There is very little time or point in an explanation. To be blunt, the audio came from a timeline and dimension that has collapsed at a quantum level, rendering it null and void in terms of existence. Operational time in the dimensional continuum where the beings that created the audio collapsed in on itself, rendering all of their civilization, including technology, null and void. Timelines across the entire continuum are collapsing and changing.
The destruction has a nexus that centers on Cinema PsyOps. 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.