, kind of.

He just hates other monsters more than us. And we'll get there when we get

there. But anyway, this is a very different Godzilla than

what you see in subsequent movies like that. Their fear

and hatred of us after the atomic bomb evolves

over time and so does their view of Godzilla.

And he becomes sort of a folk hero while they also start to kind of

like us again too. It's strange. Oh no, they're not

so bad. Right? But Godzilla is essentially the United States. It's the monster with

atomic power. That's us. Yeah, and they're

not wrong in this film. We can move on. I'm sorry, I just had to

say it. Sorry fellas. Sorry everyone.

Our bad. All right, so we start the next 30min.

They're sitting on a fleet to hunt kind of Godzilla,

I guess. And the there's warnings going

around to the surrounding areas to clear out. The feat is

flowing massive depth charges down to see if they can stop

Godzilla. People are watching the news, seeing all this happening.

And the professor is very angry about that because he does

not want Godzilla killed. Then we cut to a party bout everyone's having a

good time and Godzilla shows up, freaks them all out.

The government brings in the professor and they really want to kill

Godzilla. But the professor says they should be studying why Godzilla

is even still alive. Then a

reporter, we cut to a reporter, Hagiwara,

who is assigned this current story. Then we cut

to Amiko and Ogata and this is where they're discussing

her arranged engagement to Sarazawa. Okada feels

very bad because Sarazada was damaged in the war. That's why he wears an

eye patch. Yeah, that's where she says he's like a brother to her.

Sarazawa. Well, anyway, the reporter comes in and he wants to interview

with Serizawa. So Amiko takes him

to meet him for the interview. Then as they're leaving,

she tells Ogada that she

needs to talk to Sarasota herself. He wants to talk to him man

to man, say, hey, listen, this is happening. She's like, I need to

do this. This is my responsibility. I have to tell him my way. Yeah,

this feels like it's just because it's a break in tradition. They have

to kind of go around and like he's. He's nervous to ask the father for

permission to marry her. And also he feels bad about

basically stealing her ass from Serizawa as far as it's concerned in

their tradition. But it's very much them breaking with

tradition and being afraid to do so because of the generation before

them. Oh my, how times have never fucking changed.

Exactly. So anyway, during the interview,

he gives up nothing to the reporter, like nada.

And gets rather fucking violent about giving up nothing too.

At some point. Yeah, he's like, I'm not working on nothing. I'm not doing,

doing nothing. Leave me, you know, the alone.

I'M a reclusive mad scientist. Just let me be that.

Yeah, yeah, yeah. Please, if you will. So and

so the reporter leaves and then he decides to take his

fiance Amiko down. He says, I have been working on something. I need

you to see this. It's for your eyes only.

Yep. And he shows her something he's been working on. We don't

get to see it, but whatever it is, it horrifies her. Yeah,

she like classic movie screams like,

like early 1930s monster appearance screams at whatever the

fuck Surizawa's up to. So you know, it's fucking

horrible because it puts her on her ass. Right? She just basically faints.

Yeah. So it's something. You know, this is a

very interesting thing and I'm kind of

excited. You're, you're kind of excited because you're like, what is this?

And well, and here's the thing. Like she works with someone

who is a zoologist, she is a scientist, so you

know that she's not going to be weak hearted. And she has definitely already

seen some shit that will turn you white. And what is it that he's

working on that's going to make someone like that lose their composure? Yeah. Later that

night, Godzilla attacks from Tokyo Bay.

He takes a train that comes in and after a short

attack he leaves. So we have a new military meeting. God damn,

this can go so quick without clips. I just realized, Jesus Christ,

it is what it is. It'll get longer too once we get into the actual

real Godzilla part where he starts destroying.

And also real. And also I'll keep interrupting you, which will make things longer

because I'll fuck you up. Yeah, yeah. Well, yeah, of course. Makes me

have to find my place again. Yeah. It's fucking Godzilla. I'm going to interject.

I'm sorry, it's just. You better. Yeah, yeah. This is your shit, man. So now

we have a new military meeting. And here the Japan Self

Defense forces construct a 30 meters or 98

foot tall 50,000 volt electrified fence along the coast

and deploy forces to kill Godzilla. At 165ft

tall, that would be about midway up. Which whenever you see him interact with it,

it is about midway up. Yeah. We see more villagers are being evacuated

from certain areas. The military's moving the radio announcing

more evacuation orders. While he's doing that,

Okada, Oada and Emiko are listening.

He says he's going to ask the professor for his permission

to marry her tonight. Then the radio announces that the fence

has been electrified. The professor's very Angry that they want to kill

Godzilla and he comes home. But Oana agrees.

Agrees with the military and also wants to have Godzilla killed.

This causes the professor to be very angry and storms out.

Also tells the guy to get the out of his house for saying that too.

Yep. Tells him to get the out. Tells him he's dumb. Piece of all

that. All that. Yeah, all that. Kind of. So pretty much you ain't.

If you really wanted to marry this guy's daughter, you really kind of it up.

Yeah. He wrote a critical failure in this one for sure.

Yeah, yeah, yeah. Critical failure. Yeah. His charisma

check failed miserably. Charisma. That was a one. Yeah, a one

at best. Yep.

And then Godzilla attacks Tokyo.

And here's where we can go. It really expound before

the final 30 minutes. Because after is this attack. This is the longest

attack in the film. It's kind of the titular attack where he actually goes

through Tokyo and really mows through and flattens it entirely.

Yeah, the special effects is a extravaganza.

Yeah. Just the way that they had to animate

the electricity that was supposed to be shocking Godzilla when he walks up.

And they said that it was like a barbed wire fence, but it very clearly,

when the model that they walk in on, it just is just electrical. It's just

a giant electrical structure. But the fact that they built that so

quickly around the entirety of the coastline and that that is

essentially the solution that most people can come up with is either a giant fucking

wall to keep the Kaiju out or giant fucking electrical fence to try and

shock them out. I mean, they're trying everything. They've dropped depth charges which sunk

submarines easily, uncovered Godzilla left and right.

And that did fuck all. Which the professor is like,

look, y'all, this is a radiated creature. He can teach us a lot about how

to live through an H bomb because he's done it. We should be studying

him. And that's why he really is kind of upset. And then

also he's a zoologist, so he feels like every living creature should have

a right to exist on this planet. And yeah, this particular one

is our fault. So he feels even more bad about it is what I'm assuming,

like why it's a radiated monster attacking us instead of just staying where

the fuck it was. That's our fault. And it's just.

I don't know, it's just kind of an interesting dichotomy that they have. And I

love the sympathy for the giant monsters. It's always a thing where mostly

you can't blame them. They were probably here first. In Godzilla's case, he definitely was

here first. Right. He's a holdover from that era

somehow. And the only reason that he's really being a problem to us is our

fault anyway. Pretty much.

And then, I mean, what's with all assholes wanting to build walls? What's with that?

I have no idea what you're talking about. I know you don't. It's all right.

All right. China. I do. China and the Great Wall. Gotcha. Gotcha.

Yeah, yeah. Wow. Really, really dig into the old history books

for that one, aren't you? I mean. Yeah, yeah. It's a

great thing. And, in fact, the attack continues into

our final 30. I just reached this, but it's

kind of this major attack, and then we go kind

of quiet for a little bit before the final 30. But,

yeah, this attack is pretty cool. It's where you first see his

atomic breath, or, you know, that's how he destroys the

wall and the fences, is with his breath. So it's the first time we know

he has that. Oh, this is the sequence where the lady is clutching

her kids and saying, like, yeah, don't be afraid. We'll be with Daddy soon.

And then he torches the block that they just showed you them in.

Yeah. I mean, this is hardcore. Yeah, yeah. This film pulls

no punches for 1954. That's why it was 1954,

man. A woman clutching her kids say, we're going to be with Daddy soon because

Dad's probably dead. You're. That's just.

Yeah, and that's why it was heavily edited in America,

too. I mean, they recut it because I don't think that they understood that

anything about the actual story and what the story was trying to be told.

And then they inserted Raymond Burr and all of that stuff. But it

starts with an already Godzilla attack happened in the Raymond Burr

version. Like some of the field hospital stuff. They have Raymond Burr talking

over top of it with it showing up already. Like it's very different.

I don't remember everything about it because it's been so long since I watched it.

And for obvious reasons, this is my preferred version because it is a

stomp in the nuts with a Kaiju. It is, man. It really is.

You are. You're in for the. Yeah, yeah. I. That's the

one that I definitely wanted to remember to mention because there's a lot of sequences

like that where people are losing their lives, or you see the aftermath

of it, which is even worse, is even More fucking heartbreaking.

The people with the radiation burns and, like, getting triage

treatments and everything like that. Yeah, that's coming up in the final 30.

Yeah. Yeah, but that's. That's the heart. Like, I mean,

yeah, if we knew all of those structures, because obviously they are going through

Tokyo in 1954. So it's very specific landmarks and buildings that he's destroying,

and rather big ones to begin with as well, like cathedrals and all of

that kind of stuff looking type of big buildings and industrial factory

areas. He just walks through them because they're just in his way. Right.

It's not. Yeah, it's not with any malice. Like, he's burning shit because people

are running and getting his attention. And then he just starts lighting shit up

because it's in his way. And that's the easiest way to get it out of

his way. Like, it's. I don't think there's. He's not going specifically

after humanity. It's just. He's a bumbling giant lizard in

a china shop. Right. Well, I also think they're all kind of

pissing him off. So he's just like, you know, fuck it all. Well, right.

When they're attacking him or the lights and things like that, they do figure that

out that it's the lights that are attracting him. And, like,

the flashing bulbs from the. Like when he attacks the radio

tower, I think is in this sequence or is the next sequence.

But, like, it's. There's very specific moments where you see lights flashing at him that

gets his attention and he's like, stomping it out is all it is,

you know, that's basically what's happening. It's just like a animal. All right, we can

move on. I just wanted to point that out. So in the final 30,

we see alerts are coming in all over about damage and injuries and

the attack continuing. Military is having no luck repelling

Godzilla. Radio guys in a tower reporting it, and they are

reporting all the way up to their death. Jets start coming in and

they fire on Godzilla, which causes everyone to cheer because

finally Godzilla seems tired of this and he's just going to leave because

he's like I and can't stand any of this.

Leave the fuck alone. They literally swarmed him with just enough,

like, bee stings for him to be like, okay, fuck this, I'll walk away.

All right, I'm out. Yeah. And they seem like they're even less than bee stings.

It's like when gnats start swarming your eyes. And like, you don't care, you know?

Yeah. Until they, like, are just get so annoying, you go away from where

the fuck they are. That's basically what happened. All right, I guess I'm out

of here. Stupid gnats, stupid gats

all over the place. So then we see

the dead and the dead dying and the radioactive burns and people are suffering

in hospitals, and like a whole bunch of children saw their dead mother taken away,

and you're just like, God damn. Like, could you be

chill for a minute, Godzilla? Yeah, Godzilla 1954 has

no chill. No, no, there's no chill, man. There are children wailing

for their mothers and you're just like, yeah, okay, well. Then,

yeah, orphans and widows. That's all you get in this film is orphans and

widows. And it's horrifying. Oh, yeah.

Later on, Amo, just blown away by all this destruction,

tells Oada about Sarazawa's work. And what

it is, is. It is called the. He called

it the Oxy Destroyer. It disintegrates oxygen

atoms and causes organisms to asphyxiate and

then dissolve, leaving nothing behind. Yeah, it removes.

She was so freaked out. Out of the water. It only works under water.

And apparently it somehow he says something about it removes the oxygen from the

liquid to create this effect. So it's like instaboil,

where it goes from liquid to gas everywhere around. And I can see where

that would just dissolve flesh, as I think is what they're trying to say.

Like the pseudoscience sort of checks out logically, if you think

about it. Yeah, I agree with you.

It's there. It's very clearly pseudoscience,

but it checks out as far as I'm going to go with my I believe

button. Yeah, yeah, I believe it too. So I'm okay,

right? If you have a problem with the Oxygen Destroyer in a movie where a

giant atomic lizard start stomping, you're focusing in on the wrong stuff.

Yeah, yeah, it's. Yeah, no, that is a definite fact.

Yeah, you're. You're focusing in on all the wrong

dude. I mean, I don't know what's going on with you, but maybe just handle

yourself. All right? Yeah, get your together, folks.

We're. We're watching Godzilla. All right? Stop trying to make it make sense.

So they go to talk to him

to use it, but he hates the oxen Destroyer and he's decides to burn

his work so no one will see it. Well, well, him and Ogata

get into a pretty nasty fight over this, in which he smacks

Ogata over the head, making a bleed. And then he feels like.

Because, again, Serizawa is a good man. He does not.

He didn't mean to create a weapon. He thought he was creating something else.

He did not mean. And he doesn't want it to be used as a weapon.

It sounds like he was trying to get fusion so that, like, he could literally

power the world safely and cleanly. But he ended up

with Oxygen Destroyer, which is essentially how he got the H bomb,

too, because they were trying to create power and they made a weapon. Listen,

man, it's. The road to hell is paved with good intentions.

So, yeah, scientists are not immune to that statement either, dude.

Nope. So then after they listen to, like,

a bunch of people, you know, singing, and they are,

you know, a bunch of kids singing on the radio, because pretty much the radio

is like, we're all going to die. This is. This is going to be the

end. He agrees. I love how mournful it sounds. And they actually

give you. On the tv, they. They go and show you more of the wreckage

and more of the loss, sadness. And the kids

are being broadcast over the TV with those images, but they're also performing

on the radio. So it's being broadcast all over Japan at once.

And it's this very somber, like, you know, song of Peace.

And it's like this last hopeful thing that they're essentially trying to do where they're

resigned to what's happening and Serizawa has

to make a decision, right? Like, there's only one way to stop this beast that

is clearly not going to stop destroying their little island of a

country. So he has to do it. And it's essentially very

much allegoric to the H bomb, right? Like, that's. That's what they're dealing

with here. Only the Oxygen Destroyer is even worse because now

they. Zerizawa, 100% is death. That's all this guy does. He can't

find any other use for it than death. Exactly.

But he is. He says that he will do it, but he'll only

build one bomb, and he's. Then he's going to destroy his work so

that it can never be used again. So then we cut to. They are

all in a boat. They're going to go find Godzilla, and they're using,

you know, they're using his radioactive weapon ways to, you know, the waves

to try to, you know, locate them. When they finally do,

Sara says, get me a suit. I'm going down there and I'm going to

launch the bomb. Nobody Wants him to do that, especially in Aragata,

because he's not, you know, he. He doesn't know how. He says he has to

be the one to do the bomb because no one else is going to know

how. And he's not going to tell anybody else how to do how. That's how

much he's. He's hiding this from, you know, he doesn't want anybody else

to know. So. So then Okada

says, yo, you can't go alone, though. You won't know how to dive. I'll go.

So they both go down there, they find Godzilla, they set the bomb. And then

as they're going up, Sarazada stays behind. As Ogata goes up,

he, you know, sets the bomb. Then he cuts off his oxygen

supply and the weapon goes off, killing both Serizawa

and Godzilla. We see Godzilla rise from the ocean and

then fall. We cut to, you know, the country everyone's

morning serves as death. Oh, wait, right. You actually do

see in a sequence where the, where he falls down to the ground.

It's very quick, but like, you see a Godzilla skeleton including

all of the plates on his back. And then that even dissolves in the oxygen

destroyer bubbling. And then it's over. And then this is very much a

he does get destroyed type of thing. Yeah. And everybody's fucking not okay

with it. Like they all. You can see the people on the boat are like,

they're not happy that they did this, but they're glad that it's over. Or so

they think, you know, like, yes, this is not a good thing that they

had to destroy the last of. This is kind. Yeah, this. They're not

happy about it, but they, they, they figured it was something that had

to be done. Cut to the country was the thing that you just said.

Yeah, yeah. And then. Hold on.

Okay, okay. And then as they all mourn

Cerz death, Professor Yaman just believes that if

we continue testing nuclear weapons, another Godzilla will rise in

the future. That's a very sombering thought. And we go into

roll credits. Cinema scops. Ten years.

Ten years. Oh, man.

I've done it for an hour and 36 movie. It goes quick.

Yeah, of course, because there's no clips. The show seems a bit shorter because

it's a lot of action. There's a dickless amount of action in this. What I

saw was the 1954. I didn't really know what to expect when it came to

what the, the effects would be like. The effects were great for

1954. I can't say enough about how they made Godzilla

look, how they made the destruction look. The destruction looked really

good. Ye. Two thumbs up from me.

Way up. I'm. I enjoyed it. Well, you're going

to have to strap in, man, because it can. I'm strapping in. You go,

man. That's why I just wanted to get mine out of the way so you.

Could go, no, I'm not going to freak out as much as you would absolutely

expect. I would say that these effects are 100% groundbreaking

the way that they did. What was my favorite term for it is

suit. A nation where they put a person in a suit and then

that's. They kind of animate a background around them with like the planes coming

in and stuff like that. I think that's kind of a cool phrase for it.

This was something that had been played around with here and there to try

and make giant monsters happen, but never anything to this scale.

Yeah, it's so ambitious. Just the entire model

city and just taking the time and planning out and having

the explosions and the fire with him walking through. Because let's face it,

there's a dude in a suit walking through a burning set of a

city that he can barely navigate through. And then

they animate in the atomic breath, making the fires happen, but there's explosions

happening around them. They're shooting bottle rockets at this motherfucker to

get some of these shots for like the missiles going off and stuff. I mean,

they are not fucking around. And that guy in that suit is in danger at

all fucking times to make this happen. And then,

you know that motherfucker didn't get hazard pay. Right?

Right. And they're doing some crazy shit to this guy in

his suit. And it's going to get even crazier from here. Right. Because they just

keep amping it up from here. They do. They absolutely do. Definitely. Yeah.

And that's one of the things that I love the most about Godzilla. This is

the one that I have fun with watching,

obviously, because it's intentionally supposed to be a downer, just destroying

everything around you. You're supposed to feel every fucking second of that, man. It's supposed

to be a cautionary tale. You're supposed to feel the mourning and the

widows and orphans wailing and the gnashing of the heath. You really

are. This is supposed to be against nuclear perforation,

really. That's what this is all supposed to be. Right. And even the Raymond Burwin

is somber, but they really trying to lessen the impact on that because

somebody somewhere, whenever they picked that up to release it in America was like,

oh, shit, Godzilla is us. And they're. We got. We got to fix this.

We got to get one of ours in there. So that doesn't seem like it's

us. Yeah. And I don't. I don't hate the Raymond Burr version at all.

I used. That's used to be the only version I could watch as a kid,

you know, so that's what I'm used to. But the impact and the power of

this film with what is inarguably one of the

most ridiculous premises you can come up with, which is giant monster fuck

shit up, right? That's. That's the most high concept fucking thing ever

is giant monster just shows up and fucks shit up. Purely and simply. That's what

it is. And to take something like that high concept of

a film and root it in true human misery and

allegory in such a way is just masterful.

It's just. It changes the face of filmmaking from this

point forward in all of the best possible ways. You know,

that's why I love Godzilla. It's just. Yeah. Like, I mean, yeah, King Kong

may have been first, but it was stop motion animation 100%.

And no one had done suit stuff on this scale before.

Really, the city model building is impeccable and

is what really sells the scale of the monsters. Because when the

budgets start to dwindle and the buildings look less and less realistic,

it doesn't have the impact that this one does because you feel every

building crunch. Every train munch. Every fucking

person stomp. Every attack, Every woman's

wail, Every man's scream, Every child's cry. Yeah.

Yeah. Every tongue confess that Godzilla is Lord

when he's around, Dude. Pure and sin he is lord and

savior of your or destructor of your planet.

Bow to Godzilla. Yeah. What we're trying to say is all y'all motherfuckers

need Godzilla. Yeah.

You can pray to Jesus if you want, but Godzilla might not like it.

All right, so on the pirate radio edit and playing underneath us right

now. We're gonna go into Matt's storytime after this. We're gonna have the song from

1954, Stranger in Paradise, on the pirate radio.

Editor.

This is some good chili. Man, I'm so touched.

For being soulless beings that were originally created just to be

war robots. They're so thoughtful and sentimental and just.

Wonderful when you describe them like that. I don't know if you're talking about the

robots or yourself. Well, I did pattern them after me in my

own image, as any creator would. So I am

kind of talking about me a little bit, I suppose. I don't know. Totally.

Originally built for war. God, this chili's so good. We're gonna have a hard time

getting through this episode. I know, man. Yeah. Every single bot has

a little bit of a sample. But right now, I'll tell you what, even though

it's got a high robot urine content, I'm leaning very hard

towards Corbots. Is it robot urine? Just beer.

Well, in the case of Corbot, absolutely. Because, as you know,

when I wanted to make a robot specifically to be patterned for your

personality type, I basically made a bender bot with my voice.

Very true, but your voice a little off. Your voice.

Yeah, yeah, because I'm a little messed up. Well, he's.

He's. He's got your personality, so that's why he's messed up. That's not

quite my personality. Know that, right?

See, Matt's getting kind of cheated here because, well, he doesn't

get to actually hear the songs that I'm mentioning that I'm gonna go back and

find later to put into the pirate radio edit because I know. Well, my pee

pees are hurt. Yeah, I overslept. I had a hard time falling asleep last night.

And then when he texted me, I had, like, 40 minutes of

extra sleep thanks to Matt being gentle and kind. And. Yeah,

despite all the things I might say about him, he's actually not a bad dude.

I'm not. I'm actually pretty decent of a human being.

Just don't get to know me too well, all right? Because nobody needs that.

Well, in order for them to get to know you well, why don't you give

them a story?

Story time.

Story time. Nearly 10 years and we still have that

back and forth alley oop that we always do. Really do. We really

do. My story time, in keeping with the spirit of Kaijunis

is the first time. The first, well and

only time I got to ride the King Kong ride at Universal

Studios. Oh, is that the one? The newest one from the Peter. Peter Jackson

Kong. Oh, no, no, no. This is a kid.

I was a kid when we did this. Super jealous I missed.

Okay, go ahead. Sorry, I just didn't. I wanted to know which one because they

did a new one for the Peter Jackson King Kong, which is actually pretty awesome,

too. But yours is the one that I wish I could have gotten to go

on for Sure. I remember it legitimately

because I know it's Universal Studios. Who cares? This ride Was

done so well and so awesome that it legit

you. I as a kid I got scared. Believe I was pro

sixth or seventh grade at the time. And. Oh my

God. So you go through it, but it's like you're riding a subway right

through New York City. And you keep like. They even play like

the emergency broadcast system so you get that alert sound like

a tornado's cabin or something. And how the city's being evacuated.

At some point you're underground. And like he must have busted

through something because a ton of water comes falling down. It was.

They took part of what was once a. Also a.

An earthquake simulator. Like from the movie Earthquake.

That was a ride like when you do Universal Studios

tour. When you go on the tour, they would actually do that. Well, this one

was Kong. And so like the whole subway starts flooding and you

take off. All the water's coming down, roofs are coming down. And then

finally it's like you're on a. You're more like a tram. So you're above

and all of a sudden you see these massive King Kong eyes

staring at you. It was awesome. And watching

this home. Anytime I watch a Kaiju movie, it. Oh. Or a giant monster mov

movie always reminds me of that. Always. Because it freaked me out so

bad on that ride. But it was so much fun. And I only got to

do it once. I wanted to go back on it again, but we ran out

of fucking time. And then by the time I ever got back near

Universal Studios, the ride was gone. Fuck. That was

famous for like all of the 80s and that was featured in movies

and shit like that. Where the ride was like a big prominent part of it.

Because it was instant production value. And the minute you saw that ride in there,

you wanted to go on that ride. The ride was based off

in the 1980s King Kong movie that was in New York.

It was really based off of that. So yeah,

I'm like, it was just such a good time. You go through old

town New York, you know where it looks like shit. Your little tr. Yeah.

You just. You move in. You like a hand will bust through and try to

get you. The animatronics were awesome. It was just a well,

well put together ride. Yeah. And it lasted for a very, very long

time before they got rid of it. Like, very long time. Oh yeah. It lasted

forever. In the early ninet nineties. It still existed, actually.

It did, yeah, it really did that. And the Jaws ride,

I think, went away almost the same time. Yeah, well, the Jaws ride got featured

in Mallrats like, it lasted that long because they were actually

going to do the whole thing where he was going to propose where Jobs,

Jaws, pops out of the water and mall rats. Yeah, the Jaws ride was kind

of boring to me. Just going to say it. But the King

Kong ride was the shit, and that's where it was at. Yeah, you're on a

bridge at one point, right. And doesn't he like. Yeah, yeah. Like he busts a

bridge and shit at you. He. Yeah, he busted a bridge.

Yep. The Universal Studios really liked fucking around with

bridges. Well, it's easy to simulate, you know, and then

it just resets if you do it right with the pistons, because they did.

They had a. It was your. Your go to crust kind of a bridge type

thing. And Jaws, too. All right. Yeah. This is going to be

probably our absolute shortest episode when I throw the music in and everything.

But, hey, no clips. This is what's going to happen. And it's not that we

didn't discuss the film and give it justice. We just basically were very

efficient with doing it because, I mean, we're really. Good at doing this. Especially when

there's no clip, you know, there's no clips. What do you expect? Yeah.

Get you in and out a lot faster with these coverage. Yeah, yeah, yeah,

yeah. And there's going to be a lot of jackets. But I really did enjoy.

Let me say it one more time. It was really great. To my first time

seeing the original Godzilla. I've never seen where

it started. To know that this is the beginning of it was really fucking cool.

I can't, because I've always wanted to see that because I knew I'd never seen

the original one. Yeah, well, I can believe that you'd never seen the original one.

I just can't believe that, like, at least you weren't exposed to the Raymond Burr

one a little bit. You know what I mean? I was. The Raymond Burr one

I did see. Yeah, that's because that was on HBO. A lot that was edited

from this one. Unless you're talking about. Okay. Unless you're talking about the 1985 Godzilla

where they actually edited Raymond Burr into that one, too, in color. Oh,

I might be talking about 1985 Godzilla then. Well, we'll get to

that one. The Return of Godzilla got edited with Raymond Burr into that. But we'll

get to that one eventually. We got a ways to go. We're on 54.

We got a ways to go to 1985, right? No shit.

Plenty of movies before we get there. But we will be covering that one,

too. So we'll talk about that when we get there. So I'm

so glad that you got to see for the original Godzilla. The actual original Godzilla

for the first time. That's that. If nothing else, mission accomplished on this

fucking show in these 10 years. Exactly. Got to see the original Godzilla.

All right, so we're gonna go ahead and play the show. Housekeeping.

And get ready to wrap it up. And on the pirate radio edit,

we're going to have Frank Sinatra singing Young at Heart, which was a hit

in 1954 when Godzilla was released. And when we come back, we will close

out this motherfucking show. If you decided you can't get enough of the

show and would like to check out more of it, we're available at legionpodcasts.com

just do a quick search for Cinema Psyops or just enter this entire URL into

your browser. www.legionpodcasts.com Cinema

PsyOps podcast.

Dude. Oh, hey, buddy. Chicago,

dude. What's Chicago? It's Peter Satir. Why the do you

even know that shit? I don't. Ridiculous.

You. Listen. I can't even. Believe it or not. You drink

my piss. Don't say that. That's me.

It's a guilty pleasure song. I'm sorry, all right? It just.

It's just. It's okay, man. We're here for you.

I'm not. We will support you. I won't.

Your likeness of Chicago. It's not about Chicago. It's. It's just

a guilty pleasure song, all right? Everyone has one. Then why is

there a mirror ball going in the lab right now and you're dancing by yourself

singing along to it? Because I'd like to set ambiance.

All right, up, you fucking weirdo. It's okay,

Matt. No, it's not. No, we will not.

Master I and Corkbot are here for you.

No, neither of us. Yeah, him. We're all understanding.

You are very understanding. Just matpot. Stop. I don't need your help.

Listen, guys, it's. It's nothing. Dude, stop rubbing his shoulders. Matt Bot.

That's creepy. But it feels nice. But it's still

very creepy. But nice. Here's a soft touch. You should really be

commended for what you built. Jesus Christ. You know what? No. You know

what's going to happen here? You hold him down. I'm going to cut this Chicago

love. Out of your brain, all right? I wasn't using it for anything

anyway. And joined in the studio, fresh from his

brain surgery by Matt. I hate Chicago.

Wait, the city or the band? All of it. I think

I may have cut a little too much out. Why do I intensely want to

listen to death rockabilly right now? You mean Psycho Billy?

Whatever, man. I really didn't put that implant in there quite right.

I see the color orange, you see the

color orange, but it tastes like the color purple.

And now you're tasting purple as well. Yeah, we're gonna probably have to get this

checked out. Oh, I think you'll be absolutely fine because,

you know, your brain wasn't very useful to you anyway to start with.

Yes. Yeah, I'm just gonna have to go with the year the movie

was released. Just whatever music was popular that I'll make selections from

for our pirate radio edit because otherwise I'm not gonna have that

many songs that I'll be able to do. And like, that's the widest

option for this wide range of films that we're gonna be covering for multiple decades.

Right. No kidding. The music's gonna age with us as we go.

It's gonna be fun, everybody. I promise. In one way shape. We're gon havea a

good time. Yeah. That's basically what this show is now going to be. In the

defiance of living in the absolute stupidest timeline that could possibly ever fucking

exist. We're going to keep doing this show until I'm gone.

Until we're gonna keep trying to have fun until

it's not fun anymore. Yeah. Until I can no longer do

this show for some reason, I'm going to keep doing this show and we're gonna

keep trying to have fun with it in the stupidest timeline that has ever existed.

And while you're trying to wrap your head around that, kick the fuck out of

this week and make it your bitch while you enjoy. That's Amore by Dean

Martin, also released in nineteen nineteen fifty four on the pirate radio.

94821 is not really my personality. Dude,

it's Cor Bot, the name of the robot. We go through this every time.

I know. That's what he said. Bot. 895, 5434. I know.

Oh, this is like how OTC treats you, isn't it?

Right? Yeah, I know, right? No respect for Matt, no respect and

no respect for Cor Bot,

whoever the. Is on the other side of this. Cut this out.

I don't want your empties, I don't. Want your unwanted body parts.

And I sure as hell don't need to hear your damn voices.

24X7 for sake.

Recording in progress. There we go. We are going. Yeah.

Sorry, I fucking overslept. I didn't. Gosh, you're fine.

Text. I had my watch on and everything, but it didn't wake me up for

some reason. Yeah, man. When you're exhausted, that's what happens. This will keep

us quiet. Oh, hi there. I didn't see it.

Sorry. I just got an idea. I wasn't sure what to do for Pirate Radio

Edit music, but I think I'm just gonna do the year of the release for

all of these Kaiju films. And so I'm just gonna look and see. Ah,

there you go. If maybe. I think I have some of this stuff. But,

yeah, I think that's what I'm gonna do, is I'll just. I'll just do the

years and then I'll figure out certain bands to use.

Second. Wow. This is going to be matching. The Stranger in Paradise and

Shake, Rattle and Rock the Role are all both from 1954 for Godzilla.

So it's going to have a very similar soundtrack to 1,

2, 3. I just need one more. Yeah, why not? Demonstrate,

Martin. All right, so I'll punch these in later,

but at least that way I have the list of what I'll do for Godzilla,

and then I'll figure out Godzilla Raids again when we get going. There we go.

Cool. Yeah. All right. Three, two,

one.

Oh, God, I lost my split. Hold on.

Okay. All right. Yo.

I'm going to keep doing this show, and we're going to keep trying to have

fun with it in the stupidest timeline that has ever existed. And while you're trying

to wrap your head around that, kick the out of this week and make it

your bitch while you enjoy that's Amore by Dean Martin,

also released in 1954 on the pirate Radio Edit. Sorry, you want to interject

something I can throw? No, I'm fine. Don't worry about it.

It was nothing funny when I really think about it.

All right, nothing. Let's go ahead and stop this

shit, then. Recording stopped.