etty sure that when there's the big wide shot of the carnage that it's like the building that he was behind and maybe one more in front of him was like behind where Godzilla was and apparently shielded him from the from the explosion yeah I'd have to what they want you to believe I'd have to look at it again to see where he is in relation to Godzilla in the buildings and if there's like diminishing damage over a certain time it's because they cut away a couple of times to show destruction and I can't really get a good gauge of the distance because they don't show like Koichi and Godzilla in the same shot let's go I think all that happens is that you add one more variable which is that oh you just pushing you're kicking the can down the road just a little bit which is oh so the shockwave was so massive that it caught arm it caught a Noriko a in the in the blast but only maybe five six feet away in the building that didn't get disintegrated he was fine it's like wow shit that's lucky aided I mean I think I guess I was under the impression when I watched it that they were getting all of the rubble and crap that had been destroyed closer to the explosion and it was now flying all past them and through you know everything there so it was almost like the the the city shrapnel was now getting thrust back and it was she was getting plus back along with the shockwave as well yes yeah and you basically just have to accept that kawaii she managed to survive miraculously and luckily when he should have been I think everyone everyone's willing to concede that she should be gone there's no way she should be totally dad I I can buy kawaii living um but I I don't know that's like some cool shit I think it's the worst part of the film I think it's like the the biggest thing that you can point to is like an obvious flaw which is that this is ridiculous plot armor for him and her as it turns out um I'd probably even say worst element of the film as opposed to parks it makes it sound like it's more than just this significant plot armor because the rest of this scene is great yeah absolutely it's uh they yeah I and what I do with this afterward the idea of him surviving and her dying and like the transformation that that creates in Koichi of like it basically sets in motion a new attitude towards what he has to do to redeem himself with one that's a lot more um self-destructive uh which will obviously be rebuked by uh several characters and the film by the end so you've got that which is which is which is like great as a thing that's setting up but like fuck me the plot armor in this part is pretty ridiculous on the note of kicking the can like no matter what you can come up with for how he miraculously survived be it this particular strength of the building or the location of it behind Godzilla or that it was just far away enough or whatever it's like all of these would be hyper coincidental none of it none of it is on purpose from the character yeah that they were behind Godzilla rather than in front of Godzilla to the sides of Godzilla that they just happen to in the midst of the chaos find themselves and just the fact that the the only character in the world who is encountered Godzilla twice and lived to tell the tale about it found himself in just that right position to be sped from the blast so that he could continue to be involved in the fight against Godzilla with critical information and inside you know I do love and appreciate that she would push him out of the way of the what she perceives as the primary force of damage which is still worth it and of course it it closes the door on something that was an element that was you know part of the discussion throughout the beginning of the film which is or the first half of the film you should say which is what's the deal like why aren't you why aren't you fully embracing essentially that this is your life that she's your wife that this is your child why aren't you doing that and now the door is closed she's dead when that's obviously what the as far as he's aware and that's obviously what he wants and that's obviously what he needed and with that door closed that now sends him down a much more destructive and cynical path yeah which so yeah it's yeah sorry go for a medal oh yeah just because the next in this one they grievance as a family slash friend group I guess I guess or I get before you do that I I just say like incredible acting by the yeah the protagonist how he's sort of shocked once he's dead and how he just yells in this very primal anger at Godzilla as it just walks away through the rubble yeah because it's why in reference to the damage that has caused to him how much he fucking hates big lizard right now it's you know Godzilla as what he represents is absolutely complete which is that Godzilla is the physical embodiment of Koichi's remorse and guilt over his his perceived cowardice whatever misgivings and grievances in general that he has with the wall of which there are many the fact that it claimed as his family that to put him in this position in the first place obviously the fact that Godzilla is now killed Noriko as far as he's aware it is just like the looming walking specter of his guilt which is awesome what a cool idea for using Godzilla as a component in your film I should always have been instead of just big lizard runs around yeah because it doesn't have to be a stupid silly monster movie it could be like a meaningful emotional you know a thematic monster movie so yep what just makes it way more interesting to want to destroy it beyond because of course you already have the obvious layer of why you want to stop Godzilla which is a big monster he kills people that's obvious for him in the monsters though yeah but in this one I'm rooting for I'm rooting for the people God for me that's the thing is not only do you have just the the clear conflict of we need to stop Godzilla because Godzilla is destructive he's killing people he's a danger to us all but now we've built on top of that extra layers and elements that are making us particularly invested in seeing Kareichi Koichi fight Godzilla and and beat him you know and it's just that's the way you do it that's that's a way better way of doing it take advantage of the material that's in front of you know Godzilla is a cool idea is a cool idea is a cool monster I like the big lizard but you can make him into more than just a big lizard that you have to stop he can become something symbolic to the main character and really to everybody it's good shit um yeah like it's the thing that you had mentioned earlier you you talked about it a lot when we were watching She-Hulk um you know degrading the things that you are using oh yeah uh Dead Evils yellow costume where it's like you're gonna use it as an advertising point for your shitty show while shitting on the creators who made way more impactful and meaningful things than you did it's like they're afraid to be serious about something and I they're afraid to be honest and they're afraid to be honest what it is they can't they can't they're not comfortable enough presenting their story to the world for what it is and what they want it to mean that they have to load their entire story with hey look but this is silly right yeah it's pretty ridiculous yeah wink at the audience we're with you guys we know how silly this is we're with you guys and then it's like cool you're just like cutting what does it sound like cutting off the you're cutting off the potential that your story has like make the biggest impact possible because you're you don't even believe in it you know and if you don't believe in it how can you convince the audience to believe in it yeah it's like it's like when we were watching Deadly night was the Santa movie and they burn the silent violent night and they burn the sack and like oh you've just removed that from the plot you've you've you've made a decision you've drawn a line that thing that you could have done you can't do that anymore and like okay well I mean oh right we're not taking this seriously okay I'd be nice for you guys to take something seriously I mean you're spending hundreds of millions of dollars on it you could take it seriously but if not I mean it's your money it's fine it's whatever you know you do yeah we were more than ready to take seriously Santa fucking up a bunch of people because they're ruining Christmas hell yeah yep but instead oh whatever so we see the destruction of the city we kind of get the implication that you know Godzilla's radioactive they're looking to study him looking for little pieces of him that might have fallen off tens of you know a lot of people tens of thousands of people are dead you know wounded from the attack it's a really big deal and we have a scene where you know it's it's very sad Noriko is dead and there's the you know sort of a funerary you know event going on at the house and you know Akiko wants to know where mommy is and and that's pretty devastating here in that it's and they try to lie to her but she knows she knows that something's wrong has to go back to work for a while it's like yeah yeah but the child doesn't buying it goes there and all of the his friends from the boat are there so it's really rough and it's very sad it's definitely the low point after we see the destruction that very real element of yeah what you saw was really fucking cool for a movie but is terrible a lot of people died and you know people are very sad because of that and then our main character goes over it's like man that's my fault and I think he's looking at the at the pictures of the fallen soldier I mean sorry it's like my fault he's basically seeing this as a curse like he was cursed with this and now because he thought he could I think he says could dream again or can live again or something like that and now he took it away from me because I actually don't really deserve this like I don't know what I was thinking why actually trying to embrace this yeah he hasn't he hasn't yet fully completed his transformation into who he needs to be to move on with his life Godzilla as a representation of his guilt is still looming I know if it was here or a little bit later when he says to one of the guys like I'm not actually back from the war yet basically yeah my war's not over right my war is up yeah hence I think I think that is what Godzilla minus one means I think I think that's got to be it is the notion that him and by extension kind of everybody in the country is not quite back from war they're not quite where need to be we're still laid in with locations pretty pretty soon I think I think when we have to what was the the public plan like the plan they do yeah Doc tells him that he's been he's been working on something which again this is a further continuation of the America Russia and the Japanese government that I want to get involved which just got to accept that cause yeah I feel like at this point at this point when a city's been destroyed yes I I'm pretty sure that the Americans can go up to the Soviets and be like we okay listen this thing yeah first off it's on your side so let's get that clear but we need to stop this thing it's blown up cities but I still think they're they're running with the Soviet stuff part of the the benefit of an alien invasion or giant creature on earth would be that it would probably be the most uniting event in the history of earth probably nothing together like an existential threat if you had a go me of aliens that were about as easy to defeat as the space dogs in infinity war except like one big mastermind type alien that we could kill with you know independence day style the whole world like they'd have the attitude of we kill each other you don't get to kill us that's how that works okay and that we would for the in that moment unite is so fucking hard and have all these networks and relationships that would have been built from it in a sense you know that would be kind of a cool movie to make as well and Godzilla could absolutely play that role Oh yes when I got a great fire yeah that everybody unifies to oppose him it's it's it's after the the fact that Godzilla has essentially now very publicly demonstrated himself to be a walking like he can just essentially create new Hiroshima's wherever he goes you figure that at that point especially after just having the world having seen the absolutely devastating power that this would be the point that they'd go alright guys we got to get involved but they don't so that just leads us with essentially the way that the film wants to go which is a civilian lead yes operation which I like the civilian operation as a like a plot point once we get past that we do have a cool thing where they actually come up with interesting creative plans to try and take down Godzilla like they were surprisingly interesting people in their governments are different things yeah yeah the the this begins a scene where you have all of our boat crew going to a meeting a bunch of citizens and civilians led by X he's an X destroyer captain forget the name of the destroyer but I almost want to say I noticed I think the destroyer that he was the commander of makes an appearance later in the film as one of the ships but I can't remember but I think Captain Hott is his name Captain Hott is sort of leading this effort to try and kill Godzilla because the military's can't get involved apparently so they come up with a plan he gets all these people together they got all these scientists some people who lead some companies and doc explains the plan to everyone because doc was you know he developed naval weapons during the war he's a smart man you could tell because of his glasses and he says alright here's our plan our plan is to wrap all these cords around Godzilla and then use bubbles to make him sink down to the bottom of this trench and the pressure will probably kill him and if that doesn't work or then going to initiate plan B which is to have all of these balloons go off around Godzilla which will rise him back to the surface and that pressure change will will will hopefully kill him no which I think is very creative and interesting beyond gas specifically yes yeah that's right gas the idea of using the environment itself to destroy Godzilla is an interesting idea yeah it's it's not just we're gonna we're gonna make a big gun and then we're gonna shoot the big gun at Godzilla it's definitely because the plus these are civilians they don't have access to military equipment especially after the war yeah they have to use the the ships they have they often demilitarized already they have no guns on them anymore yeah that's right so they don't have like big cannons destroyers with guns anything like that so they're using the power of science and ingenuity to try and kill Godzilla I really like to play and I think it's super neat it's it's just sort of inventive and interesting what I liked was that as they were explaining it I was sort of listening to that and going I mean that's probably worth trying compared to having already shown that like shooting out it doesn't seem to be a particularly effective idea if I would that room and they presented that to me to be like well I mean that seems to me like a better alternative than doing nothing so you know I understand the thinking I understand the notion that if yeah sure this is a giant dinosaur um that seems to be very difficult to stop but surely they our plan to leverage essentially water pressure the the the like the the world itself against him that's that's probably the best shot we got doesn't you describe it as a we're going to kill it with the power of the C the C yes it's kind of a cool mode of like humans and earth working together to kill Godzilla yeah it's cool as a you know so again as the difference where it's like I know see Godzilla he's in charge of earth he's the he's the one who determines the world or the big lizard they're fighting fighting the bad what's the one Ghidorah the the one with the three heads King Ghidorah Ghidorah yeah and so you know they they have this plan that they've hatched up and they need people to actually do it because it takes people to you know do all this stuff to man the man the ships and fly him around and drive him and all that stuff and can't rely on the Japanese government or the U.S. government or the Soviets or anything to get help they have to do it themselves this has to be us we've you know the future of the countries in our hands that kind of thing and Hata is making this appeal that he wants people to know that this is dangerous they can't guarantee it'll work but he's asking them to help and he doesn't blame him if they don't want to because you know he's a veteran himself he knows a lot of the you know all these people in front of him you know that the war was only a few years back oh yeah you know yeah he didn't blame them you've been asked to do a lot you've been asked to do a lot and now you're being asked to do a lot again so and a few people leave few people yeah a few people leave which I much prefer at the yes like normally cliche is oh one guy that's like a rallying crying and everybody's like yeah I like it way more oh yeah he says I think the cliche is that he says or they all leave all leave except like one of the main guys yeah yeah he's there's one guy something like he's like are you sure that we're it does like is this going to be certain death and Hada says like I maybe I don't know I can't I can't promise it to you and he's like well it's better than wartime and everyone's like oh yeah that's right and they they all get to you know and they all do it so there's everyone bands together and they're they're doing their part so I really like that and afterwards that night our boat crew kid doc captain and Koichi are together and they're having a bit of a dinner sort of discussing the plan a little bit captain's a bit spec spectacle skeptical of things and he says that the way that they're going to lure Godzilla over the trench to drop it is they've got this big like underwater speaker that's going to play Godzilla noises so that it will think that there's a competitor to its territory and so that it will go and fight him and that's how they're going to kind of lure him into place but captain he's got you know he's got Koichi he's like you fool you know she's gone now why didn't you marry her and Koichi says because he wasn't mentally ready to he wasn't like he had his own demons to fight and I think he wanted to take care of that before he got involved with somebody else the read I took was he was too like emotionally and mentally not there to which I'm kind of to make that step with her and make her like officially a part of his life in that element what's interesting is that obviously it's kind of leading to the point that by the end of the film he'll be in that place which is you know that's cool in terms of like constructing an area right that's the way you do it fight you know by the end of the film he resolves it but I the idea I find interesting would be like what if part of it is that he could have done it anyway as part of his attempts to like move forward that it that for as much as a destroying Godzilla is obviously incredibly important symbolically for demonstrating his growth and having moved past it and ready to move on with his life that he still could have like made those kinds of efforts beforehand anyway yeah I think that about himself and go so self-destructive is because he knows that he could have done that you know he could have actually you know married her and tried to move on with his life more so than existing in this state of limbo where he's kind of moving on but kind of stuck in the past yeah I think he says my war isn't over yet so he was just too hesitant like a part of him wanted to but he just couldn't mentally yet yeah yep it's partly because he's like it's almost as if he has the belief that he doesn't it's like he doesn't deserve to live he doesn't deserve to have a life yeah like until he's atone he's not worry about it yeah and now that she's died he's starting to get on the path of my only redemption is death that's the only part to redemption that I have is where he's starting to be moving towards in this second act he says that to you know captain and you know he's clearly not in a good place and he really wants to fucking kill Godzilla yeah really he really wants this big thing dead because he asked for a plane if he can get a hold on a plane that he could fly mm-hmm and anger good you're right yeah so his job he asked if there's a plane and they don't have access to you know like aircraft like a fighter because you know it's post-war Japan you're not allowed to have really a military so they don't really have access to a a war plane or a fighter plane they find one that's in rough shape it's like a prototype that was used to shoot down bombers and it's in this old hang it's so it's basically in a wooden shed they only had a few prototypes of them they're kept here in the mainland thinking that they might get used for a like a war that never ended up getting this far into the you know Japanese mainland but it's not an estate to fly yet it's not air worthy so he needs a mechanic we need a top mechanic to fix this plane oh he knows one he does know one that's right he does the the mechanic from the very beginning Tachibana the guy who blamed him for you know all of his men dying because he didn't shoot the guns on the fighter so he needs the plane to sort of distract Godzilla and sort of help bring it in if that's the case but he has some other thoughts that I think that's what he tells them but what he's really going to use it for will become a parent yes but he needs but none of that's going to happen if the plane can't fly so he he goes on this quest to find Tachibana who sort of disappeared after the yeah deliberately made himself hard to find and to bring him out into the open he does that by deliberately antagonizing him which is kind of a clever twist yeah he sends a bunch of letters saying that it's Tachibana's fault that all those men on the island died and that pitches that pisses Tachibana off and he goes and he finds Koichi likely because how do you send all those messages out saying please I'd like your help you would never have come yeah exactly like I'm going to help you reminds me of how a lot of people said conventional wisdom says you should ask for help online and you'll get it's like no you should present your answer is correct when you know it's wrong and you will get the correct answer in response it's unreal if you're like which cable do I need to do this just make a post say to fucking amazing the work around to just use this cable do this thing they're like no it's not you have to use it and then they will source everything explain everything just because they're like I am so right you're so wrong you said they're like thank you there we go and that's kind of what he does he does that's right and when Koichi is heading home one night Tachibana hits him in the back of the head ties him up and says you fucker you you jerk you asshole how could you possibly say these things and Koichi says well I just said those things because I knew it's the only way to get you to come I need your help I'm putting together a team I need you to help fix this plane so that we can save you know Japan so that we can you'll destroy Godzilla we've got this guy we've got a plan going on but I need your help and he convinces convinces him to help though not without trying he has to really bad and he has to really say that you know I know I really need this I I've got to do this this is something that I have to do I can't let you know Godzilla destroy everything Tachibana I forget what he says specifically to him that changes his mind he but but he says like I I've lost everyone and I think he mentions that it's vulnerable from the inside so he has like some information to work with but he says it's vulnerable from the inside I need a plane do you understand what I'm getting here and Tachibana is like alright let's do it so they start repairing the plane Tachibana comes in to look at the I read it's called like the local fighter Shinden I think it's called something like that yeah yeah it's local fighter Shinden I think is what it is but the Shinden is the is the experimental plane that he's going to be flying and Tachibana is set to fix it up along with some modifications as we'll find out I'm putting together a team that's right he is and what a team it in all of the civilians all of our protagonists they're getting the destroyers together they're loading up supplies they're prepping the cords and cables and all their science bubbles and their big buoys they're getting everything ready because Godzilla's coming we got a hurry we don't know what he's going to be back so they're all at the destroyer they're loading everything up and getting ready to do the plan and oh no the buoys that have the buoys that are outside of Japan that are set to detect radiation they are they can see Godzilla coming they start going off and they try to blow up some mines but that doesn't stop him there's nothing they could do Godzilla's on his way and he arrives way sooner than they expect they thought they'd have more time to get this trap ready but they just they just can't quite do it Godzilla starts to head in to the mainland to start attacking things Godzilla's coming in they may only have like a day or two left they're prepping they got other destroyer stuff getting it ready together and when the buoys start you know going off and saying he's coming he's coming Doc gets all the papers together and says alright and he does his little triangulation whatever with the papers and the you know those little slide rules and what not and he says alright we think he'll be here anytime he's coming this way and he has this speech that he sort of tells to everybody in their intelligence office all of the technicians want to personally go on the destroyers to make sure all of the equipment goes off smoothly and perfectly even though it'll put them in danger he gives this inspiring speech Doc does he says this is the part where he talks about how the Japanese government treated lives way too cheaply it would it would give them faulty equipment planes that didn't have ejection seats tanks that didn't have thick thick enough armor it would tell people to you know drive planes into buildings as kamikaze pilots their lives were treated too cheaply by the Japanese government so he wants everyone to you know make sure that what they're doing is what they really want to do but we're going to do it this is a citizen led effort you know we can do this on our own you know everyone's kind of like yeah this is our last little hara before they get their night of sleep before the mission gets carried out which is really cool to have a story where you have a bunch of characters that are essentially committing onto a very dangerous path and yet the characters want to make sure that they treat their lives and the lives of everybody who's agreeing to do this with some amount of reverence and respect that ultimately the goal isn't for all of us here you know to die right the goal is to win and to live because that's what it's all about it's preserving life and if necessary sacrificing themselves to preserve life but hopefully getting out of this alive themselves so that they can go back to their lives and lead their lives it's nice to have that amount of reverence for human life and when it feels like a lot of the time it can get way more in the realm of like yeah we're all going to fucking die in a blaze of glory fuck yeah like well I mean let's let's try and let's all try and you know get out of this alive so that we can return to our families and to our lives that we want to live I like it it's a very good scene very positive but if you have a few things happen that night a few things happen that night the day before the big operation as they're leaving the intelligence office and you know the HQ after Doc's speech and everything kid who's with him and his arms in a sling you know he hurt his arm during the Godzilla attack at the Tecao he's like I'm finally ready you know it's finally going to happen we're finally going to do this I can't wait and then Captain and Doc who are walking in front of them they say no you're not uh you're not coming with us you know you're one arm down so you're kind of useless and he's wondering is it because I'm are you not letting me come he's Shigashima you know Koichi he's he's coming like why can't I go is it because I wasn't in the war because I'm not a veteran and they say no like not having been to war is something to be proud of you know be glad that you have to do that essentially um getting getting those AMR vibes uh kind of yeah that's that's cool right of um of emphasizing the idea of take solace in the fact that you don't know what it's like you know yeah hold on to that like grab onto that with two hands and hold it dear um and then as they're walking away he's screaming at them yeah he's begging him he's like yeah I want to defend my country as well I want to you know I want to do my part I want to do my duty I want to I want to help you take me with you but they just yeah you know Doc and Captain they walk away presenting it as it's motives are quite pure then they're not like these self-serving look at how awesome and great I am I want to create like a legacy for myself it is very much the pure sort of I want to help um because as that's right because as uh Doc and Captain are walking away from him as he's you know begging in the background to take him with him I think Captain says essentially that the we're leaving you the future yeah you gotta be alive because you're the person we're doing this for whole film in terms of encapsulating the nature of sacrifice the reason we sacrifice yes very similar to don't waste oh wait earn this uh and uh saving Private Ryan you know the same kind of uh the same kind of idea they there's such a strong sense of nobility when you know it's like yeah but like like the the they get a really strong sense of motivation when they know it's what we're doing is providing the next generation a better life than we had mm-hmm yeah we're just much different from the end of the war where we're just throwing away the life is much different than a government telling you to go die for something that's really not going to make a difference so this however will make all of the difference exactly yeah um yeah that I love this idea of you know because Doc and Captain they're they're older you know they're older guys um he's clearly I mean the fact they call him kid and he doesn't they said he doesn't he's not really fond of that name uh but this idea of yeah we're doing this for you we're doing it for your generation you need to be here to you know make sure things go on after work on you know if things go south the next scene we have uh Koichi checking out the plane he's doing is look over everything on the plane uh everything that's gonna happen everything that's gonna be you know going on and I believe this is where we learn about what really was what the plan actually is yeah what the plan essentially really is and it was this point is ever explaining the plan that I was thinking ah I see where you're going movie mm-hmm so we've got um what he has done is Koichi told Tachibana and his mechanic buddies that he wants to remove like the gun and a bunch of ammunition from the plane so that in its place there's some big ol bombs that can be put in big ol big ol bombs uh so I think you could see where this is going uh it's pretty clear that now his intention is to fly this thing into Godzilla's mouth and blow it up and that fly above himself of his uh of his sins that is his belief mm-hmm and when you see that it's just I was sitting there and it's like ah I think I uh I think I see where you're heading movie is your uh your resolution here and I really like the angle that you're going down here if you end up going that way but we was a little bit later wasn't here yet but uh yeah I got through that I think for me it was it was because um I understand why because it's kind of like um the conversations with the mechanic kind of reinforce the idea of yeah you you should do this you fucker you you run off you didn't do what you were supposed to do yeah maybe this is what you should do the fact that the mechanic is so cynical yeah a lot of his interactions can lead in the direction of maybe we are just doing exactly what you know his plan is which is he's gonna do this and then you know like what is playing up with bombs and then flying into Godzilla's mouth and blow himself up and it's like okay there you go and that's that's his story full circle but it's just looking at that and with all of the things that have been said by all of the other characters in the film you just like I feel like you're a bit more uh life affirming um film so I'm curious what I like like how it's all gonna play out it's funny very easy say that um I was like kind of on the position of like I appreciate the uh the value of um knocking out sorry I forget her name um Noriko yeah the what you can draw from it in terms of a journey but I was like I feel like that's at odds with like leave if we're gonna have our main guy die which by the way maybe I can explain now when I was listening to people describe the story for this and they tried to do spoiler free they were still saying the way they would describe the final scene is basically the like he turns up he's got the ship everything set and you know oh what an amazing scene so I was just like ah so okay he does actually go through with the kamikaze interesting like that from you know without seeing the film and so I was like at this point like it's kind of weird that we're gonna have her die and then we're gonna have him die leaving the child like without the paternal figures when the film's point is more so about like the saving of life so I could have accepted him dying to save those two I was like knocking both of them out really it's so funny isn't it considering how everything turns out yeah considering how things do turn out and we can certainly talk about that when we get there and I'm sure we will but I think that you could have done a number of things that were thematically appropriate here because a lot of it is based off of the situation and how people contextualize what they're doing if it was if it was Sumiko for instance who got Akiko to basically become her mother figure fully that would have been something and then the parents die one tragically one you know I guess they both would have died you know heroically in that sense one to save the other and the other to save essentially everyone I think it it's kind of open-ended in that there's not one thing that could have happened that kind of would have worked you can definitely argue that still appropriate that they both would have died to create a better world that's what I agree I agree yeah I think the read was essentially is this going to be a very melancholy kind of like bittersweet of yes he died but he saved what he loved kind of ending or is it going to be you rose t-code rose t-code saving what we love yeah because I definitely felt that it was going to end the way that it did end but there was a part of me that was wondering but you could go the other way as well that's right it's well constructed enough that you could take it in either direction and then it would still work but yes at this point it was like that was particularly interesting because I got the impression it's like that would be what he was going to ask him to do was that he was going to it's you know it just it's just storytelling rhyming you know it was a pilot who couldn't go through with it that now he's going to be piloting this plane maybe he's going to maybe he's going to give it another try you know maybe he's going to give it another shot so at this night right before the big event we have Koichi sharing sort of one last night with Akiko as far as he can see he's concerned it's very sad she you know Akiko's really worried she you where's mom you know like I want to see her again and I miss her and he's like yeah I know but I'm not going to leave you though and you know she calls her you know is your daddy and that kind of thing it is very you know it's like it's it's a you know they have that father daughter kind of thing going on he gets this envelope and he puts it next to the sleeping Akiko and he heads off to the plane that night and then we have him you know with the bombs and everything but you see what's interesting about the scene where we have Koichi at the the Shinden the fighter where it's got all the bombs and everything on it him remember him and Tachibana they have a they have a history you know from Odo Island and he is Koichi is pretty much telling him that it is my intention to essentially sacrifice myself to fly this into Godzilla's mouth and kill it and stop it Tachibana you know Koichi is in the pilot seat and Tachibana is running through all the stuff you know here here's this red lever pull this to arm the bombs before you hit and Koichi is like yep I'm doing it I'm ready and then Koichi has brought with him all the photographs of all the mechanics on the island who died from Godzilla and he's got his the drawing a drawing that Akiko made of him Noriko and her and it is here that I think Tachibana sees that Koichi really is truly committed to doing this that he really has things to save things to do this for that he he's fully committed to doing this and that is what you know kind of sort of repairs their relationship essentially and then before it you know that he's shown him the plane and how it works before the you know the takeoff later and he's you know as the camera pans out he's shown him some more stuff in the back of the cockpit so who knows what that would be I think he even says like oh also does one more thing yeah one more thing and then he made him like a little sandwich and put in his lunchbox yeah one more thing there you go that's very nice I like a pre Godzilla fight lunchbox don't want to fight big lizard with an empty stomach so evening passes in the next morning Akiko wakes up and she she brings this envelope over to Sumiko who's basically I think they even call her an aunt at that point because of their close relationship she brings this brings an envelope to Sumiko and this envelope is full of money and what looks like to be some sort of a like a government check or something like that it's a whole bunch of money it's full of money for you know Akiko there's a note along with it that says use this money for her and I think that's Sumiko being like oh shit he's gonna go and you know he intends to die on this mission to kill Godzilla so there we go those two are together now the buoys detect the Godzilla Godzilla's getting closer and before the destroyers can actually leave the harbor to go and get into position Godzilla is already there he's showing up he's faster than they thought he'd be he gets close to the mainland and he starts moving in and they say no you know we've got it we've got to take off we got to do the plan hopefully Koichi and the Shinden fighter he can distract Godzilla and lure it out into the ocean over the trench so we get a scene of Godzilla going through the countryside he's stomping stomping trampling on farms and Koichi goes to it and he's you know he's flying around he shoots it a bit with some of his some of his guns that he's got to lure it away and with that I need to use the loo so one of y'all can pick up I'll be right back sorry Godzilla is definitely like what the fuck he's like I just want to do my rampage and this fly that keeps above the ground spitting on me what are you doing so you know it can be awkward there's a big lizard to have that kind of shit get in your way but I was thinking this could be where you could incorporate the those people are talking about the elements of the different countries if it was their job to lure Godzilla because it gives you then people for Godzilla to hit down or to you know attack so that it feels like a full action scene because he has to fly very very close a couple of times to yeah he flies real close and I was thinking imagine like a ragtag group of a bunch of different nationalities all you know communicating and trying to lure Godzilla and someone going down during this I just think it would make for really awesome and representative battle of what the film is trying to put across even though the set piece itself is still pretty cool absolutely even with the one even just with the one plane flying around and I guess you get the because you the the ship that gets thrown on to land when Godzilla shows up early the ships that were meant to be like the lure so you already get a bit of your destruction there that you look at that everybody's looking for in a Godzilla movie and what's the nature of this they have four is it four battleships and two of them yeah four I think the two of them were meant to lure it to a specific location and then and then from there the other two would like use the tethers and stuff to surround it was there anybody on the two that get nuked oh yeah yeah I think so right I'm pretty sure the ones that get nuked they like tied together with the steering wheels do you remember something like that a bit of a contention I was trying to remember this right on real BBC I couldn't remember if it was a lot of lost life or partial lost life or no lost life I wasn't sure I thought it was I thought it was partial I thought some people died because of that because I remember the two ships were tied together those were the ones that they were piloting because I don't remember they show us that they show the bridge and there's no one in there oh and then they get nuked so I think there's two of them that are empty at least that's the implication that's the impression I got I could be wrong but I think there's a guarantee when Godzilla gets the laser ready dark even says at a boy right like like this is the plan to lure out the actual laser first oh oh sorry I we're getting we're getting mixed up there was the ship that didn't have anybody piloting it that was the distraction to get blown up I was talking about the the ship that got thrown into the pool I was I'm also curious if there was anybody on that as well I assume there was definitely I think there was definitely people on that one and that there was nobody on the decoy the decoy was empty on purpose they wanted to put it out there blow it up nobody dies so that it gives them an opportunity to have Godzilla on cool down essentially yeah which the throne one definitely had people on there yeah because the throne one was them like thinking oh shit we doomed and then and then they're like well no let's still we're still gonna go ahead with the mission yeah and there's a cool element of dark being like because even this show Godzilla's face is all fucked up from the laser again in that moment so it's like he's got to recharge we're free from the laser for now which yeah it gives you the nice it's like I said I almost described as a reverse ticking clock what I guess I mean is it gives you a refresh rate that's super important because otherwise we wouldn't be able to buy this as possible because it was just out of everybody a refresh rate that would then turn into a new ticking clock yeah have a good little pee there Rex I did I had a little minus one if you will nice oh my god oh my goodness um well where are you guys at I guess he's he's the laser was just fired oh with the decoys the decoy yeah yeah somewhere before there the lady onto you gets a telegram as well from someone but we don't know from who from who yet but yeah so we get some telegram oh Santa Christ no oh and that's just a thing it's it's one of those other little things about having it in this setting because we're just probably never gonna have that again a guy in a little outfit delivering telegram messages or telegraph messages or telegram messages I guess it would be I mean telegram messages yeah so um yeah that's like one of those neat little things from the period that I like to see good flavor good outfits on his on his bike look at him go um so who knows what that could be I guess we'll find out later and also I really did like the whole the decoy ship thing because there's a part of you that wonders like what if it just uses its heat ray you know how do you account for that is like well we got some decoy set up that it'll target it's like okay it's good yeah it's fair enough the one thing that maybe doesn't quite line up perfectly is that they panic when they see that and then the doc explains it it's like wouldn't you've told them this was the plan isn't that the whole point of the plan oh yeah I would have told them I had a time they're like oh my god the he ray it'll destroy us and he's like no no no it has to recharge because now it's been used on the on those two ships which was his plan that's why they had the decoy ships right just making sure I get it yeah there's like that's way more for us yeah yeah yeah decoy that shade so uh I guess we're at the point where they they let go of their little they got each of the ship has a line and they're gonna basically wrap these lines around Godzilla and on these lines are the buoy slash um the the bubbles of Fleur fleuron or what was it um fleuron gas that's a freon gas and yeah the freon gas and the these are the science things that will make it two things about this one um if Godzilla the Godzilla doesn't do a lot of moving in this part he's uh he's mostly just chilling out watching them do the thing mostly distracted by the plane he's flying around with his plane he's not really I struggled to buy that he's not really doing anything he's sort of just well the thing is that Godzilla is clearly not stupid he's not like dumb you know he has some sense of hmm should probably deal with that first or that now you know and like you can't argue to me that like Godzilla is dealing with the airplane when this is like he's probably just looking at it like it's I mean we're casually when it comes by he'll try and munch at it like I would have liked I think uh and I think it would be high stakes too I was saying this earlier if we had more uh pilots than the our guy is the last one because he's the best that would be something but in order to keep Godzilla still they have to get close to him to give him a chance to swipe at them to keep him in place you keep him busy and you know we do lose a couple of people from that because it's just that's that's the job or if you want to make it so nobody gets hit by him that's totally fine too yeah yeah yeah that'd be a way to do it because I I do like the nature of trying to make it so no one dies in this big fight even though they all expected to sort of yeah it's yeah cool it's it's something that is a possibility but working to you know live because people generally want to live yep and the film advocates for that uh of how you know doing your own things is cool but try to make it out in one piece if you can and then the other thing was just maybe I'm not understanding this but how did they fuck it up so that they actually smashed into each other the two ships yeah wasn't it that they just that was something that they had to do I think it's intentional to make sure that those there's like as little distance between the lines as possible was that it like they couldn't pass otherwise because I think the dock even says something along the lines of you know it's alright you know the ships can take the the ships can take it just everyone hold on yeah the implication from what you said was we have to do it this way so hold on is it like the cranes wouldn't be able to pass over the ships otherwise like the wires uh very possible that literally might be it yeah but it's I've not seen it twice the second time for any film is where I pick up all the smaller things yeah it was it was part of the plan they knew it was going to happen you know how to knew about it and dock knew about it and they just said you basically brace for it the ships can handle it and then once it's done they even say like the transfer is complete or the passage is complete full speed ahead so it was it was part of the plan for them to do that alrighty then but they do the ships kind of scrape together as they you know make their crossing and then they get their lines around them and then wait until it's taught before activating the freon yes obviously the laser's coming yeah you get the you get the scientists at the at the nice analog depth meter with all the numbers scrolling by yeah so all the little technology details it just it's really cool to see this old analog stuff being used against you know this big creature you know that human well I also like the when it's activated you do get that shot of Godzilla like being like wow what the fuck do you humans do to me um but yeah they do it they wait until the the ropes are taught they hit the the freon gas bubbles and Godzilla starts to sink and he gets deeper and deeper and he's going down he's really really surprised as anyone would be probably in that situation and they have that shot where he lands so to speak and the tail turns off and it just gave me a sense of like what the fuck what just happened to me they have that great scene where he's he's going deep down into the water and then he sort of implodes a little bit I thought I was like oh that's really that's really neat to show that um so let me see they I think that because I hold him down there and then when they start to raise him up it starts working but then Godzilla starts fighting back he cuts through the yeah it cuts through the cord yeah he cuts through the cord balloons so their line is still like tethered on him but he's cut the things off of him that's something I was going to ask about as well as how does that work exactly because he gets rid of the ring of um floats maybe he tore the things off the ring or he tore the things off the line but not the line itself because the buoys go off and then they rise to the surface so I guess he tore those off and it wasn't part of the ring itself I think we both described it was that we would have torn because that's the reasonable thing but the characters as he chewed through it I was like chewed through it I don't think he chewed through those yeah maybe yeah I guess he grabbed them he ripped them off he yeah I would have thought he would claw at them until they come off I was just uh it was like so he detached from them but not from the cable um yeah I think so uh I guess he ripped them off from the cable because um that was the problem that was happening with the ships it was starting to pull on the cranes and destroy him yes it was like a tug of war between them and Godzilla and as we heard before from Doc saying it because it was suggested by it was on it it was kid that had suggested we got the two destroyers why not just pull him up with it why not use the balloons and Doc said well two destroyers can't pull you know Godzilla up he's too heavy we can't do it more than two destroyers but it turns out that uh yeah they're trying to they try to pull him up with the balloons but he cut he gets the balloons off of him and they rise to the surface without him and they're like well we you know two destroyers can't pull him up but Haught is like well we gotta try you know we gotta at least give it you know give it a try to give him as far up as possible so the pressure hopefully kills them the pressure change and so they start trying Godzilla is really heavy the destroyers are you know powerful but it's it kind of like pulls the crane down a little bit and they're having a lot of trouble trying to pull him up and they just can't do it and that is when we have the rise of Skywalker the rise of Skywalker is actually what came to mind yeah don't dare don't dare Rise of Skywalker did it first okay the first ever thing to do that yeah a whole bunch of little smaller boats being like yeah a bunch of tugboats and stuff have shown up including kid at the front of it who has who has decided that even though he's told not to come up he's going to show up with the tugboats to help them out which is really cool a fun way to incorporate him into the story so they all in a in a way that is explicitly not shown hook themselves up to the destroyers very quickly we do a little magic it would take a bit of time yeah I guess they're just really good at it we'll go with that that would take a while to get them all in position get all these lines on for the other ones yeah yeah all of all of the tugboats they separate into two groups and each of those groups and a very orderly fashion and a very orderly fashion but you know I that's just that uh I just Japanese organization you know winning through the day but they would lead to the question how long can Godzilla stay underwater for without drawing I don't know I guess a more relevant part would be how long can he stand there before you lose the value of the rapid shift in pressure it's uh well they should that yeah they show us he's pretty fucked up when they get into this yeah well that's what I'm saying is that that's the question but we get the answer which is evidently I mean it's still good like they still manage it because I guess the thing is that you've already done the rapid down now you're doing the rapid up so it's still the same the same thing in effect yeah the pressure change would kill anything I guess except God's it well maybe if it worked correctly maybe it would have killed him if it worked correctly you know but but you know the the hitch and the plan of the buoys not going off properly only brings them up so high it only brings them up about halfway I think yeah and then they got to bring them up the rest of the way but what's cool is that even though things went wrong they still dealt considerable damage to Godzilla oh yes and even even when they eventually win I mean you've got to come away from that believing well that that effort was valuable that that made a difference um if they didn't manage to deal with that kind of damage maybe it wouldn't have been so effective what eventually happens which is just a good way of making it to where it kind of gets annoying in movies when like the protagonist makes the only difference and you can have a whole bunch of people working together and it doesn't do shit and then like the hero is the only person who doesn't there's a team effort through and through everybody contributed everybody was um a meaningful factor in taking down Godzilla because yeah they didn't get him but they fucked him up quite a bit absolutely um well they they do their part everyone chips in everyone's helping they're pulling and pulling and they do bring Godzilla up to the surface and uh they show a bunch of like Godzilla's clearly hurt he's got like it looks like ice crystals and shit and weird like a lot of damage has happened into Godzilla he's he's really not having a good day he's not enjoying this whatsoever but it doesn't look like Godzilla's actually dead but he's clearly wounded in some way but he's not dead um and unfortunately uh because he is not dead and only wounded uh he begins to charge up his heat ray once again he's up at the top they got him you know anchored but uh oh bad news he's not dead yet and the heat rays coming and everyone's like oh shit he's gonna totally blow us up this sucks um and it is a very somber moment is uh they think it was half of them think they are going to die with from the heat ray their plan did not work um but at the last moment as Godzilla is rearing up and he's ready to go and he's all turning glowing blue and he's got his mouth open and he's about to hit him uh that is when Shoeichi uh takes his plane and turns it around and he flies the plane right into Godzilla's mouth little bit of time-stretchy happens but yeah it's still pretty awesome because yeah how they do it with like no music you know because yeah they it's it's a really uh because I guess the time-stretchy it's on both sides Koichi knows what he's going to do so on both sides they just lengthen it out for drama but in I think in reality he would have he would have been there to do it he was flying around the whole time the main thing I'm targeting is that Godzilla looks fully charged and they react to that fact then they spot him and he has to you know travel what looks like about a mile or so and like Godzilla probably would have popped off the shot by them but that's okay he's going to move things around you know it's slowing down but the pertinent reveal is that we flash back to the conversation between Koichi and the engineer, mechanic guy um back when he was explaining all of the functionality and it's at this point it's like ah yes we're doing it it, of him telling him, yeah, you pull this and you can you can eject. Yeah, yeah, the ejection seat. Yeah, it's this was a little bit, yeah, this is it's cut quick. He does pull the eject right before crashing. Yeah, you can see it. Yes. There is a few there's a few little details that I like about this. First off, when he was first being told about it, we didn't know exactly what he was referring to the scene just kind of pans away from Koichi and Tajibana at the Shinden. And to me was that was what made me believe. Yes, that was a detail. So because in good movies, when they show you little bitty details and things like that to pick up on, it normally actually means something. So they kind of dropped a hint of it later. But the flashback that we get upon his ejection from the plane is that Tajibana sees that Koichi really because Koichi commits to doing this before he knows there's an ejection seat.  It was the mechanics idea to put in the ejecta seat and then tell him about it. Yeah, which is not having that.  Kamikaze planes were designed to not have ejecta seats and to make it really difficult for you to open the cabin to get out. Sometimes they didn't have landing gear that have the gear to get you up in the air, but no landing gear. There were a lot of ways that they were designed to make it really difficult to come back. Yeah. So I mean, if you're strapped for materials, then I mean, the I think the Germans experimented with a similar idea and concept, not a suicide thing, but they they experimented with a little tiny rocket plane that was literally disposable. You'd get a pilot in it and he'd take off. It had no like landing gear. He only had just a little bit of fuel. But he was you're supposed to get up there, fly around, shoot down a fighter or two, if you're lucky, really lucky, and then eject so that you could land and then do that all over again. But for pretty obvious reasons that never came to fruition, but even the Germans in the war were experimenting with the idea of disposable aircraft, though Germany's problem, particularly in the near the late last years of the war, was they were literally running out of pilots. They just didn't have trained pilots to actually fly stuff. So Germany and Japan had the same problem of no oil. Neither of them have very little oil. That's the reason why Germany, the Caucasus, they wanted to get to the oil fields and yeah. Yeah. Well, that's, you know, Stalingrad, right? The whole idea was to cut off the Caucasus so that they could get that so that they could use the oil. And the reason why Japan attack Pearl Harbor was stemming from the oil embargo that America put on Japan that cut. I think I want to say like 90 percent of that oil supply. Yeah, neither of them. And then, of course, the longer the war went on, it's like, well, I mean, you're you're just plain running out of people. You're running out of people of military age to participate in the war anymore. And it takes it takes time. And they even talk about in the movie how Koichi is actually trained to be a pilot. He uses that with the gun shooting the mines and he uses it for, you know, flying the plane as well. But train actually training personnel to do these sorts of things. It takes time and it takes a while, you know, you know, this is like autobiography is talking about like American soldiers. And it's like, what, six, 12 months of training before they actually get deployed. So to me, like you might sign up in like 1943, but it's not until 4445 that you're actually getting deployed. Because if you send someone out there and they don't know, that's why, you know, as Germany was losing its pilots, the the casualty rates for the Luftwaffe were just like, we're talking 90 plus percent because you had all these trained, you know, American pilots who had seen action or who got, you know, those months and months and months of good training in Germany just couldn't do that for the pilots. They had too few and they didn't have the time. So they were just getting absolutely smoked by the allies in the air. Of course, again, as was mentioned before, the allies were able to replenish losses of equipment in ways that Germany and Japan could not do because they just didn't have the resources. So part of war is logistics. That's right. You got to have people and you got to have stuff. If you don't have people and stuff, it's it doesn't look good. What's interesting about the payoff here because it really does feel appropriate that the mechanic, the one who was the most critical the land for the debt and chastised him for not doing his duty that looking at Koichi, it's not like, OK, I understand that you want to do this now and that's really good.  You don't have to die. That's not what I want.  That's the same reason you have to sacrifice yourself is the reason why you should live. Yeah, exactly. It's and so then that's what he tells him, you know, live.  You pulled it together like wound tight in a nice bow.  That's some good life affirming positive storytelling there. And also you get the when you get the radio broadcast from the destroyer of, you know, the pilot is ejected safely. You have, you know, Tatchavana and the mechanics back at the the hangar, essentially, who are like elated to know that he actually did survive and that he made it. Exactly. It's just like a really cool because because what the story looks like is that after Godzilla rampages through the city. And as far as he's aware, has killed Noriko that he has now his attitude is Godzilla represents my failure. I have to destroy it. And the only way that I can do that, the only way that I should is by destroying myself in the process to then have the perhaps the the big the person who was the main reason why he felt that that was the case, not because it was his fault or anything, but just because of his reaction to what happened on the on the island of saying, this is your fault, you fucked up.  I want you to do your duty to be a hero. But I want you to come back and lead your life because that's what it's all in service of.  Yeah, maybe. He blows Godzilla up blows up the plane. Just the plane just smashes into Godzilla's face. And then after a couple seconds, it blows up and takes off Godzilla's head. So I do like Godzilla looks almost completely like war.  Yeah, which I got to say, I didn't expect them to just crumble. To be honest, I thought you just have to think of something when you just like. So regarding the crumbling element, something that I think I like about this movie is that they just present Godzilla being able to do these things without trying to get deep into the science of it or trying to look into the, you know, you do this because of this. And this is why you could do that. The other thing, the origins of Godzilla, we don't know what they are. Apparently, he's just a local, a big local legend that there is a there's a short sequence in this. I don't think we brought it up. But the beginning Bikini, a toll test in 1947. Right. They imply that it's sort of super charged. Yeah, they have all shot where his skin is getting completely blown off. But I assume it's irradiated him. And it's a little subtle. I can believe why some people might not know why he's small at the beginning and bigger at the end, but they did. They did sort of, you know, they hinted at what happened there. So hence contributes to the what we talked about before, which is maybe Koichi could have killed him. Maybe maybe before he was radioactively charged and all that. But they got it, which I got to say, compared to I think it is really, really, really hard, especially when you present a big movie monster as being impervious to conventional weapons to present the defeat of that entity in any way that isn't like eyebrow raising. But in this case of them flying it into his mouth and blowing it up, especially after what was shown before and maybe just aided by the fact that I like the characters felt like one of the few times in one of these types of films where I looked at that and again. Yeah, good job, guys. You deserve that. I can lie. You know, you beat him.  Well, in King of the Monsters, they blew up a nuke on Godzilla and then he was a nuke walking around and he melted King Ghidorah. That's right. He melted Boston, all the city and all the innocent people. It happens. It's fine. That's an honest mistake. OK. They were they were Bostonians. It's fine. So we we we get our like, oh, my gosh, she was able to eject safely. Everyone's everyone's thrilled by that. You know, he floats down Godzilla crumbles into the air. Yes, it is it is indeed a very happy ending. And it's going to bizarrely get happier. Yes. Against all against all odds, the reason it's about to get happier because the everyone comes ashore from the destroyers. We did it. Oh, my gosh, everyone's cheering. We were able to turn Godzilla into a crumpley crumpley ash bits. That's that's great that that happened. Everyone's, you know, embracing and hugging us. Oh, we did it. We're so happy.  He's been in that cold water. He sees he sees Sumiko there and Akiko as well. And she hands him that telegram that she got while he was gone. Oh, my goodness, whatever could this mean? I don't know, maybe his Amazon delivery had arrived or perhaps, I don't know, a check bounce to know who knows what it could be. But I think, unfortunately, I knew before we actually got to reveal as it as it turns out, Noriko is alive and in the hospital and he rushes off with Akiko to meet her in her hospital room. And we have our big reunion of our our happy family. Incorrect. It's actually just a shared psychosis from the events of Godzilla that they all believe she's alive when she actually that's true. That's Akim's razor dictates that must be what I actually. Yes, that is more plausible. That is more plausible. A mass delusion is indeed more plausible.  But otherwise she's OK.  Sequel bait. When I saw that, I was like, oh, really? Like, you know, like, why'd you do that? Oh, my goodness. Godzilla. No. Well, I mean, Sequel bait goes way further than that on her neck as well. But if that sequel bait wasn't enough, but yeah, they embrace in the hospital room, we have the, you know, the the the lover and they embrace and we have the kid and Godzilla has been eradicated. And hooray, isn't this is we're able to do it.  It's the thing about it is the movie that you could so blatantly have. Well, this this makes me for the degree of separation with these with me sometimes because of the fact that this isn't this doesn't affect them as people or motivations, whatever. Everything's intact for them.  It's not his fault. And both of them are behaving exactly as they would. If all of this had happened the way that it did. So I was like, I was still very immersed in characters are totally intact. It's just that the the plot saved. I mean, definitely her. So yeah, but we get a happy ending. But then we get our proper sequel bait. Yes, as the as the little steaming hunk of what remains of Godzilla's body sinks into the depths of the ocean, it begins to regenerate. And then the thing flies. Godzilla minus one. Yes, which at first glance, this is a quote, one might assume Godzilla minus one is meant to denote a prequel, as mentioned above, though the film isn't directly connected to any of the Toho Godzilla film. Instead, the title is a reference to the tragic story that movie captures in an interview with Forbes Toho International President Koji Ueda stated the concept is that Japan, which had already been devastated by the war, faces a new threat with Godzilla, bringing the country into the minus. Anyway, Godzilla minus one is a pretty good movie. It's pretty it's pretty good. I like it. I really like it. I like it a lot. I think it is excellent. I mean, it's quite frankly, it's the best Godzilla movie that I've ever seen. And I would be it's going to be quite a challenge to top it just because it's so good. Well, how much do you remember Roland Emmerich's one? The the Matthew Broderick one. Hell, yeah. Fish. A decent amount. Jean Reno is in it. He's a missionary. Hank Azaria is in it. He almost gets crushed. There are stand-ins for Siskel and Ebert. They're pretty great. Everyone loves them. I remember a decent amount because I watched it a lot as a kid. There is a crazy amount of the Simpsons cast in that movie for some reason. I don't know if Fringy knows that as a fun fact or not. Yeah, Nancy Cartwright is Nancy Cartwright's in it. Who else is in it? Voice of Smithers and Burns. What's his name? Harry Shearer. Yeah. He's in it as well. Yeah, he's like a high level businessman or a person. Because I remember that there was an ad for like on Channel 10 back in the day for like TV movies. And this was, yeah, this was this was back in the early 2000s when Channel 10 was playing the Simpsons every night at six o'clock. And they even had the Simpsons Hour, which was three days a week, an hour of the Simpsons. They are they played a lot of Simpsons. And so part of their little ad talking about the film was, oh, my God, Nancy Cartwright. But, you know, she's in it. And then I watched the movie and she's not in it that much. Oh, yeah, she's barely in it. Yeah. You like me, Channel 10.  You're plenty of hangers are, though. He's in a bunch of it. Yeah, because he's in it again.  I just remember that she wasn't in it much at all. Well, we'll have to check that out again, because that's the only one that might have a chance of dethroning this one. You know, that's got to be part of the arc. Because what you always hear is that the design of Godzilla in that movie is everyone's favorite.  It was becoming the new standard. So. Well, I mean, I mean, this one's got it. How do you think that this film now that it's come out and has gotten a very widely positive reception? How do you think this influences actually the course of these Western Godzilla movies? If there's anything we know to be true, it's that they always learn the wrong lesson. But what is the wrong lesson that they learn from? Well, from this film, who are we going from? Like a different time period. I think we're doing Hollywood first, because what they they just they just don't have the fucks going on anymore. They just need a romance. We need a romance. Well, so because that was cut. Yeah, but there was a romance. There was a romance in this one. Yeah, but it's like balls. No, that's kind of the thing to me. It's like I don't see how you can misunderstand because everybody's pretty clear on what it is I like about this one, which is the characters. Right.  How do you how do you learn an adverse lesson from that, you know? Set it in a different time period and maybe have a war flashback and maybe make sure the main characters of veteran little things like that without knowing how to connect to anything. Maybe they would go hard with the with the whole being vulnerable from the inside. So they just kind of go inside of Godzilla in a Hollywood movie. Maybe they shrink themselves down and just go into Godzilla's mouth. I think my worries will be more so at the idea of a sequel to this movie. I hope they wouldn't try to just repeat everything as in like well. Seems to be some level of like creative integrity that's happening at Toho and with the the director. You know, hopefully that's like the more classic form of bad sequels that we used to get would be if they made another one and he's like, OK, so people loved the Godzilla is allegory for this. And then character going through this like we can kind of just roll him back a bit and make him go through similar things again. Be like, no, I guess the thing is, is that I could accept if they wanted to do a sequel setting it a good while later so that the victory of this group of characters that I really like remains a victory for a while. So maybe it takes 30 years to get back to full strength so that you can like you can leave that story intact and then get a new set. Here I say, maybe bring back one of the old gang. Maybe in somewhere in the Philippines or something like that, you have a like a small Godzilla that hasn't regenerated all the way. And there's like a storm so they can't contact the outside. And this this one island has to come up with some way to fight Godzilla on their own thing is we don't know. I have to think we're going to closely time sequel considering she's got that stuff on her neck. Probably the same group of characters, which gets me a little bit. I don't know what the angle I'm always worried. Yeah, even with stuff like, you know, and or season two or House of the Dragon, stuff like that. I'm always worried when it keeps going because I've just been because I just have been battered and bruised. Well, this is what I was. Do you remember the Chris Stockman reviewer said, like, you know, movies that are all filmed together, they're more destined to like veil. Because I know I was just like, well, you got to consider the angle of when you make something that doesn't have any audience response. You don't know what they like the most and didn't like. And therefore cut out the things that you think, oh, that didn't work very well when it's like a part of the cohesive whole. And then you double down on things people liked. And then you have like the cake effect or whatever.   You never heard that before. I've never heard of the cake effect.  I know I know that you can get like I just know I don't want you to feel bad by cake. That's all I know. I just it just was funny. That's the phrase, the cake effect is just made me smile. I really, really like this movie a lot. I'm glad that it happened. I'm glad it was a great theater experience.  And hopefully this puts the rest, the really stupid idea that nobody is interested in watching a Godzilla film with human characters and that that needs to get out of the way just so that you can have the Godzilla fight. Like many people were saying about Godzilla, King of the Monsters. I'm sorry that I keep having to bring it up.  A lot of people were saying I'll be even more bold than you. It's better than Godzilla X Kong. It's not even out yet. Oh, what? I have I'm a pre-cog and I know this this sort of thing. I know it's going to happen. So I'll be cool to be proven right about that. And I'll prove that I'm a pre-cog.  Probably. I think, yeah. Well, it's just I would hope that. But I don't know. Because the thing that's kind of lame is the idea that someone would say, well, no, they have a different place.   And you can still have a story with human characters that are interesting and whose stories are meaningfully tied to Godzilla and Kong. But I'm just not very I'm not optimistic at all. I feel like that one is going to come out.  I think I think this one having come out is going to hurt that one now because people will be like, oh, shit, right. This is what we get. You can have like a real you can have a story where again, Godzilla is meaningfully integrated into the story of the characters whom you like. And the story has something to say beyond, look, Big Lizard, ain't that something? If anything, the Big Lizard, even though obviously and is a central and important part of the story, it really is about the characters and the journey that they're going on and what Godzilla represents to them rather than, you know, Godzilla as a physical entity in the world. It's way more important that Godzilla is a representation of a Kuichi's guilt and the attitude that he takes towards the belief that he needs to destroy it by destroying himself. But then coming around through all of the characters that he interacts with who care about him, who all have a different outlook on the world, presenting him with a more positive, life-affirming path that he can take to ensure to remind him that what is it you're fighting for?  And that's a really cool. That's a really cool message. It's a cool theme. It really is, absolutely. Because so much of our stories revolve around these concepts, no heroism and sacrifice and things of that nature. But a take like this and coming from a Godzilla movie is, I mean, like, wow, I'm glad we got it. Really cool. And yeah, and make sure is it still in theaters or is it starting to end? Because it had a very limited. I don't know how long. I mean, I saw it yesterday in theaters. So I think here it's going to be as long as I saw it like a couple of weeks ago. If you get the chance, go watch it. It's worth it. It's really good. Yeah. Yeah, this is an easy film to recommend. I wouldn't imagine I would be. I would be like stunned if somebody went to watch it and didn't enjoy it. Yeah, like you don't like this, you're wrong. Well, no, it's just more so that this is a film that I don't. I just don't see somebody leaving it not being happy with it. I can't imagine what it is. Literally filter a single person who knows the title of it. If you know it's Godzilla and you still chose to see it, I don't know how you'd be disappointed. Yeah, you get all of the Godzilla stuff that you want and then you get like a right proper actual story in there as well. Mm hmm. A nice emotionally riveting story with a lot of because we talked about it briefly, but the performances are great. Oh, yeah, absolutely. Especially Koichi. That's pretty challenging role. There's a lot of very emotional moments in the film that he portrays with a lot of conviction and intensity. Well, Yeah, what's? What happens now? Do we leave? Everyone say goodbye. Do I go home? Oh, goodbye. Goodbye, everybody. Thanks for showing up. To the pit. We will see you later. Bye, see you later. Bye, bye.


So welcome everyone to this year's drawing layer talk. So this year I wanted to concentrate not to take on a high level about the primitive stuff and all of this again and what is happening in the background to prepare all the needed data for the rendering of the edifuse. This time I just wanted to show you four concrete examples which happened about last year which are in the product and have led to some good speed ups and they describe pretty well where the problems are currently and seeing how to solve them can help to understand how to use the current techniques to be able to solve such problems. So just let's start with with one of my favorite bugs in the last time the squirrel bug. So the big problem is that we have an SVG import which we got from an external customer I think it was Munich. They used SVG graphic called squirrel in very small form just in writer and this document just didn't work and the reason was really this SVG graphic it's pretty big half a megabyte and the reason it works so slow is it contains five SVG patterns each containing 440 polygons by itself just to describe simple points but 440 and five of those patterns in the SVG file and this patterns are used with texture repeat to fill just poly polygons and this multiplies with the 440 polygons so you had millions of simple polygons just to define the graphic in end effect when it was all folded up and prepared for rendering. So before render decomposes pattern and processes it transforms thousand times so there is actually some reuse when the pattern is prepared as primitive it is it is not copied or something it's just reference because primitive is a new API object so that is not even the problem but the problem is it said really all of these polygons get transformed system-dependent to the system-dependent form and have to be rendered in each each for its own and afterwards I just decided don't do that just pre-render one of the tiles as RGBA and render it as bitmap so this of course works too but you have to do some fine-tuning because quality of pre-render bitmaps is of course not as good so you have to take care for the output target is it output target bitmap like screen or do you have metafile or PDF export or printings and you should avoid to do that of course and only up to a specified zoom level because when you zoom DPN you automatically don't have the problem because only a few of the tiles are rendered so you can just go the way to use a higher quality so the original approach had a high quality but had speed problems when when all of the stuff was shown and this is a good example how you can optimize stuff using the primitives you can just react inside the primitive decomposition or you have the alternative to do it in the active renderer and in the renderer when when you get to pattern repeat primitive you can just say when you know the concrete resolution what will I do to get this graphic out as fast as possible and I have this here this is this is which which you have now and now you can really zoom in it's still not extremely fast but you can see you can at least the scroll in it and when you go really really deeply into it you see this pattern so this patterns are not really useful in the end effect because they are more or less just used to make some gray tone but of course you cannot ignore the definition of the underlying SVG so you have to render them somehow it would look different so this was solved and is much faster now as you see so maybe after each of the examples I have four of them maybe if you have questions for this example make a short break okay fine let's go to the next one we have a problem with fat line drawing on Linux fat line is every line may it be just a straight simple line with two points or may it be a busy curve when the lion sickness is not on zero which which means in the office to have independent forms assuming you have a one pixel line which is by the way not provided by other office programs and just for historical reasons so most of the problems come from all the charts which have such fat lines and in X 11 there's simply no support for field poly poly goons which are the result when you decompose the fat line and of course no direct fat line support so the problem is only on Linux but with Cairo there is a solution now and before the optimization the poly poly goons had to be decomposed to trapezoids in full quality quality every time no buffering and this is of course pretty slow and after the optimization I used Cairo it's direct a fat line Cairo renderer because I made measurements to decide what to do and this is just the best way to do it I also tried before to buffers the trapezoidation completely but this has a bad memory overhead so Cairo is just the way to go in here for the moment in long term we really need better support to draw in some way lines with some line sickness in just one color much better on Linux we don't have a good solution today I think what code a craylon was just talking about may help to get in the right direction but what we really need is renderer a basic renderer for the added views which is using that stuff that craylon is now offering and I hope we get this together because we can make huge steps forward when we do that questions to this example maybe by the way it this example also has the problems that a geometry information has to come somehow from the 2d charts to the added view at all so there's a bridge now which directly uses the primitive representation before that there were even meter meter files used for that so I don't show the previous example live because loading that chart takes a long time maybe when we have some time left I can show later so we factor 3d renderer to use multi-threading this is one thing I wanted to do for years and never found the time to do it because the 3d visualization is a 2d primitive which decomposes the 3d primitive content to RGVA bitmap which is sand painted due to supporting many systems we need a fallback software renderer implementation to show all the 3d stuff and up to today unfortunately the fallback software renderer is the only renderer for our 3d representations so 3d is not overused in the office but from time to time it gets used and it would be nice to again use use the stuff craylon was doing the last time to maybe at least get one day direct hardware render for the 3d stuff would be no problem you can just implement primitive renderer which converts 3d primitive geometry definition completely to this RGVA bitmap so just a replacement for this for this fallback renderer but the fallback renderer will still be needed even in the future you never know where the office is running and if you have something like OpenGL available so we always need a good fallback and you also need a fallback for PDF rendering or something there's no way to get OpenGL to render bitmaps in 1200 dpi when you want to print something in high quality or something it's bitmap data so before 2d primitive creates UDPn and GBR in its decomposition already intelligent buffering but singles read it already intelligent buffering means the fallback 3d software renderer is capable of just rendering parts of the 2d scene and it takes into account if you zoomed in or out and which which part can be reused and even if you just zoom slightly in up up to a difference of 25 or 50 percent I'm not sure I have to look in the source it even avoids re-rendering and goes on bitmap scaling and stuff like that so this is all this is already pretty much optimized and the interesting thing is this is all done inside of this one single primitive for 3d representation it's a 2d primitive for 3d 3d scene representation and all this optimizations and rendering and how to how to react on it can either be done in the renderer if the renderer is the screen target or directly in the decomposition which is offered from the primitive so there's even even a choice it's it's dynamic to do so luckily there was all already a thread pool in the office when I when I looked how I could parallelize set and first it was hard to use it because it was a global global thread pool and of course it makes only sense to use the global instance of it you could instantiate your own one but of course makes no sense when you want to share your work with with all existing CPUs lucky luckily this was optimized so it's what said you could wait exactly for the task you were scheduling yourself in your parallelization and not not for all tasks which could break other mechanisms in the office so after that I pretty rough parallelized rendering did work pretty well and brought some really good success so now really when you have eight cores eight cores maybe used and you can use much bigger 3d objects than before for example when you have something like this in the software renderer this is nothing I would try to do with older this with older office versions this simply simply will will take minutes minutes to not minutes but much longer to render and in the current version you can see it uses fat lines and even even with fat lines you get you get a pretty decent reaction now when when you when you are when you are zooming or or working with the graphic stuff so this is much better response and this is still the software render don't forget that no hardware involved and it's a software renderer which even does anti-aliasing with over sampling so said you don't get some hard edges or something so this big success and you can you can see here as said really the 3d renderer was using for short times a lot of the CPUs questions for for this optimization it shows again what you what you can really do using supermatives we have and where you can where you can go in between and do your optimizations so and hopefully when we get this CPUs with 32 cores or something we heard about it will get even faster but it's still the software fallback so we should really find some time or sponsoring or someone willing to do hardware 3d renderers so in the last the last example is a more intelligent handling of animated gifs that's a problem and a bug a quail and first found and roughly fixed by just on demand creating the gift frames because with huge gifts there was an example gift which was playing for eight minutes or something it's extremely crazy big stuff and of course the office was breaking completely because footprint did not handle this because up to then the office was was importing the gift completely the gift was rendered into the single pictures as preparation and the single pictures were put in an animated switch primitive and it were in this case it were 800 or something of them all pre-rendered as RGBA images and start in in this primitive so for small gifts this works perfectly and all all the images are pre-rendered and you you have a wonderful performance and no problems and the reasons this was this was done is said for the first time in the office history we were able to have multiple gifts on one screen with overlapping and working animation stuff but for this big big fed gift image we had just just to do something more intelligent and afterwards a specialization in animated switch primitive again the solution is to directly do something inside the primitive which was hosting all the sub-level data and add some intelligence at that spot so now it's holding it it's looking how much data it's holding how many frames there are does it allow itself to use a pre-rendering does it buffer or not how much does it buffer there are memory limits set and frames get thrown away when they are long time not used and and all that dynamic buffering stuff which works pretty well and even replay timing with the millisecond settings get get adapted when the first animation playthrough shows that it can just not be promised that GIF is running in in the defined mode which like in the file so again the important point is that this all can can be done dynamically inside the primitive stuff or alternatively in the renderer if you want so that's the fourth example you have questions for the fourth example so maybe I still have the time to show the other examples so overtime yeah so this this for example is for fat line testing just a lot of fat lines on this is now on on windows so I cannot show the optimization really but this works now on on linux too and just to show you the chart test you can already come I just just want to show you the chart the chart is now loading and it will load for a long time and at the at the end you get a little peek from the 3d rendering so the 3d rendering and chart rendering is really optimized but it's a it's a chart chart data and and the calc loading is really long and not and not parallelizes you see this is a really big fat 3d chart and this makes only a small peak with the software render thank you we have an issue my converter that's the question yeah we do yeah


I'm a tech guy, I mean I've invested in companies that allow for or create the ability to test and evaluate people before they come to a company called Converis and that we're working, we've worked with Israel and other American companies that say, okay, before you come into this country, we're going to put you through this test and we're going to ask you these series of questions and we can tell with a high degree of accuracy, 85% and it'll learn to be better whether or not you're going to have a negative impact, whether or not you're a terrorist, whether or not you're a radical Islamic terrorist, however you want to define people. So there's technology I think that are first steps that everybody's ignoring and so I would just take a completely different approach.