Ladies and gentlevems, welcome back to Lizard Church.
Hello, everyone, and welcome back to Castle Bravo, a Godzilla
versus retrospective. I'm Derek.
And I'm Charlotte. And we're two siblings here to
examine the history of the Godzilla franchise, one movie at
a time. Charlotte, my good bitch.
What the fuck is up? A lot.
So much. It has been a little over 10
months since the last episode released.
We took a bit of a bigger break than we planned.
Yeah, that's definitely the longest we've gone between
seasons, I'm pretty sure. And it wasn't intentional.
It's just that so much happened. So before we get into even what
the normal podcast episode pre bullshit is, let's really talk a
little bit because, and I'll start for for what the listeners
should know, because some may remember very late last season,
my mom died and that kind of threw the entirety of my life on
a a bit of a different trajectory.
And I became the I like became the family probate lawyer and
took a relatively complex probate case on myself.
I should note, I never went to law school.
So that tied me up until May when that was finally that six
month waiting period was over. And after that I was underwater
at work from like the holidays onward.
So I was working the stupidest hours I'd ever worked even back
when I was on overnights at at the TV station.
So eventually I got the fuck out of there somehow and ended up in
the civil engineering world. Don't ask me how that happens.
I just bounce between unrelated jobs it turns out.
But always upward at least. I mean gosh, since then the
amount of shit that's happened just in the last few months has
been wild. Right.
Like I, I came out as Polly polyamorous, not Polynesian,
which is a thing that I say specifically because there's a,
a buddy of mine who was ribbing me really bad every time I just
said Polly and was like, you need to clarify because you're
not Polynesian. It's like, correct.
I am very white. Nothing, nothing is occurring
with that. It's just like a thing to
recognize within myself, you know, I have like actually
started booking doctor's appointments again and shit,
including therapy, which I haven't done for myself in a
very like years and years and years. 20 in the case of
therapy, two or three in the case of doctor's visits.
Like I'm taking care of myself again.
I'm doing good. I have, I think mom dying like
put me in a position where I kind of had to take restock of
my life and like the care I was taking of myself and the
relationships I had with other people.
And it kind of made me want to claw back out of that.
But it took some fucking time. And there kind of hasn't been
time to do the the the silly Godzilla show.
That's fair. Yeah, but we motherfucking back.
We are. Charlotte, what has been up with
you that you are willing to divulge in terms of how busy
you've been? I mean, OK, so I've been, I
guess we'll start with with work stuff for me too, been climbing
the corporate ladder unintentionally.
I don't want to have a career. I didn't intend for that.
But so like I, I'm an ITI manage like an IT team and basically my
boss keeps going. You're managing this IT team,
really. Wow, a trans girl podcaster on
an IT department? Who could have seen this coming?
Thanks. You tell me you're a programmer
too, next. I'm sorry I'm busting your chops
for no fucking reason. I don't have the socks if that
makes you feel any better. The socks.
Capital T. Capital S.
My, my boss keeps being like, oh, you know what, You're
actually really good at this. You can manage more people now.
And so it, it, it is happened that now like the entirety of
the of this IT group that manages IT for literally 5
different companies has 2 heads depending on like what they do.
I'm one of them. Like I'm in charge of literally
half of this company that is in charge of IT for like 5
different companies. So that's happening.
I didn't, I didn't come out as Polly.
I just have been. Polly, you just.
Yeah, quietly. Were you?
You were like Martha. Where Martha?
It turns out my wife was just quietly polyamorous all along
and it just never came up. It's very much a well you never
asked kind of situation. Right.
And I'm also just like, I'm just personally very difficult to get
close to and I have to be like willing to do that.
In general. Well, like that was a hard thing
for me, right? Because like, I recognize like,
oh shit, I'm polyamorous, but like, I thought I was the one
true monogamist all these years, right?
And it turns out like, no, I just spent 10 years not fucking
running into anybody that that gave me a spark, you know what I
mean? And like, I just had to it's
that's where it was Also we had to recognize like, oh, I'm also
extremely fucking Demi romantic, right?
Like I don't think Demi sexual because as I am an omnivore, as
we all know, but like I'm, I'm yeah, I, I am, I am such an
omnivore. I eat everything at the buffet.
But like I'm married and like no hookup is, is is worth as much
as a powerful relationship. So like, if nobody made me want
to feel romantic, then like, what was the point of, of even
considering? Like, obviously I'm not going to
have a fling with you, you know, like, it'd be different if I was
single, but it's not worth it. But like, yeah, having the
recognition of like, oh, oh, like gears are clicking into
place. I get it.
Yeah. Yeah.
So, you know, because why not add more things to my fucking
social media bio, right? Right.
Yeah. And also I'm going to be moving
out of this, the only state I've ever lived in, so.
It's not an awful time for that, I'm going to be honest with you.
I mean, it's a great time for our city.
Our city is a pretty good city to be queer in and to be trans
in. But like, the state sucks.
The state of Kentucky sucks to be queer or trans in.
So yeah, I get it. Yeah.
There's also something about like moving someplace and being
able to finally like, feel like you're making a fresh start.
I think sometimes psychologically, that's what
people need. I do need that.
You know, I felt that, like I felt that so hard.
And I think the big difference is that like, I have a really
good relationship with my little brother, right, with Brad and,
and with my parents. And, you know, you, it's just
much more fraught for you in terms of you and your blood
family. So like, you don't have the same
ties. Yeah.
You know, So like it's, it's more worth it for you to take
that, take that leap of faith, you know?
Yeah, yeah. I have friends here, right?
I have family. You're family.
It's also different though, right?
Like it's different not, not like in terms of like me
necessarily, but like you and your friend group, like you can
maintain good friendships from afar and you can, you can have
like friendships like weaken and wither because you don't put
energy to them when they're right next door, right?
So like moving doesn't really affect that.
I mean, the best friends I have in the world at this point live
in other states. You know, John lives in
Virginia. Britt lives in fucking
Louisiana, you know so. Yeah, and I mean, I'm, I'm
mostly a digital creature anyway.
Yeah, yeah, yeah. So, Charlotte.
Yeah. How you doing today?
I'm doing all right. All right.
Just all right. Yeah.
Just all right. OK.
Thank you. Thank you, McMurray.
You know, I don't use anything stronger than I'm OK or I'm all
right. It's always I've I yeah,
absolutely. I get it.
But like, it's OK to be all right.
It it was just Thanksgiving weekend that was fraught for all
of us, you know, nice to have a four day weekend.
Nice to holy shit, four day weekends.
What's going on here? Yeah, I haven't experienced
holidays before, but but yeah, like, it's OK to just be all
right. I'm just all right.
You know, I'm, I had, I had fraught Thanksgiving shit.
And, you know, I had a better weekend.
But it's, it's, you know, complicated personal
relationships keep being weird. And, you know, I'm rapidly
realizing the more I talk about the fact that I'm going back to
therapy that I might not be doing OK.
Like I'm doing OK. But like, hey, man, maybe, maybe
some of the shit I'm holding on to is not ideal.
I made that joke about like, you know, yeah, I got tortured with
acid as a kid. And now when I look into
mirrors, I see Silent Hill. And it's like, that's not a
thing that most people can hear. When that many people hear that
and go, are you OK, bud? Like yeah, you said.
That and like, I know all the context around that in general,
but it's. Not an exaggeration, but like.
It's not an exaggeration. I'm also like, I, I don't know
what that feels like. I'm yeah, you know.
I'm sorry that I look into mirrors and it's just fucking
Cyano Utah but like, oops, you know, as as Martha and Britt
have both taken to yelling at me for saying it is what it is,
fuck it we ball. Fuck it, we ball, is the mantra
of 2025 S. That's I didn't used to be like
that, but I am like that now. I'm a big believer in party
nihilism, you know what I mean? That like, like, look, let's,
let's call it what it is like this fucking election we just
went through sucks total shit and I don't feel very good about
most of you fucking people out there right now.
But like, you know what is there?
I like I, I couldn't have changed it.
I all I can do is get through this shit and drag some people
with me and make some people temporarily feel good.
So fuck it, we ball indeed. I am going to drink and party
and smash and and crack up my way through these next four
years and the rest of my life, if we're being honest.
Yeah, yeah. So fuck it, we ball.
So holy shit, season 4 did not know that we'd get here.
I thought for sure we were going to fuck this up before now, but.
How? I true, there's so many ways.
I mean, just burning out, right would have been one way and a
very feasible way, all things considered, given the scope of
what we were approaching. You you don't know secret about
this podcast. Sure.
I did not know how many Godzilla movies there were when I agreed
to it. I genuinely thought we were
going to be doing like, oh, there's going to be like 12 Volt
podcast. Yeah, yeah.
And your number keeps growing since we agreed to do this shit
because hang on, how many, how many were there when we started?
I think when we started, Godzilla versus Kong was
upcoming, and since then there has been Godzilla versus Kong
and Godzilla -1 and Godzilla X Kong.
The New Empire sets three more movies in that time frame.
Plus there have been two fairly high profile series we may
actually want to cover. And that's not counting other
shit that will be incoming. So is.
This right? Is it called singular point?
Godzilla singular point. Yeah, that's the that's the
anime that fucking rips. That's you are going to be in
like a year when we get to it. You are going to be so into
singular point. It's so Charlotte Corps.
Yeah, maybe longer, who knows. That's so fucking funny.
I'm glad you didn't know what you were signing up for.
I. Had no idea.
But fuck it, you committed so I. Did and I'm doing it.
Hell yeah. So where we left off at the end
of Season 3, right? We had this wonderful hey, say
era of movies from the mid 80s up through the mid 90s.
You know that like we were both super into, right?
I thought they were going to be big and flashy and kind of
pretty. I don't think I expected or
remembered just how well they were mostly going to be written,
like how serious they were going to be in attempting to tackle
several of the kinds of themes that they tackled in my favorite
show era movies. I wasn't expecting the roller
coaster we went on with that Mothra trilogy and our fucking
queen Belvera. And then I wasn't expecting the
very complicated thoughts we had about the the 1998 Tristar
Godzilla that many people very, very much hate.
And I think if you go back to it with a critical eye is actually
kind of fascinating to understand what it is at that
point in time, especially now that time has passed and it
doesn't feel like it just ended the Godzilla series for good.
But but that's sure what it felt like after that 1998 Tristar
Godzilla came out. Like I don't have to.
This is the easiest part to explain to any listener because
if you were alive in the 90s, you remember the 98 Tristar
Godzilla, the Matthew Broderick Godzilla, and you remember it
feeling like for at least a little bit, oh, Godzilla's
fucked. You know, this is this is bad.
And who knows when it'll be good again.
And the answer to that was a year later somehow, because
Toho, Toho, listen to this Toho two months after Tristar's
Godzilla hits theaters, right? And we're talking Toho staffer
walking out of screenings, famously Kenpachi Rosatsuma.
I think I've got the name right. The Heisei era Godzilla actor
walked out mid screening and several other people did as
well. When Godzilla walks out of your
Godzilla movie, that's not a good sign, I don't think.
No, I think I'd cry about that. Yeah, that would that would be
my 13th reason why like, but yeah, so it it takes literally
they they start production two months after Tristar's Godzilla
releases. And let's look at the actual
time frame here, because I do think it's important to
recognize how tight the turn around is on this.
So Godzilla, the Tristar Godzilla releases in May of 98,
which means Godzilla 2000 starts production in June of 1998 and
it releases in it gets its its first early screenings at film
festivals in November of 99. So it had a month and or not a
month, a year and three months. It had a lot more than a month,
a year and three months from the decision to make this movie to
it hitting theaters. That's very tight.
That's crazy. Very tight.
Toho was like we got to get fucking on this.
We have to be on damage control. This this movie is is ruining
everything. Like we talked about the fact
that they cancelled any further follow-ups to the 98 Godzilla,
but we did not talk about how desperately they needed
something out on shelves because they wanted another 10 year
break, right? Like they had in the show way
and they got a couple, they got a couple years, they got 4.
So they they went back and they assembled everybody they can get
their hands on from the hey say era to get this thing moving
like on no notice. So in the director seat we had
Takao Okawara who was there for Godzilla versus Mothra, Godzilla
versus Mechagodzilla 2 and Godzilla versus Destroyer.
I think versus Mothra and versus Destroyer are the two best
movies out of the hey say run in my opinion.
So like we love this guy. Good director.
Yeah, Yeah. The writer was Wataru Mimara,
who we talked about wrote for the script for Versus
Mechagodzilla, and he didn't have a lot of credits to his
name before Versus Mechagodzilla.
So this is, you know, we we said that movie's fine, right?
Like writing wise it's just kind of sparse and simple, but like
it works. Yeah, simple can be fine, yes.
Also in the writer's seat, because they got two writers to
work on the script together. We had Hiroshi Kashiwabara, who
was the writer of Godzilla versus Space Godzilla, and I
need to issue a correction. A rare moment of me getting
something completely wrong. I am pretty sure on the Godzilla
versus Space Godzilla episode, I said Kashiwabara didn't have a
lot of credits to his name. I could be incorrect in my
memory, but I'm pretty sure I said that and it turns out I
just didn't do any research at all.
I basically went, he doesn't have a link on Wikipedia.
And to be fair, this was days before my mother passed and I
knew it was coming. So I was not in a good headspace
to be like doing content. So yeah, I I was a little lazy
on the research that episode, but it turns out Kashiwabra has
like a really long list of credits including a shit load of
Lupon the Third. Like so much loop on the 3rd
that this man has. Written for.
That's a big credit. Yeah, like that's that's easily
the biggest thing I saw in terms of like a a huge consistent
thing that's popular in mainstream ish culture that
people would know of. Don't explain to me how versus
Space Godzilla went so fucking wrong then, because that was all
in the writing room. But.
I just want to issue correction. You do in fact have to hand it
to him. Just not for that movie.
And then for special effects, they brought back Kenji Suzuki,
who we saw leading special effects on Rebirth of Motha 3.
He eightied special effects on most of the Hey say era films.
And we really like the special effects work in reverse Rebirth
of Motha 3, especially that King Ghidorah design and that and the
head and the eye. Oh shit, I'm thinking about that
shot again of the close up of the eye.
Fuck. Oh yeah, yeah.
He he knows what he's. Doing.
Yeah. And then for our composer, we're
bringing back Takayuki Hatori, who did the score for Godzilla
versus Space Godzilla. You may remember that was the
one thing I was super high on for that movie and would go on
to do like or had by now had already done the soundtrack for
an Odeshiko, which I've told you is very Charlotte core.
You would love Martian successor Nadeshiko.
Yeah, and it's it's a 90s anime. Yeah, it's a 90s anime.
It looks fucking great because it's like pre Digipane era, you
know what I mean? It's all, it's all analogue,
it's all drawn in cells and shit and it looks so good and it's
everywhere. You can watch it on like any
streaming service at this point. I think.
So like, they managed to pull together almost entirely a
creative production crew of people who had worked on mostly
very good recent movies. So like, we're in, or at least
their contributions were very good.
So we've got the creative team on hand to potentially do
something with this. Tristar has agreed to produce
and put some real money into the marketing.
You know, like the conditions are there.
It's just a very tight timeline. Can they pull it off?
We're going to find out. Charlotte, tell us what happens
in Godzilla 2000. OK, so the movie opens on a man
and his daughter. They're like adjusting some some
sensors and there's a woman in the car nearby.
She's cleaning your camera. And they're waiting for
something to happen, you know, on their seismographs because
they're like, well, we're waiting for something.
We don't want to disappoint our client.
And then something starts moving.
And then we cut to like this, this, this lighthouse, this
like, tower near the, the ocean. And they're on the radio talking
about how a ship's gone missing. And then there's, there's an
earthquake and then there's Godzilla.
And the missing ship is in Godzilla's mouth.
Oh my God, this little sequence as they go up the lighthouse and
the lighthouse like is like the light from it keeps like cycling
over and showing just the ship and then the ship and then the
mouth. It's it's So what a flex.
What a great sequence. Yeah, they were really showing
off the suit with that. Too.
Oh yeah, And they were like, we don't want to hide.
We're going to show you this motherfucker early from the
beginning. Yeah.
We are doing the opposite of Godzilla 98 in all ways.
Yeah, so this was Godzilla 2000. Is it, you know, Godzilla
Millennium? That's what it has on there.
Godzilla has the the ship in in his mouth and he snaps it in two
and this electrical tower almost falls down on the guy working on
the lighthouse. And like, you know, he probably
retired after that. Oh, yeah, I love it.
Like falls and he like, crouches down and accepts his death and
he. There's a whole very Charlie
Chaplin style. Yeah, I think this and a brief
exchange with the man and his daughter and like the other
woman that's in the car with them right before the sequence,
I because like the the daughter's a bit of a little
shit, you know, like the way she talks to grown-ups is not the
way that like they just let me know immediately.
Like, OK, from a Japanese perspective, this movie is funny
as shit, you know? And I, that's when I realized,
like, oh, we're in for a good fucking time.
Even if this movie might be messy, it might be.
We don't know. It's gonna be a little funny.
Yeah, and there's a lot of slapstick in it, too.
Oh, yeah, Yeah. So Godzilla heads inland and
there there's more earthquakes. And Godzilla just doesn't care.
They're just destroying homes, bars with its tail.
Doesn't, doesn't care. And our little science crews
driving through through this landslide and they almost fall
under the ocean and they they raise up their lights and
there's a Godzilla just standing there like menacingly.
Once again, great. It's very much like the
lighthouse shot, right? They have like the moving
floodlights on the front of the car and it like angles up and
angles up and angles up and there's Godzilla and it's like,
oh fuck. Yeah, yeah.
And he stares them down for a second and something that I
think is really cool, and they go into this several times,
their electronics start scrambling because of all the
radiation. Yes, Godzilla.
I don't think they've gone into that, like at all.
No, I don't believe at any point up till now have they really
gone into like hey, being close to Godzilla means incredible
amounts of of radiation being put off by him.
Maybe not enough to be like immediately dangerous to a
person, but it it scrambles electronics and other things, as
we will find out. Right.
The the photographer lady who for a long time we don't learn
her name. It takes like a long time to
learn her name. She uses her camera flash into
Godzilla's eye, and Godzilla starts screaming and takes a
swing at them and they try to escape.
Godzilla follows them like this movie has, like, immediate
action scenes. Yeah.
The most realistic backwards driving I've ever seen, running
into the wall immediately and never leaving it.
Yeah, so then we kept to this fancy dinner, and there's like a
bunch of government officials and the the head of crisis
control intelligence is informed that Godzilla has landed.
And this movie, I had to look to be sure, but this movie only
takes the original into account in terms of its lore.
It appears to it's so we'll get into this more.
Well, we can get into this now, I guess.
A lot of people thought that this was a follow up to Godzilla
versus Destroyer for a long time and that this is Junior.
A lot of people thought because this movie is very vague, it
doesn't really tell you anything about what came before It just
that Godzilla is a thing that exists and we've been dealing
with him for a while. So because it's such a blank
slate, it was easy for people to see it as the beginning of like
the junior era, you know? And that's not the case.
It it basically only follows up the original 1954 Godzilla
again. So it's it, it kind of feels
like a hey say style reboot again for the Millennium era.
Right. Yeah.
And I mean, the reason that I brought that up now is just
because it's kind of relevant to how they react to them.
Yeah. Because like, they know what
Godzilla is. They dealt with it before and.
This is not the surprise. Like in Return of Godzilla,
where they were like, holy shit, Godzilla again.
They're like, yeah, Godzilla's been here.
Right. Like they have sensors and stuff
everywhere for Godzilla specifically, but we'll get into
that. So Godzilla continues to be a
general menace walking forward very slowly and the the crew
continues to drive out like towards Godzilla to take
pictures. And I didn't right?
Who said this? I think it was Shinoda though,
which is the father. He was like, do do you think
that Godzilla, like, hates the energy created by human beings?
Lines that go hard. Yeah.
And so then we go to the East Coast and there's a submarine.
It's like a CCI submarine planting some more Godzilla
sensors, like deep underwater and like some caves and stuff,
and they explore these like super heated trenches
underwater. They find this weird tunnel and
then they leave it at that. For now, the photographer girl,
her name's Yuki, so I'm going to call her Yuki from now on
because it's a lot shorter. Yuki's pictures didn't turn out
so well due to the radioactivity.
You're on Godzilla. I love this fucking detail
because Shinoda even warns her you should swat.
Like after there's a bit where they're driving, after they've
sort of escaped Godzilla and they're much farther away and
they're driving down like a highway.
And he's way off in the background and she's taking
photos and he's like, you should change your film cartridge.
And she's like, shut the fuck up, Don't tell me what to do.
And true to science, open unexposed film is immediately
ruined by radiation. Yeah, so her photos turn out
absolute garbage. Yeah, he was trying to help.
He just comes off as Snooty about everything.
Yeah. Well, and she's very high
strung. Like that's part of the comedic
like energy with this group is you have kind of the the, you
know, the the straight man father who's a little bit not
not crazy competent, but he's mostly played as like the
straight man. And then you have her being the
Super high strung lady. And then you have the daughter
who is like hyper competent. Yeah.
Yeah, so the Father Shinoda, he's coordinating with others in
the in the GPN, the Godzilla prediction network.
And basically what they do is they're they just track things
that would relate to Godzilla's movements to try to determine
where there will be damage from Godzilla.
Because, I mean, what else are you gonna do?
There's a giant lizard. You don't think you can kill it?
You just have to move everything away from it as needed.
Yeah. So his daughter, her name's EO,
presents Yuki with a contract to join the.
The GPN even suggests that she would give her a discount.
Yuki just wants to take more pictures.
She doesn't want all that. But, you know, they should make
money where they could make money.
So we come back to the CCI and they're discussing the, the
discovery that happened underwater.
They found like this big meteorite and it's made of a
material with like a, with high magnetism.
And they're thinking, well, we can use this to replace uranium.
Like we, we could have like clean energy, we could use this.
And they start to, to raise the meteor right out of the ocean.
But once he gets to a part that's well lit enough, the the
meteor just kind of raises up out of the ocean on its own and
it just, it just sits there. Yeah, like it starts rising
faster than the balloons that are lifting it up.
Yeah, like it's rising on its own instead.
So someone calls from Fukushima and they give the the crew their
next destination. So EO and Shinoda tell Yuki that
the epicenter of activities moving and, you know, they're
like, hey, you should come with us.
You want those pictures, right? And really, they got her to come
along so that she would pay the tolls on the roads, which she
didn't know about beforehand. The, the CCI is trying to
determine if the meteorite could be an alien or something 'cause
they're like it moved on its own.
This is a living creature. It is, it is not a rock.
So they, they go South with, with the GPN.
And since Godzilla's on the way, they're like, OK, well, there's
power plants here. We need to shut them down.
Maybe that will do something. It'll, it'll at least prevent
the the power plants from exploding.
So the, the head of CCI, his name is Katagiri.
He flies down. And he knew Shinoda before, like
during his time at the university.
Shinoda really believes that Godzilla has the life, like the
secrets to life on Earth. So he really wants to study
Godzilla, you know, peacefully for that reason.
But the CCI, of course, wants to kill Godzilla.
So they've mobilized the military because of course they
did. Yeah, so the military plans to
use Godzilla's aggression against it basically by
attacking it, because if you attack Godzilla, then Godzilla
start walking in the direction it was attacked from.
It's 'cause it's it's a big lizard.
I think later it's very obvious that Godzilla's not that dumb,
but for now they think it is. So they have these big full
metal missiles, which are basically designed to penetrate
Godzilla's skin because you have to get through the through the
first layer of scales to even do any damage.
So they're planning to use that. Godzilla appears nearby in the
ocean and triggers like a bunch of the undersea mines.
And so the military starts starts firing at Godzilla to
draw Godzilla inland so they could fire the missiles.
And they do that. And I mean, the missiles do sort
of work. They do punch punch a hole in
Godzilla. They punch so many holes in
Godzilla. Yeah.
So I mean, they do what they were intended to do, but now
elsewhere they're they're realizing that this meteor is
actually responding to the sun. Like it's pointing towards the
sun kind of like a flower would. And once it's like at a 90°
angle, like pointed straight up, it starts flying up and over
towards Godzilla inland. Godzilla immediately tries to
charge a breath attack gets interrupted.
The meteor has like a big hole in it, which is basically it's,
it's a cannon 'cause it's a it's a ship, you know, the meteor is
a ship and it has a main gun on the front and it shoots this
this laser at Godzilla and Godzilla just gets knocked back.
It's like a concussive laser, you know?
Yeah, yeah. So Godzilla and the and the
meteor ships are trading shots. The some of the rock comes off
it's, it's a big metal craft. I popped off about the the 90s
CGI on this. I love it.
Hell yeah, let's fucking go. It looks like the the liquid
from Terminator or like the main guy from the Rise of the Robots
video games, which I'm sure everyone's played.
You know what I'm talking about. Yeah.
I didn't actually know if he did.
Yeah. OK, so the craft inside this
rock is solar powered and they go, OK, well we, we, we woke it
up with our submarine light 'cause they have to have really
high-powered lights to see down there, so it makes sense it
would have enough to wake it up. They tie the ship down into
place and the CCI and the military are running tests on
it, trying to figure out what to do.
Shinoda shows up and is like, hey, we want to use your tools.
We want to use the military's tools to find Godzilla.
And Katigiri, head of the CCI, he's like, OK, fine, but in
exchange you have to give me all your information on Godzilla.
And she noted as like, all right, I guess I have to.
Then Yuki's laptop gets like broken into by the ship somehow,
like wirelessly. We don't know that it's the
ship, but like we know it's the ship.
I mean, it's even in that scene, like it shows the laptop and
then it shows her looking at the ship like hmm, you know.
Right. But the the ship has downloaded
the Godzilla file from her computer.
And then elsewhere, Shinoda is running some tests, and he
discovers that Godzilla's skin can heal itself.
Like, even if you take a piece of Godzilla off, that piece will
heal. Yeah.
And so after some tests, they determined that the cells have
like an infinite regenerative quality.
And they call the the cell that does that organizer G1, which is
really long for anything to be named.
But EO arrives, she has the Godzilla data, CCI takes the
data 'cause that was the deal. And then the spacecraft breaks
free of its binds. And also like there's a little
bit of the meteorite left on it. Now it's completely exposed out
of that meteorite. Now it just is smooth,
continuous liquid shape from a 90s rendering program.
So it takes off and they're like, OK, this thing's alive,
but it's completely inorganic. Like there's no organic material
on this thing. It flies over the city, and it
arrives at the building that Yuki works in.
And Yuki is like, oh, well, the ship's here.
I got to get the scoop. But, you know, everybody forces
her out. The city evacuates, and the
military is like, well, we have to figure out what we got to do
about this. And they know that the ship is
powered by sunlight, so they're like, OK, well, the ship's going
to stop where it is on top of this building for an entire
night. And it's in Shinjuku right now.
And they're like, we'll just use the time we have tonight to
destroy it. But even though the ship isn't
moving, it has these like light tentacles coming out of it.
They're like wires. And it's connecting to all the
computers in the region. And they're all starting to
malfunction because it's hacking everything, just hacking the
entirety of Japan, basically. So the military's plan, because
it is the military, is that they're going to bomb the ship.
They're going to they're going to set off explosives to destroy
the ship. Yukiko's back inside and deep in
these like tower servers with her Sony Vaio.
And. She's trying to determine like
what the ship is after she's still in the blast area, she has
like a little chance of getting out if it fires.
So Shinoda and EO like rushing to save her.
Shinoda tells the others to get Katigiri to to postpone the
demolition. Because now that he's in there
and he's like, OK, well, I didn't want Yuki to risk her
life, but I'm going to risk my life for the exact same thing
she was just doing and hangs out to try to figure out exactly
what the ship is after. Katigiri, because he's clearly
an evil man, does not care that Shinoda's in there.
He's like, well, we got to do our job, We got to blow it up.
Oh, his dude is comically fucking evil.
He is just like, fuck it, man, whatever.
We're going to kill Godzilla. We're going to destroy this.
Like, if he's so like ruthlessly single minded on a view of
self-defense that puts people, individuals as disposable for
this. Like he's clearly talked himself
into this very Machiavellian view of like, yeah, but I'm the
good guy. I run.
I run this aspect of self-defense.
Right, God, cause like he's. Cute, but he looks like a like a
real shit, you know? Yeah, so yeah, he says no, she
noticed. Still inside.
He doesn't care. So as Katakiri's like readying
to, to use the blast bombs, Millennium starts appearing on
all the computers and you know, it starts flashing pictures up
on the, on everything. Shinoda tries to get out.
He manages to and then after the explosion where he manages to
survive, there's more things flashing on the screen.
And it's talking about like the prosperous Millennium Kingdom
and like technology and it shows all, all these human
achievements and stuff like that.
And that's that's what the ship is there for is because it wants
to create the Millennium Kingdom on Earth.
A thing that makes sense, sure. Yeah, sure.
OK Shinoda tries to escape building collapses, EO and
Yukiko after him, and they just happened to find him when he
when he crawls out from under like a grate.
The, the notes in the computer state that the ship wants to
alter the Earth's atmosphere so it can live there and again, you
know, make the Millennium Kingdom, whatever that means.
The ship's been gathering data on Godzilla so that it can try
to use Godzilla's cells to create a body for itself so it
can live here. So Godzilla shows up, Godzilla's
here now, and Shinoda and Karagiri say, well, Godzilla's
here for revenge. So I think even if we were to
turn off all the power and stuff like that, I probably wouldn't
leave. So whatever Godzilla approaches
the ship and the ship's like levitates for a second, comes
back down, and then like all the wiring under the street comes up
into like tentacles to like bind Godzilla.
And after getting pulled around for a while, Godzilla fires its
breath like all the way up the tower at the ship.
The ship goes to take off, gets tail whipped, ship fires back,
Godzilla's on the ground. The ship lands on a nearby group
of towers and starts like, pulsing energy downward, like
down the towers. Like, yeah, yeah, I was trying
to find a good analogy or something.
I couldn't find one. But it it hurts Godzilla.
And the building falls on Godzilla.
Energy starts coalescing beneath the ship.
There there are tentacles, like drawing life out of Godzilla to
feed this energy ball. And a body starts to form from
the energy. And it just looks like an alien
from Metal Slug. Yeah, it's and it's all CG and
it's kind of on the goofy side, but like we'll talk more about
it later. I presume it's only there for a
few seconds, so. That's that's one of my thoughts
about it. But yeah, so Godzilla's cells
don't initially work for it. And I say initially because they
make it sound like it's just not going to work because they're
like, well, Godzilla's cells will only work for Godzilla.
It only makes sense. So this this alien from Metal
Slug collapses. Godzilla gets like one really
good shot in the ship seems to be basically destroyed, but like
from the other half of the ship Orga emerges like this.
This alien transformed into Orga which is like a bad clone of
Godzilla basically with really big grippy.
Hand it's really not even close to a clone of Godzilla like so
it's weird, right, because there's this weird through line
from the the shape of the UFO which is present in the
Millennium that we see right where the the head and body.
It's weirdly jellyfish like and like the top of the head is
shaped very much like the UFO, but then it has those couple of
tentacle arms that come out that split into two little branches
at the end on each one. And then it takes the Godzilla
DNA and becomes this big hulking reptilian thing.
But like the the head is this tiny little thing on the front
of a bulging upper body that is almost again you see the shape
of the UFO in there down to like the position of the shoulder
cannon being like the UF OS cannon and then the arms and in
those two gigantic like hooking fingers.
But it like it also to me is very clear that Orga was
designed before the Millennium was, and the Millennium is just
something that they CGI D as like an in between, Yeah.
Yeah, no, I could see that. But like I said, bad clone.
Yeah. So Godzilla starts knocking the
clone around and then clamps down on it.
But Orga uses its Canon to launch Godzilla backwards.
And the ship, the other half of the ship like gets up into the
air again like sidewinds Godzilla, which mostly just
makes Godzilla mad. The ship gets in between the two
because Godzilla is like charging up a a really strong
breath attack. But Godzilla pierces the ship
and Orga. Orga regenerates and the two
just start fighting. They start going at it.
Orga starts to draining G1 cells from Godzilla to like complete
its transformation into Godzilla if it.
Like trying to do that, it's also helping it regenerate the
damage because Godzilla's blowing holes in him.
Right, because yeah, Godzilla fire's a couple blasts.
There's there's some gibbing involved.
Orga's on fire now and then Orga opens the rest of its mouth.
Horrible. It's like.
Its whole head. Horrible.
And Godzilla agrees with you because Godzilla's like.
Godzilla literally gives a like it's difficult to sell this kind
of emotion but Godzilla's literally like what the absolute
shit as God as Orga's face like splits open and then part of his
body splits open and then the stomach unfolds like a flower
from inside. Oh Jesus Christ.
Horrible. But the the good words.
Yeah. But yeah, Godzilla walks forward
like, like into the mouth, because Godzilla sees this and
is like, you know what? I've got a great idea.
What if I just get in the mouth and kill it from the inside?
So Orga is trying to swallow Godzilla whole.
Doesn't work out particularly well for it because Godzilla
fires off a nuclear pulse and just completely melts Orga from
the inside. Everyone else, all of our main
characters, are like on a nearby building, no, by rooftop, and
they're all looking on while Godzilla's roaring in victory.
And then they start doing the part of the movie where they
just start summarizing everything because they're like,
you know, it's ironic that Orga was brought to life by Godzilla
and then killed by Godzilla. And then Godzilla walks up to
the roof and everybody starts running except Kadigiri, who
just like, stances up and lights up a cigarette.
Which, to be fair, hard, but. Right.
Yeah, but dumb. Yeah, Shinoda's.
Yeah, Shinoda like tries to save him, but like Godzilla slams the
claw down the roof, collapses Kadigiri, you know, he's
screaming, goes yeah and then flying down through the through
the roof, like you could have just moved, but.
Yeah. Yeah, then they then they start
talking about the movies themes because they're just giving it
to us this time. They're like science is
progressing in the wrong way and that's what produced Godzilla.
And the movie ends with Godzilla just like destroying more of the
city. Like they don't win.
Godzilla doesn't go home. Godzilla just keeps going and
they're like humans made Godzilla, and Godzilla is is
ourselves in everyone's mind. And then the credits just roll
on Godzilla's just killing the entire city.
Yeah, yeah, yeah, like it. And it's great because like we
talked about this a bit in the DMS, right?
But Godzilla fires off this like Godzilla kills Orga, right?
Like, and, and you don't I I love this beat in the fight
because I think it's already one of the most memorable fights,
like individual fights in Godzilla franchise history at
this point, just because of how weird Orga is.
And like Godzilla blasting holes in him and him just regenerating
that shit. And you know, then the whole
mouth opening and Godzilla running into it and you're like,
what the fuck is the plan here? Dude?
Blowing him up from the inside. And you watch Godzilla kind of
like, like, like you just see the, the, the, the, the husk of
Orga's back and legs fall over on fire as he's dead.
Then Godzilla walks over the building where all the main
characters are and says, by the way, I'm killing this specific
dude right now, personally. Bam and then walks off into the
distance as the credits play and we go, guys, we might have
fucked up on this one. And then as the credits are
rolling, he takes a moment to turn around and blow up a bit
more of the city and stand there like fucking akuma at the end of
it. Like he put he he akumas.
He fucking does. And it's hard as shit.
This movie ends by basically going like, Godzilla's a
Godzilla's a God and there's nothing you can fucking do about
it. I feel like this movie, if its
primary goal was reputation repair, holy shit did it fucking
do it. Yeah, yeah.
Yeah. This, this really restored
Godzilla's. Like there, there's a fine line
between at least in prior movies, where Godzilla's either
like a force of nature, right? Or it's something with malicious
intent. And this Godzilla is both.
Yes, yes. And it's interesting because
early in the movie you don't know how smart he is.
He does come across as very like a big lumbering force of nature.
And it becomes clearer the further into the movie you get
that. Like, no, this Godzilla is very
intelligent. He's very sapient.
He's just a mean son of a bitch. Yeah.
Yeah, I just, man, holy shit. I think I have a lot of opinions
about this movie. I think this movie's a fucking
mess, right? Like it's plot doesn't super
work. One of the most important
details about the plot, and it's a thing that does.
Like, there's no natural way, I don't think for it to come up in
the movie as is. But the Millennium is a fused
being already. The Millennium is a an
amalgamation. So the the the the story behind
the spacecraft as it was written for the concept of the movie is
that the spacecraft crash landed on earth and all of the beings
on board the alien race, you know, that crewed the ship fused
together into a singular being in order to like preserve their
power and hibernate for all of these millions and millions of
years. So that's that is the thing that
then wakes up and goes seeking for knowledge is it's not just
one weird monster. It is like this fused
amalgamation of an of of an entire crew of this alien.
It's OK, Which I think is like a super interesting detail, right?
It is it. They didn't do anything.
Yeah, well, right. Exactly.
They didn't. Yeah, but like that and like the
fact that not a lot really happens in this movie in the
grand scheme of things. You know, you have a plot of
this government agency trying to kill or this one guy in
particular running this agency trying to kill Godzilla.
The UFO showing up right as a very distinct B plot.
Those two things combining briefly at one point and then
not really coming together until the end when Godzilla shows up
to destroy the Millennium slash orga, which is really only as
big of a problem as it is because of Godzilla's existence.
Like, and some of the stuff it does like again, the, the, the,
the, the fact that cables are used like psychically maybe to
tangle up Godzilla. There's just a lot about this
that isn't well established. Even the nuclear pulse.
You don't see the nuclear pulse happen until the final moment.
And that's a thing that might have been better foreshadowed if
Godzilla had at some point been like, surrounded by a bunch of
tanks and planes and just like, did the pulse and wiped them all
out. And then you would see Godzilla
running into him, like having struggled to take enough of Orga
out to keep him down. And you would you could piece
together what the plan was instead of being like why the
fuck did Godzilla dive into his mouth?
Why does Godzilla have a vore fetish now?
So I think that the way that I've kind of surmised all this,
to myself at least, is that this movie is a Saturday morning
cartoon. A.
Little bit a little bit. Like, it really relies on you
just knowing what a Godzilla is, knowing what it can do already.
There's just like a monster of the week the Godzilla's beating
up, but then everything just goes back to.
Normal. Yeah, yeah, yeah, I mean, and
that's that's just a thing that is true, right.
So yeah, you know, that's why there's no pre established
anything. You know why?
Yeah, I don't know. It just, it's, it's a slight
mess, but at the same time there's so much going for it,
right? Because also I think it's kind
of head empty about its messages.
It doesn't really fully figure out what it's trying to say or
why Godzilla is the way he is other than just like Godzilla's
pissed and this is what he does. But Godzilla sure does get
pissed and wreck shit real good. And we get a funny group of
human main characters with a particularly hateable human main
villain. We get a very memorable like
enemy monster to fight and we get just a truly sick.
It's, it's the most opposite of the 98 Godzilla you can get
because they're like, what if we made him Godzilla squared?
Like if you're listening and somehow you don't know what
Godzilla 2000 looks like, please look up Godzilla 2000.
It is, it is so fucking good. It's weird 'cause he's greener
than we're used to seeing, right?
Yeah, he's very. Green but and the face is longer
than we're used to seeing, but also both more reptilian and
more feline like. He has actual ears for once.
Yeah, he's got. He's got the little ears.
Yeah, He has these gigantic, sharp, like spines instead of
the, like, underplayed spines that we saw before.
Like, man, it's it's just such a, a, a really good design.
Yeah. I'm just in love.
I'm in love with a lot of these shallow elements of this movie,
even though I recognize it's a mess.
And I think part of that contextually is like, it came at
a time when it needed to, right, when people were not feeling
good about Godzilla 98. And they were like, all right,
what if we gave you the most? So.
I mentioned seeing this in the immediate aftermath of Godzilla
98 'cause this made it to theaters pretty close to on
time. It was like 8 to 10 months
later. But they released like a very
heavily re edited like rewritten, re dubbed version for
theaters. And I say rewritten, but like, I
just mean in terms of they actually did a lot of work to
write the script out instead of just do a, a basic translation
to the point that like the version that was released at
American theaters, the American version of Godzilla 2000 is
generally considered the better version of the movie in a lot of
ways. It it it's pacing is better.
It takes like almost 10 minutes out of the movie, but in the
end, it helps it flow a little faster, especially because some
of the early midpoints are kind of, you know, a little clunky.
Yeah, A. Little bit it does replace
Orga's roars because Orga's roars are reused from the
Cretaceous Ghidorah from Rebirtha Motha 3 and there's
some new pieces that are taken from like resampling and
altering that. But it it comes up with like a
new original roar and the dialogue is very funny for what
it is. Which again fitting the tone of
what the Japanese version is trying to be by the
sensibilities of a Japanese audience.
So yeah like in a rare version the American version of Godzilla
2000s, maybe the better version not by so much that like you
know I would say don't watch the Japanese version.
That's what we watched as the Japanese version.
I think it's a it's not going to transform the experience, but
it's better probably. There's a huge marketing push
behind this in the US too, right?
Which makes sense because they spent a lot of money re editing,
re dubbing, like putting effort into this instead of just
throwing a Hong Kong dub on it and calling it a day.
So this movie did OK in Japan, but it it failed the theatrical
run failed to make up the marketing cost for the
theatrical run. So I mean, I by that manner,
like it was close, but like it, it wasn't good.
It certainly wasn't the run that Godzilla 98 had right now.
Something I didn't know until we were looking.
I was looking up stuff about this movie.
There were briefly plans for an American made sequel to Godzilla
2000. Like the script was mostly
written out in everything. It was going to be directed by
Joe motherfucking Dante. Hey, Charlotte, I'm going to ask
you to look up Joe Dante real quick so you understand what
that means. Yeah, I'm looking.
I was like, I recognize this isn't hitting for you, please
look up a filmography. Yeah, I'm like, I don't know who
that is. OK, this is the Gremlins.
Yeah, yeah. I mean a bunch of other stuff,
right? And small soldiers, which I
actually kind of like. Joe Dante is fucking great at
what he does. Yeah, man, like insane to me to
find this out. But yeah, Joe Dante was was on
the hook to direct an American made sequel.
And I mean, of course it fell apart because I think the idea,
I'm assuming, I haven't read this anywhere, but it's what
makes sense is they put so much money and effort into the
American push because they wanted to take advantage of the
energy in the West and be like, OK, here's real Godzilla again.
And it just didn't work because not that many people actually
want to watch Japanese movies in the US or at the time.
Again, this hits real different with -1 having blown up in the
US, but I also say blown up by like, excuse me, American
standards for Japanese, like for foreign released films.
So yeah, that gets scrapped. And in fact, while there is
another movie almost immediately put on the books, it is not a
sequel to Godzilla 2000. It will be yet another direct
follow up to the original Godzilla, setting the tone for a
very confusing run of movies. So there is no real consistent
timeline or series from this point forward.
There are, there is one movie that gets one direct sequel.
We got a Final Fantasy 10 two, you know what I mean?
And of course we will eventually get the legendary series of
movies which pull together a continuity.
But as far as Japan goes, basically every movie from here
out is its own thing, which is going to be a weird thing to get
used to, I think. But we'll probably be easier on
a lot of our guests. So we were struggling under the
weight of accumulated lore by the end of the hey say era.
Poor Ryan. I have one great title for you,
one truly good title for this movie.
And it's not as good as some of the insane ones we've had in the
past, but it I love it. In Latin America, this movie was
known as Godzilla 2000 versus the extraterrestrial squid,
which is I. Mean not incorrect.
Oh God, I love it. So let's talk the lasting impact
of this movie, right? Like I mentioned, did this movie
struggled on its own, right? It did.
It did OK financially in the grand scheme of things, but it
wasn't, it didn't blow anything up.
What it did do successfully is damage control, right?
It said, no, no, no, Godzilla's not dead.
We're going to keep this thing going.
And it gave them the wiggle room to keep trying.
And you know, the Millennium era is going to be kind of an
interesting experimental time as a result of of what they were
kind of thrown into. The the biggest thing that
Godzilla 2000 does, if you ask me, is it finally gives us a
lasting answer to Godzilla's near invulnerability.
Because remember, Godzilla has only died twice through these
movies. There's the original one that
got completely atomized by the Oxygen Destroyer and then the
hey say Godzilla melted down, right?
Literally melted himself into oblivion from from, you know,
being like, well, from a nuclear meltdown.
Other than that, we've consistently seen Godzilla
basically refuse to eat shit at any point, kind of no matter
what we throw at him. The show era Godzilla, basically
no matter how many times you knocked him down he'd get back
up and keep coming at you. And the hey say era Godzilla
kind of started that way but by the end was just an invulnerable
walking tank that that you could do nothing to.
Right. And Godzilla 2000 says it's
regeneration. That's the thing that has been
Godzilla's true superpower all along, is that no, any damage
you do to him is recovering more rapidly than he's Wolverine.
You know what I mean, right? Or the Hulk.
I mean either way to put it in comic book.
Terms I. Mean to the point that that that
chunk of scale that they pick up off of him is regenerating
itself even with no Godzilla attached to it anymore, right?
And that is something that from this point on, will be much more
obviously core to the character. We're going to see Godzilla
regenerate from much more, much more serious damage in future
movies and take some much crazier hits because now we've
kind of gone well, yeah, you can blow a hole in him or you can,
you know, sever a limb, but you might be able to regrow it.
You can blow part of his head off, and he'll regrow it right
in some of these movies. So it's interesting to me and
it's the thing I was waiting for 'cause I remember there's a big
plot element in Godzilla 2000. But through all of these movies
we've been watching, I've been like, when are we going to get
to the regeneration shit? When are when are we going to
finally talk about that 'cause it's so important moving
forward. It's so obvious a part of the
character and it's wild to think that that didn't happen until
the year 2000. Well, 99, whatever.
So. Yeah, 'cause this whole time I
just kind of like knew that that was the.
Power. Well, you've seen a couple
things and we've talked about and like, you know, you saw -1
in theaters, right? And that's a huge plot element
in -1 So yeah, I think like, God, you know, the Godzilla 2000
design is beloved by fans. Orga is one of those villains
that's very memorable for his fight, even if the designs kind
of weird and not super memorable on its own.
The fight sure is. But like, yeah, this is the
movie that gave us Godzilla's regeneration and kicked off a
very experimental era of the of the 2000s.
So I have a question for you because you are usually so much
better at this, even on the more obscure movies.
Did this movie have any interesting thematic elements to
it? So struggling.
Well, it's not that I'm struggling.
I know what it wanted to say. I just don't think it said it
very well. So that the entire theme of the
movie, and I mean the outright say it, it's just the the
uncontrolled nature of scientific progress.
I think that if they had actually added some of the stuff
with the the UFO, you know, and if they were like, oh, they were
fleeing from their own planet because they developed too far
and they went, they, they had a war and, you know, whatever,
right? I think they really could have
driven this home. But like, there's this whole
side plot about Shinoda and he's working with one of the other
CCI scientists and he's like, why did you leave?
He's like, there were bad people that wanted to do bad science.
Basically. I just couldn't deal with it
anymore. And so while the movie does not
expressly tell you what it thinks the direction science
should go in it, it thinks that science has gone in a bad
direction thus far. I, I think that the implication,
especially with category existing as he does and doing
what he does, is that we're, we shouldn't be using science to,
to do things like war. Because I mean, if it, if it's
trying to piggyback off of the original Godzilla movie, then,
you know, it's like, well, the the nuke did this, you know,
that's what it wants to say is that we should be careful with
how we approach science and technology and stuff like that.
And I think that another component of this has to do with
the way that the UFO is using computers because like,
computers weren't a big plot point until this movie in any
movie. But at this point, it's 1999.
Everybody has a computer, most people having computer in their
home. That's not entirely true yet,
but like the, the Internet is a thing, you know, And it's, it's
when it flashed up all those images, it's a, it's showing
images of like us being on the moon and just all the stuff that
humanity has done. And I think it's trying to
connect like technological growth with like this, this
malicious intent, you know? Yeah.
I don't think it did it very well, but I think that's what it
was trying to do. Yeah, yeah, man, I, I, I, I
guess like, I don't want to be, but like, I, I, I see it.
But like, I think, yeah, like old.
I think we agree that the problem is it just doesn't work.
Not enough went into it. It it clearly they.
Well, here's the thing. A lot of these Godzilla movies
have had a lot of time, right? Like these scripts are things
that half existed before they went into production and they
took, you know, like as short as the production times on these
movies can be. The scripts are things that are
getting workshopped for years before they get adapted in.
And in this case, they had to jump the fuck in and get it
going in no time flat. And I think it shows.
But like, I still like what we got, you know?
Yeah. I mean, it's fun.
It's a fun movie, yeah. Yeah, yeah, just.
And it's interesting because it gives me this weird energy of
like, I'm glad the Heisei era had as much to say as it did and
was as well put together as it did.
Godzilla 2000 being our kickoff for the Millennium era makes me
feel like there's no way to know what's coming next.
There's no way to expect standards are gone, consistency
is gone. We're just going to get what
comes to us. We are truly in the postmodern
era of Godzilla. So right.
But you know, I'm going to think about Orga eating Godzilla and
then Godzilla's spines lighting up and Orga's eyes going like
bugging outgoing. Oh, oh, because that's very
funny. It is funny, yeah.
I I guess I wonder at what point Godzilla will become the the
symbol of Godzilla rather than the creature Godzilla.
Yeah. Do you think we're there yet?
Do you think we're getting there?
Real, real close if we're not there already.
It's so difficult to tell, right?
But we're getting so fucking close if we're not there
already. Yeah, I think the movie relying
on presumed knowledge is a is a step in.
The I think we were seeing a lot in the later hey say era movies
too, you know, so. Yeah.
Yeah, but man, I'm still having basically a great time with it.
I just also had like, I'm accepting that it's not going to
be the thing I I really want it to be.
Maybe, maybe we'll see. We'll see.
All right, folks, I think that's
a wrap on this episode. Welcome back.
Welcome back to the fucking show.
Thank you all so much for joining us on our journey so
far. You can follow me on Blue Sky at
Derek Van Dyke dot B sky dot social.
And you can follow me on Blue Sky at blood dot doll dot church
because I have my. Own we are not on the bird app
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See you next, whenever and take care, everyone.
Castle Bravo is a production of Derek Van Dyke and Charlotte
Landale. All editing is performed by
Derek Van Dyke. Special thanks to Kyrie Lamont
for our art assets and to David Van Dyke for our theme song,
Pools of Memory.