#I love teasing both Kong and Ghidorah

[hrodvitnon]

Revisiting the ‘Godzilla gets made fun off for liking white meat’ post with some more kaiju favored food ideas!

Mothra loves her fruits and veggies. While she’s not fully vegen she definitely prefers plant-based stuff. It explains why Godzilla teased her with a fruit-filled breakfast in Shamhat.

Rodan and Shimo are rather… deceptive with their favorites. Once she gets a taste of it- Shimo can’t get off the spicy food train. On the other side of the coin, Rodan’s actually never been a fan of spicy food. He actually prefers the BBQ taste- and basically fell in love with Korean BBQ once Vivi showed him it.

For Kong, we’ve covered how he prefers fish over land meat, but the more surprising part of him is actually his favorite beverage. One morning, Kong seemed particularly worn out, probably from the- packed itinerary- on Infant Island, and his general inexperience leading to have not great stamina. Seeing this, Chen slipped him a coffee while she was making her own. Oh man, he was hooked immediately. Drink that tastes awesome, gives him a shitload of energy, and can be made like 1000 different ways? Suffice to say he had a new favorite. His respective partner for the day also probably felt the difference in him too…

Ghidorah’s favorite food is also one of their darkest secrets. Pretty early into their relationship, Maia caught on to San having a pesky sweet tooth. This made sense for San given his nature and Maia found it quite cute. However, when San started dating Rodan in addition (because I think you mentioned that was going to happen at some point?) and he found out- he thought of a crazy possibility… through an experiment involving Vivienne calling in an airdrop of donuts, a hidden camera, and a 4 am stakeout from himself and Godzilla; they found out that all three Ghidorah brothers share a powerful sweet tooth. Ichi and Ni both tore into and devoured all 12 Vivienne had gotten in less than 2 minutes. Ghidorah’s always had a huge weakness for pastries. None of them have idea why, but they all have varying degrees of disdain for their quirk. San’s a tad embarrassed about it, Ni will deny it at every turn, and Ichi gets actively furious at himself whenever he gets a craving like that. Either way, they all have the perception that it’s weak to love and crave something so sweet. After learning this, Rodan seriously considered picking up baking- mainly to be a little shit and further tempt the golden trio; secretly because he wants them to have nice things.

I approve the various tastes in foods our monstrous paramours possess. As for Rodan and Ghidorah, I legitimately forgot about them getting intimate at some point - maybe they'll be a boyfriend on the side while Vivi's the main squeeze?

It's actually mentioned at the end of Chapter 4 that Infant Island is Monarch's best kept secret and that Goji and Mothra have made it a "home away from home," and that the Chens know more about it than Serizawa (or the Legacy of Monsters crew for that matter). The implication being that its location has been handed down throughout the Chen family for generations owing to their connection to Mothra; the small "resort" area has been updated and renovated over time, and it's only now being used as a hub of monsterfucking now that Titans are returning to the world. Specifically it's the sight of an old temple dedicated to one of Mothra's spiritual domains: Fertility.

#tosho89 #frostbite814 #in the footsteps of shamhat #monsterfuckery

[imthepunchlord]

I know that you've been posting about everything everywhere all at once and Monsterverse, but what's your actual opinion on it?

I love them both.

EEAAO I honestly need to reblog more content for cause it's a masterpiece of a film. Gosh, when I started watching it, I was a little thrown in the beginning, this was the film everyone's praising to high heaven? But, yes, it was so good. And it got better. I cried and laughed so much. It got so deep while being so zany and had amazing martial arts, gosh, EEAAO is one of a kind.

And the rocks scene was my favorite. I didn't think rocks could ever make me laugh and cry so hard.

I'm actually going to be giving it a rewatch very soon. I really loved the film.

As for Monsterverse, I also love it.

I am a girl with simple pleasures. I love kaijus and seeing monster fights. So I am here for films that give me giant monster battles, see the destruction and them duking it out. Monsterverse is my favorite action flick. It's a series I've rewatched the most as I just enjoy kaijus and seeing these giants fight. I'm very happy that it's being continued and I'm excited for the next one. I've also always liked Godzilla, but these films really made me a fan, and I'm planning on checking out some of the other films for Godzilla, and I'll be checking out Gamera soon too.

I will say, not every Monsterverse film is a favorite for me. Honestly, only one of them I didn't enjoy.

Godzilla 2014 is bottom of the barrel for me with these films, as cool as the final fight was, I couldn't say I enjoyed the movie as the whole thing felt like a constant tease. Always building up a huge fight and then cut away. I was actually getting so mad in theaters when I went to see it. And the worst part was that they'd cut away to focus on boring humans. I get that it's probably meant to be a nod to the first Godzilla and be more of a horror of humanity's first encounter with these beasts and the devastation they can cause with ease, but it was just not enjoyable. Maybe it would'be been better if there were more engaging people to follow as they were more of the focus, but what we got wasn't good.

I am curious for the show that's coming out, covering the aftermath of 2014. Maybe it'll improve the film for me.

Kong Skull Island I really liked. I actually just rewatched King Kong 2005, and I can say for sure I liked KSI a lot more. I appreciate it being a shorter film, and that I wasn't bored or cringing through the film (the giant leeches and bugs were the worst, hated every second of it). I can't speak for the older Kong films, most I knew was him on the skyscraper trying to bat at planes while holding onto a lady, so KSI was a refreshing different direction for Kong than what I previously knew. I'm pretty excited and intrigued for the upcoming Netflix Skull Island show, which hopefully will come this year as it was supposed to come last year. I'm actually very curious how brutal it'll be as Skull Island is the deadliest island in the whole wide world. Will they go a Camp Cretaceous route where the leads will survive but it's all suspense and horror driven? Or will there be actual death and loss? I'm so curious.

Now GKotM and GvK are probably tied as my favorite Monsterverse films. I had so much fun with both of them.

GKotM I loved seeing a modern take on Toho's other famous monsters, Mothra came out looking amazing, Rodan was actaully terrifying seeing the damage he could do just flying out of his volcano, and Ghidorah honestly stole the show. Makes me hopeful to see more hydras and giant dragons in the future. I swear, between Smaug and Ghidorah, I'm getting spoiled by dragons in media and now have a set standard for films. And many of the fights we got to see were big and epic and gosh, I honestly got to say that GKotM is probably the one I've rewatched the most as I enjoyed the monster fights here the most. This was actually the film that got me fully on board for Monsterverse.

GvK though gave some awesome fights as well, and what they have as an edge over GKotM in the fact that the fight scenes are crisp and clear and they had experimented with the lighting. This is also the film where I wound up liking Kong a lot, which of the famous kaijus, he wasn't high on my list. I'm also not one for mechas, but Mechagodzilla was actually pretty wicked looking. And the Ghidorah connection made it creepy. I actually heard that in the novelization of GvK that apparently Ghidorah might've possessed the pilot and is now walking around in a human body. I'll be curious to see if that detail comes back.

But yeah, big fan of Monsterverse, I'm happy and excited that we're getting more and I'm super curious to see who else may show up in the future films. I'm expecting Destroyah since they did drop an oxygen bomb in GKotM and I'm super curious to see a modern take on Destroyah as they have a very interesting design. I hope we'll get more of Mothra. I'd love to see Biolante. Gigan I know is also super popular.

There's a lot of possibilities and it's pretty exciting who may appear in future films. I also appreciate that Legendary seems to be listening to criticism and works to improve their films (2014 not enough Godzilla and monster fights, they delivered more of him and monster fights; GKotM too many monsters and hard to see, GvK slimmed it down and made sure you could see the fights better). They also seem to have some plan going forward with these films, so they're working pretty well as a film franchise so far. I am looking forward to more.

#ask Punchie #eeaao #monsterverse

[dalekofchaos]

Ways I would change the Monsterverse

I love the Monsterverse, but that doesn’t mean there aren’t any problems I have with it. But these are what I would change about the movies if I could.

Godzilla 2014

Joe Brody would live. It still pisses me off how they wasted Bryan Cranston’s role in this movie. You have Bryan Cranston, who was hot off the ending of Breaking Bad and you don’t even make him the protagonist of your first movie in your cinematic universe??? But what I’d do is Joe would live. Both Joe and Ford would work together in stopping the MUTOs and aiding Godzilla. Joe would be asked by Serizawa to join MONARCH. 

I’d recast Elle Brody by having Taissa Farmiga play her and we’d tease Elle and Ford’s child by naming her “Madison”(Reason for the recast. Elizabeth Olsen is too attached to the MCU to ever return.) Also I would have Elle be a scientist for MONARCH who is a Nurse as a cover. 

More scenes with Godzilla

A scene mocking the 98 movie. Maybe someone asks “didn’t Godzilla attack New York City in 1998?” Serizawa would correct them by saying that was not Gojira, it was Zilla and not even a Titanus Class. Also, Zilla would be the product of the French government attempting to create their own Titan, but ultimately failing

Kong:Skull Island

Movie’s perfection, I would change nothing about it

Godzilla:King Of The Monsters

Madison would be the daughter of Ford and Elle Brody. Reason? I fucking hate Mark Russell or as me and my friend refer to him as Blandy McBlanderson Dad.(Especially because literally all he added to that movie was "Waaaaa! I hate Godzilla because my son died in the MUTO attack! He should have not fought the MUTOs and let them kill even more people!" Oh, with a side of mansplaining.) Plus it makes more sense for the family to be the family we’ve known from the first movie as the human protagonists of the Monsterverse. 

Same story. Elle and Madison are held hostage by Alan Jonah. So Ford and Joe assist Monarch so that their family could be saved. 

Joe would sacrifice himself to save Godzilla and Serizawa would live

Elle would die in place of Emma

Godzilla vs Kong

I would ditch the Hollow Earth plot. Not necessarily a bad idea, but a bit too far fetched if you ask me. Instead of "We need to find the Hollow Earth", it'd instead be "We need to find a way to get the storm on Skull Island to dissipate". As for what Monarch would be looking for? The Weather Control Capsule. In Son Of Godzilla, The weather control devices were set up on Sogell Island to attempt to alter weather patterns. On their first test, in an attempt to cool the island, something went wrong. The Radioactivity Sonde blew up, causing the island to heat up and mutate the native giant mantis into Kamacuras because of the radiation. The device also caused massive storms, revealing Minilla's egg. The device was used again during the fight between Godzilla and Kumonga. It worked successfully, and jets of gas were released from the towers which caused temperatures to drop and a snowstorm to begin forming.  Monarch would raid a facility in Apex to get the weather control capsule and we would find out that Ren used it to cause the storm on Skull Island. They use it to end the storm and balance to Skull Island is restored.

Oh, and the natives of the island wouldn't be killed off. That just didn't sit right with me.

Madison and Jia would get to meet and be friends. How we get this to work? Madison is interning with Monarch and currently at Skull Island with Kong (though there'd probably be a line of dialogue referencing how, while she likes Kong, she's biased and Godzilla remains her favourite) Madison and Jia are pretty much friends and the closest thing Jia has to a sister. And Madison would be the person who interoperates with Jia with sign language. ALso Madison would represent the team Godzilla fanbase, while Jia would represent the Team King fanbase.

Since Madison would be with Monarch, her father would be there to watch over her. Ford would later die in Mechagodzilla’s attack

Replace Ilene Andrews with Mason Weaver. Kind of disappointed no one from Kong Skull Island returned. But yes Mason would return if I had my way. 

Actually do something with Ren Serizawa, make him the villain behind Mechagodzilla. I would say is he took the ashes and assets of Jonah's group and formed Apex Industries. His philosophies differs from his father. He believes humans should be the apex species so he created Mechagodzilla to kill his father's precious titan and reclaim humanity's dominance over Earth as the Apex Predators

Touching scene between the Serizawas I'd say it'd reveal what had been up to that point hinted at throughout the film; what Ren's reason for his belief is his reason and motivation is that Ren sees the chaos the titans cause on the earth and believes something must be done. While Ishirō believes the dominant Titans need to keep the other Titans in line. But there is something more personal. Ren’s mother died when he was just a boy and he always held resentment towards his father for not choosing to stop the Titans.  And honestly, I think it'd be good to have both Serizawas being emotionally vulnerable and showcasing that they both hate how they've been driven apart by their conflicting beliefs and that, while Ren really does stand by what he's doing and will go through with it, he hates that it's hurting his father. After their reunion and consolation, Ren would attempt to deactivate Mechagodzilla, for a brief moment Mechagodzilla is deactivated and it looks like everything was solved, but then it reactivates itself, having become self-aware and kills Ren.

Mechagodzilla would be built on the skeleton and skull of one of Godzilla’s ancestors instead of Ghidorah’s remains. Remember the skeleton of Godzilla in the 2014 movie? Use that for Mechagodzilla

Change the Mechagodzilla design. I do like what we were given. But I would want something more bulky like the Monsterverse Godzilla design. Something like this concept by eatalllot 

Give Kong a win. First battle would take place on the boat. Second battle would take place on Skull Island. Third and final battle would take place in Hong Kong. In the attempt to find a solution for the storm, they transport Kong. Godzilla attacks the boat and Kong retreats to the island. Godzilla is coming to make Kong submit and then we have the fight between Kong and Godzilla on Skull Island. Since Skull Island is the homefield advantage, that's where King would win, even in the storm.  During the fight. Kong would rip off one of the dorsal plates and make the axe. This would send Godzilla in retreat, Kong looks dominant and Godzilla is fucking pissed, he has more important matters to deal with in Apex. Then the fight in Hong Kong would remain the same and the team up with Kong and Godzilla vs Mechagodzilla would remain the same and ends with Godzilla and Kong recognizing each other as equals 

It ends with Kong, Jia, Lind and Mason returning to Skull Island. Serizawa would take in Madison and mentor her. And two final shots of Godzilla and Kong as the dominant titans

#Monsterverse #Godzilla #King Kong #Godzilla 2014 #Godzilla King Of The Monsters #Godzilla vs Kong #Joe Brody #Madison Russell #Jia #Ford Brody #Elle Brody #Ishiro Serizawa #Ren Serizawa #Mechagodzilla

[ericmhe]

Godzilla Singular Point

I'm not much of a “binger” for the most part but I got the whole series Godzilla: Singular Point watched in about 4 days I think. Let's start positive: I think the 3D models for the monsters work a lot better than most anime 3D models, they're still fairly apparent but it seems like they blend with the rest of the art alright. The designs are mostly fairly good too, there's some ugly ones in there but I kind of don't mind them? Monsters can be ugly sometimes and not just cool looking, a few here and there in the cast doesn't hurt anything. It's nice to see some nods to the more obscure kaiju too, there's a lot of interesting and fun monsters from Toho's old movies and it gets a little tiring to be hit with nonstop Godzilla-Mothra-Ghidorah-MechaGodzilla incarnations every single time there's a new take on Godzilla. I like a lot about the premise, the apocalyptic rise of kaiju around the world as they bring their habitat/environment with them into our world, terraforming it into a world of monsters. It's not new by any means, but it's usually not the approach taken witht the Toho monsters and it's a good excuse to fit a lot of them into a setting quickly. The end credit sequence is pretty great, I hit 'watch credits' every time on my watch. Heck, the whole series might be better if it was more like its own end credits.

I think Godzilla: Singular Point could have been better, but we've also seen worse recently. I've only dabbled in storytelling but I suspect a lot of its problems come from overcompensating, specifically: “Godzilla movies/media are dumb” being met with “Oh yeah, well how about one based on theoretical quantum physics” just didn't work out. I actually think what they use in the series is a fine technobabble excuse for the monsters having powers and durability beyond science, but I also don't feel like kaiju media really needs that excuse. It's fine though, I think the sheer quantity of the technobabble is the biggest problem with it. I've been listening to discussions of theoretical multi-dimensional physics for a while now, so I think I might have been better prepared than average but it's still a chore to get my head around so I know it's going to lose a majority of the general population. One big question I have is why did they give the main characters the wrong interests? Yun, who is into future predictions deals with the monsters, and Mei who is studying theoretical impossible animals deals with the future predicting technology end of the plot... I could get that if the idea was to raise tension by making the wrong people have to work outside their field of expertise, but that's not what happens, they're both pretty good “omnidisciplinary scientist” sorts who don't have much problem learning a whole new field. Honestly they really should have been assigned the other interests though, Yun studying fantastical creature ideas and Mei the future stuff.

While I like the premise and some of the stuff they do with the monsters, there's also a lot that's disappointing – The Kumonga-Megalon-Hedorah hybrids really need some explaining. Why are there three monsters in one species? Just to reference as much old material as possible at once? As far as I'm concerned Anguirus is the stand out star of the series and they kill him far too quickly. The series could also be called a fairly cozy catastrophe too, for the most part the worst thing happening for most people is losing their internet connection, kind of seems like a monster apocalypse should have a bit more than that going on. That said it's not nearly the disappointment that the Polygon Pictures trilogy is, which managed to take the most interesting and unique premise the Godzilla franchise has ever had and do basically nothing with it.

I might give Singular Point something like 6 out of 10, and I think a second season might have enough room for improvement that I'm not against it.

For the heck of it:

Shin Godzilla: The most common criticisms are right (dull, Godzilla has no personality, the humans are more random bureaucrats than characters), but so are most the common praise (topical in its way, punchy with its political critique, holy hell that weapons upgrade on Godzilla). Which one outweighs the other is a simple matter of personal preference. I don't have super strong feelings about it and it will be one of my least re-watched Godzilla movies ever, up with  Godzilla's Revenge.

Polygon Trilogy: AAAAAAAAAAAARRRRRRG. The only things worth watching are Godzilla Earth avenging Godzilla filius and Ghidorah's destruction of the spaceship (wasn't it Atrium or something? I'm feeling too lazy to look it up) but unfortunately there's an awful lot of crap around those bits. Ok, I exaggerate a little but not much. I kind of appreciate how they tried to subvert the classic “your life goals or your love interest” kind of scenario, but she wasn't much of a character so it didn't have much impact to kill her off and the main character is an unlikable jerk too.

Legendary's Monsterverse: Godzilla 2014: Too much of its run time is boring for me to recommend it but the monster stuff is too well done for me to ever dismiss it outright.

Godzilla King of the Monsters: I get why people have a problem with it, but I appreciate the story between Godzilla, Ghidorah, Rodan and Mothra enough to forgive it and it's my favorite of the Monsterverse. I don't have as much problem seeing the monsters through the weather effects as some people seem to, the only one I really can't follow is when Godzilla drags Ghidorah into the Gulf of Mexico. It does cut to the humans too much during the monster fights, but it's also trying to connect the stories. The goal of the human characters lines up with Godzilla's well enough that they can be considered to be on the same side, and that's why we see things like Godzilla charge Ghidorah, then cut away to humans where Ghidorah's heads slam into the earth somewhere in the background. It's fairly flawed, but...

Godzilla vs Kong: Holy shit over-correction much? I think it might actually work better as a stand alone movie than a continuation of King of the Monsters, yet it actually can't because of some elements like the Ghidorah heads. Notice how they say one skull holds the pilot, there's another skull in Mecha Godzilla? - clearly supposed to be the side heads incinerated by Burning Godzilla not the one Godzilla tore off in the Gulf of Mexico – not sure why everyone misses that. ANYWAY, it's a fun movie that gets to the main event as fast as it feels like it can and the monster action is solid. With the one exception that I really hate Godzilla being portrayed as defenseless against Mecha Godzilla – outmatched and needing help is fine, but utterly unable to do anything but get stomped is just not enjoyable to me. As soon as Kong comes to help double team Mecha G it gets a lot better though. - Quick note, why did “Team Kong” see any reason to sic Kong on Mecha G? We the audience know that since the robot is possessed by Ghidorah that once it kills Godzilla it'll go on to wipe out all humanity and anything else it comes across, but does “Team Kong” know it? If Kong knows it, would he care beyond Jia? I mean, it doesn't matter but it does nag me a little bit.

I honestly thing the basic story teased at the end of King of the Monsters in the news reel stuff sounds like a better movie than Godzilla vs Kong turned out to be but I'm fine with what we got for the most part. Except why did they dump all the other monsters? They've come up with all these interesting new monsters and they have Rodan and what-not and they just say they all haven't been seen? It's the most disappointing part of the Monsterverse so far if you ask me.

#Godzilla #Kaiju #Godzilla Singular Point #Singular Point #Godzilla vs Kong #Godzilla King of the Monsters

[hpoelzig]

Pondering GODZILLA: KING OF THE MONSTERS (2019)

Director Michael Dougherty amply demonstrates his credentials as a Godzilla fan in bringing to the screen a film that lovingly references myriad aspects of the various Toho series since 1954. This lavish and detailed homage to the legacy of Godzilla is full of nods that aficionados will find delicious and our favorite daikaiju have never looked more conscious and gloriously alive. It is crafted in an American summer blockbuster style in its breathless pacing so that one has to be quite sharp to spot all the goodies he’s woven into this third episode of Legendary’s MONSTERVERSE. While Gareth Edwards’ 2014 GODZILLA employed a Spielbergian touch, Dougherty offers the most Toho-esque installment so far in this franchise. 

Essence of Toho

In my review of the 2014 Edwards film, I had speculated that a MONARCH-centered approach would be best going forward, and indeed that has been the case with both KONG: SKULL ISLAND and this film. Dougherty has taken that Toho Showa series’ leap into “super science,” with defensive masers, secret bases around the globe enveloping recumbent daikaiju, and the ORCA device, meant to communicate with the Titans. This approach, sort of sci-fantasy, enlarges the sandbox in which he can play and recalls what has been part of so many prior Godzilla outings. MONARCH’s Argo, an immense flying wing, seems to echo the various “Super X” vehicles from the Heisei series, the Marvel Comics S.H.I.E.L.D. helicarrier Behemoth from their Godzilla: King of the Monsters series, as well as being a nod to both the flying wing from George Pal’s THE WAR OF THE WORLDS (the Northrop YB-49) and to the name of the ship from JASON AND THE ARGONAUTS, so well depicted by Ray Harryhausen. One particular delight for me was the Osprey’s arrival at the Castle Bravo facility, recalling the opening of DESTROY ALL MONSTERS, where a helicopter descended into a similar circular vertical tunnel to reach the hidden base on Monster Island. And, as Toho had done with its production design, these MONARCH scientific/military installations are full of gigantic screens surrounded by flashing lights from which “officially concerned” humans can monitor the global monster action at a safe distance.

Eggleton’s Impact

I was impressed by the painterly cinematography in this most Eggletonian-looking of Godzilla films—I actually expected to see Bob acknowledged in the credits as his visual style so permeates many scenes. Fans of his paintings cannot miss how much of the imagery is flavored by this extraordinary artist’s numerous works. That impressionistic sensibility Edwards had captured in the HALO descent to San Francisco scene infuses much of this movie. And his method for viewing the Titans from human perspectives to make their scale apparent was also deliberately maintained by Dougherty. Despite so much care having been lavished on the sweeping imagery, these sumptuous frames fly by in fractions of a second, which has sadly become the standard action film approach to editing and pacing. That for me is a disservice to those who clearly worked diligently to craft impressive and iconic visuals—such splendor should not be snatched away so swiftly from our hungry eyes. Lingering just a bit longer on some of these fantastic moments would have been so much more satisfying. When King Ghidorah seizes Rodan’s volcanic aerie and regenerates his missing head in a very bizarre, placental manner, his dominance over a foreground cross suggests his demonic power, much as FANTASIA’s Chernabog perched atop Mount Triglav—a gorgeous and potent symbol. He then sends out a call to rouse the world’s Titans to do his bidding as their “usurper king.” That pivotal moment passes far too quickly. Would that the two flanking heads have paused and then looked to the central dominant head, who would return their gazes, then look skyward and begin voicing “the call.” Then the other two would join-in, very deliberately, with some unearthly new sound reaching out to be that irresistible global conscription summons. That could have kicked the scene up significantly. The triple voiced sound used in the film was less of a command, rather a sort of keening, which quietly lingered in the following scenes of the other Titans awakening. For my tastes it should have had more of a dramatic emphasis—and have been audibly unique to the moment. Even somehow having King Ghidorah take note of his new troops as they each arise and perhaps respond audibly to his summons would have made his dominance much clearer and more exciting—perhaps cutting back to him as his heads express a knowledge of each new disciple’s activation?

Daikaiju Design

The designs of the quartet of classic Toho stars move to the top of my favorites, as each are detailed, expressive, and dynamic. Tweaking Godzilla’s look to enlarge his dorsal plates and having them flicker even when not powering up for a blast of nuclear plasma works well—he crackles with latent energy. While the 2014 look is an excellent, naturalistic one, changing the primary row of dorsal plates to repeat the 1954 design and then bumping up the secondary rows to Heisei-styled size makes him more in line with earlier Gozilla incarnations. I’d still like him to sport a proper tertiary row of plates that are clearly defined, which has been a common aspect of many incarnations of the King of the Monsters. Taking those sauropod-esque feet and enlarging the claws for more of a predatory aspect looks fearsome, and I like the shortening of the whip tail of the 2014 version to be more like the standard Godzilla profile. And having a new climactic revival of “Burning Godzilla” was a fine choice, reigniting that concept from GODZILLA VS. DESTOROYAH. King Ghidorah is masterfully realized, a proud successor to DRAGONSLAYER’s Vermithrax Pejorative, who can fly, stride or wing-walk with sinuous beauty. That aspects of his wings echo a William Blake image of the Red Dragon really makes for such resonance. The three heads being somewhat independent with unique personalities was also a superb concept. Ghidorah’s condescending curiosity regarding those nasty, puny humans he was seeing for the first time—even to licking their corpses to explore them—brought forth his diabolically sinister consciousness. His gravity beams and the neck-glow charge-up are splendid. Mothra in her bioluminescent glory is stunningly conceived, from impressively carapaced larva to majestic moth-mantis-wasp imago—magnificent, mysterious, and with a feminine puissance. Rodan as the fantasy firebird, a magma-veined pterosaur, fiendishly skeksis-esque in angry avian awareness, has such presence. Bowing like a courtier to both the usurper and finally to the true king, he exhibits a calculating, conscious persona. His thrilling barrel-roll to take out the pursuing jets was about the most spectacular image we’ve seen of him, ever.

As Toho had done in SHIN GOJIRA, Godzilla’s roars from the various series were employed, as well as his roars from the 2014 film. I was hoping for more of the very deep vocalizations from the 1954 original. Mothra sounded as she always has, with plaintive chirrups and screes. The cries for both Rodan and King Ghidorah were not the originals, and were for me a bit more “generic giant monster” voices. I would have loved to hear new recreations of those readily recognizable Rodan yawps and cackles, and much more forward versions of KG’s triple toned “bidi-bidi-bidi” voice—rather than the faint references buried in the raucous sound design. I rather expected more original Toho monster sounds than were used for both of them, since Daugherty was employing past iconic sounds for both Godzilla and Mothra and seemed to be teasing that during the film’s production. 

A Grim Setting

While there is some humor—not all of it apt— intended to break tension, the plot of this film builds upon the global revelation to the people of Earth that past super species were essentially their “gods,” knocking present day humans down a few notches on the dominance pyramid. The context is alarm and terror, though the MONSTERVERSE also offers awe and wonder as viewed through some of those studying the returning Titans. Serizawa remarks in a senate hearing that humanity should be viewed as Godzilla’s “pets”—and he means it. He respects “all forms of life” and sees our world as one that must have a balance which is inclusive of its natural organisms, regardless of where we might end up in Nature’s organic tapestry. Over the course of the film, much is learned about the fascinating past history of human societies who lived in harmony with the Titans. Toho implied some of this in their films—Mothra was regularly portrayed as an eternal goddess for the islanders she protected—but here it is made quite explicit and detailed. Godzilla’s temple lair in submerged Atlantis, with gigantic friezes and sculptures honoring him, is surely an enrichment of this ongoing saga. There is a dark side to this scenario wherein some see humans as being abusive to their world and thus in need of being forcibly “tamed,” and then there is the collective might of the military who want to subjugate these creatures and restore man’s preeminence—behavior that began in the original GOJIRA and sustained throughout most of the films. 

Dr. Emma Russell is an oddly polarized primary character. To begin, she seems a concerned mother who has rescued her daughter Madison from her husband’s descent into alcoholism, which had been incited by the death of their son Andrew during Godzilla’s San Francisco battle with the Muto’s. An aside: That plot aspect is reminiscent of a similar character motivation in the third of Kaneko’s Gamera trilogy, wherein a young girl’s commitment to invoking the destructive daikaiju Iris is sealed by her parents’ collateral death during a monster rampage in the first film where Gamera, an Earth defender, destroys his adversary Gyaos. That Emma is no “mother of the year” is quickly exposed when Allan Jonah’s eco-terrorists arrive to snatch she and her daughter (and her Titan controlling ORCA device) after they execute the innocent MONARCH crew studying Titanus Mosura. Emma has indoctrinated her daughter to comply with her pursuit of shattering mankind’s toxic presence by releasing the Titans as “antibodies” to the virus that is human kind. And Emma is in cahoots with these extremists, her obsession being the first cause setting in motion the slaughter of her MONARCH colleagues in China, Antarctica, and Mexico as well as the other locations wherein the Titans are roused to destroy their containment facilities. And countless others then perish around the globe as the revived Titans rage. The script makes her somewhat sympathetic as a mother—she is shown to love and be concerned with her daughter and mournful of her son—but one could not give her a pass for the oceans of blood on her hands. Nor should she be forgiven for making Madison a victim of Stockholm syndrome. Madison, comprehending the grievous practices kindled by her mother’s theories, does awaken to reject Emma’s deeds and then she strives at great risk to use the ORCA to solve the global catastrophe wrought by both Emma and Jonah’s fanaticism. There is a cut scene in the video release of Madison training with the eco-terrorists which would have underlined her submission to her situation—I would have included that for the parallel with Patty Hearst it presents. Madison ultimately is heroic, and her father Mark renews himself by stepping-up to guide MONARCH’s efforts to understand and control the Titans. He provides some crucial insights based on his knowledge of animal hierarchy and behavior. Ultimately, Emma seeks atonement through her sacrifice, which brings some justice to her character’s story, while Mark and Madison are reunited in a world reeling from cataclysmic destruction. A rather “heavy” arc to this family’s journey, and properly symbolic in dealing with present social concerns. I think that it seemed to be missed by many viewers who were more concerned with the pyrotechnics of the battling Titans, but for me it is a properly grounded human story which offers a grave context to the monster spectacles.

Homages A Plenty

There are so very many references in this film, both visually and via dialogue—“Easter eggs” abound! I’ll touch upon a very few, leaving exhaustingly listing them to other obsessive fans. I enjoyed the numbered MONARCH outposts having significance—the release year of the film in which the Toho daikaiju there contained was a delight and also the fun nod to THE THING in the Antarctica outpost numerical designation. Modernizing the Shobijin by having Doctors Chen and Ling, and generations of twins in their family, as “priestesses” of Mothra is an excellent touch. The new Titans are gleeful references to mythology and cryptozoology, demonstrating that many cultures have embraced daikaiju throughout history. Intriguing archaeological mysteries are touched upon such as 12,000 year old Göbekli Tepe, hinting at past humans dealings with Titans. Even an article in the jam-packed end titles is authored by Steve Martin, the character played by Raymond Burr in the American version of the 1954 film which was first to be titled GODZILLA, KING OF THE MONSTERS. 

MONARCH’s mission critical submarine is named USS Scorpion, after an American nuclear submarine which was lost under mysterious circumstances, and it has a Captain Crane, like The Seaview in VOYAGE TO THE BOTTOM OF THE SEA. Its conning tower likewise has Seaview-esque planes and shape. The skeleton of Anguirus has a cameo, briefly glimpsed outside of Godzilla’s temple lair, and if only we’d gotten a better look at more of the Atlantean art paying homage to Godzilla—there seem to be monumental figures with Godzilla heads atop humanoid bodies holding some sort of ceremonial weapons which Serizawa passes on his way to revive his “old friend.” A sculpture of Pazuzu is glimpsed atop a step pyramid in that lost city—such artifacts all sadly obliterated to revive Godzilla. Some more time to drink in this elaborately detailed majestic setting would have been appreciated.

Several key plot events here are reshufflings from past Godzilla films. The concept of one daikaiju sacrificing itself to revive another was pivotal in GODZILLA VS. MECHAGODZILLA 2. There, Godzilla is tortured to near death by electrodes from Mechagodzilla which pierced his body and fried his secondary enlarged ganglial areas. Fire Rodan, nearly expired from his conflict with Mechagodzilla, as a dying act drapes himself atop the fallen Godzilla, evaporating into a sparkling mist and then both healing and resurrecting Godzilla, who now has an even more powerful, red-tinged plasma beam. In GMK, Godzilla is the “heel” who fights the more positive trio of Baragon, Mothra and King Ghidorah. Godzilla seemingly kills King Ghidorah, so Mothra makes a direct, suicidal flight at Godzilla who evaporates her with his plasma breath—shared imagery with Daugherty’s film, though here King Ghidorah and Godzilla have reversed roles. In Kaneko’s film, Mothra’s energy descends upon King Ghidorah in a sparkling cloud, reviving him and enhancing his wings and gravity beams for the final combat with Godzilla. That Godzilla thrives on exposure to radiation has long been part of the basic lore of many of the films, and his revival and enhancement through extreme exposure was no surprise as being primary to the MONSTERVERSE’s mythology. And the scene wherein King Ghidorah “powers-up” via biting electrical cables in the Boston battle reminds me of Kong being electrically revived in the original KING KONG VS. GODZILLA. Godzilla’s expression as King Ghidorah takes that bite, and then the massive arcs of electricity that spread out from his wings to clear the attacking human’s jets are both such memorable moments—which could have been given just a bit more time to accommodate earned “oohs and aahs.” 

The novelization of GODZILLA: KING OF THE MONSTERS goes into detail about some of the Titans only glimpsed or simply listed in the film, and one hopes they’ll emerge in the next or further MONSTERVERSE installments—if any. There is a beautiful, brief passage in the book which is told from Godzilla’s point of view. We see through his eyes his responsibility as the lord and protector of this world—the globe is his domain and he is aware of the entire planet, sensing time passing through the shifts in Earth’s tectonic plates. He is aware of the much younger Kong, but unconcerned as Kong is only responsible for Skull Island. We know Kong is the last of his kind, and Godzilla also seems to be as well, though in the comic prequel to this film the story of the Godzilla-esque skeleton infested with the two Muto spores was explained as being Dagon—perhaps his elder “cousin”? The Muto which killed him was vanquished by Godzilla between the 2014 and 2019 films in that comic, which also serves to explain the change in his dorsal plates, which Dougherty has said are continually growing, like antlers. It would be a delight if the Kraken, snoozing as it embraces a sunken nuclear submarine, and Mokele-Mbembe, designed according to the legends as part serpent and elephant, had scenes in the films to come. If Godzilla at some point must sacrifice himself to save the world, discovering another younger member of his species in the Hollow Earth regions would not be surprising and would also embrace that “son of Godzilla” concept used in Toho’s series. The sunken Atlantis being part of the subterranean world evokes Verne’s JOURNEY TO THE CENTER OF THE EARTH, and of course the 1959 film adaptation concludes with a gigantic lizard menacing the remains of the Lindenbrook party in its ruins. Perhaps there are other humans (humanoids) “down below” as well, in fascinating antediluvian cities, much as Toho posited with the Seatopians, or even like the subterranean Sumerians from THE MOLE PEOPLE? Possibilities abound!

The Score

We’ve been quite fortunate that the scores for Hollywood Godzilla films have been powerful, thematic, and thoughtfully composed works wrought by talented composers. Both Arnold and Desplat crafted magnificent music that expressively carried the action. McCreary’s is the first MONSTERVERSE score to incorporate iconic themes for both Godzilla and Mothra from the Toho scores, and these quotations were well-timed and heightened the drama. Additionally, his new themes are both strong and memorable. The thematic material for King Ghidorah constantly iterates the number three, and the general rising melodic line is even kin to that of Holst’s “Mars, The Bringer of War” from THE PLANETS. The chanting monks’ voices offer a mysterious sense of religious awe to support the diabolical “destroyer of worlds.” Rodan’s theme features whooping horns, as if to echo the “Samurai of the Skies” cries. Even the film’s opening quiet theme has that “Go-Ji-Ra” rhythm that was used in both the 1998 and 2014 films to craft memorable new musical signatures for the King of the Monsters. Most touching was the gorgeous choral music accompanying Serizawa’s Spock-esque sacrifice—which even visually rhymed the descent of the mini-sub with the photon torpedo casket sequence from THE WRATH OF KHAN. The MONSTERVERSE’s Serizawa is essentially a transmogrified Dr. Yamane from the 1954 GOJIRA, a man who studies and appreciates Godzilla as a living being. By having him sacrifice himself not to destroy Earth’s dominant Titan, but to revive him with a nuclear weapon and thus save humanity, works as a pragmatic inverse linking him to the original Dr. Seizawa, the self-immolating physicist who conceived of far too deadly a weapon in the Oxygen Destroyer. McCreary’s “requiem” suited that sequence to perfection. When Godzilla rises again and blasts forth his plasma beam into the sky, the Ifukube-based accompaniment was deeply moving, and the moment Godzilla looked to his human saviors was delightful. He seems to acknowledge their role, much as that of the people from a past civilization who had idolized him, and the soundtrack even has a fleeting phrase of Ifukube’s Godzilla theme much as it was scored for high woodwinds in the requiem from GODZILLA VS. DESTOROYAH—a very brief and subtle nod. McCreary’s triumphant symphonic apotheosis of his own opening Go-ji-ra theme over that concluding acknowledgment of the Earth’s true monarch brought me chills. Being followed immediately by McCreary’s magnificently over-the-top arrangement of B.O.C.’s song “Godzilla” to commence the end titles was fan service of the highest order. Its refrain, “History shows again and again how nature points out the folly of man!” is of course the underlying theme of the Legendary MONSTERVERSE. “Bravo!” Maestro McCreary!

Could Be Bettered

Some minor cavils. I prefer to hear the word Ghidorah pronounced in the more euphonious Japanese manner, with the three syllables (ghi-do-rah) given equal emphasis and the first one slightly higher in pitch. One can hear it when watching Toho’s original Japanese prints with English subtitles. Americans emphasize the second syllable (Ghi-DOR-ah), and thus the middle one sounds like the English word door, while the Japanese put the R on the third syllable. I’d have dropped that weak gonorrhea joke, and the “very long fortune cookie” line was a tad clumsy, and a bit out of place for the dignified Serizawa. In this film he seems to take a bit of a back seat to Dr. Mark Russell, once he’s on the scene, which is a bit of a disservice to his character for me. And that his sidekick Dr. Graham is so quickly dispatched by King Ghidorah during his emergence seemed a bit too casual—her character was a fine one, and I’d have enjoyed more from her going forward.

The film brings back the Oxygen Destroyer, a wonderful nod to the original, and they hint at it being tested in the news crawl Madison and Emma have on in the background in their opening domestic scene at the China base. The news commentator’s reporting of “mass die-offs” must be from the military testing it. Rather than having it come as a surprise announcement when the incoming missile is announced by Admiral Stenz, I think that viewers should have been clued-in earlier, and rather easily. The audience primarily sees things from the point of view of the MONARCH characters. But if we go to that senate hearing scene, from which the MONARCH crew departs having been alerted to the eco-terrorist attack on their Mothra temple base—despite being warned that there will be consequences, that scene could have briefly continued. Admiral Stenz would reveal to the committee, once Serizawa and crew have departed, that the military now has a prototype weapon that they think could be used to exterminate the Titans. We’d cut from the blurred footage of the Mutos on the monitor to a graphic of the Oxygen Destroyer (what we saw later when Stenz alerts the Argo team), while Stenz declares this is their tested proposal for conquering the Titans. If one wanted to flesh it out, then perhaps running some brief footage of it killing fish or other forms of life with some dark accompanying music would be a strong punctuation. But even that wouldn’t be required, just that graphic and a Stenz voiceover would have done the trick. So, rather than ending on a weak joke about blurred Titan genitals, we’d have the Oxygen Destroyer’s revelation as added tension for its eventual use.

With such wonderfully detailed renditions of the Titans, particularly the four Toho guest stars, I think they went a bit too far in trying to fit them into their environments by surrounding them with clouds, mists, and fog. This gives the Titan scenes an overall soft and painterly feel, and I can enjoy that aesthetic choice, but seeing the creatures that were so very carefully designed, and whose movements are crafted in such a convincing manner, being obscured far too often I think was an error. Dialing that back somewhat would have been a wiser choice—show us what you’ve got! Particularly in the expert choreography of the battling Titans—which in some scenes appears to have been inspired by Matt Frank’s compositional style—being able to see how the tussles and tumbles progress with greater clarity would have enhanced the viewing experience.

Wishful Thinking

I would hope that there might eventually be a “director’s cut” in some future boxed-set home video release of the MONSTERVERSE films that would relax the pace of this film somewhat—taking time to linger on the beautifully crafted images so that we won’t have to freeze-frame to savor the glories on screen. And the storyboarded but unfilmed mid-credit scene of another Mothra egg being sung to by twin young girls in another hidden temple space beneath a modern city should be added-in or at least exist as part of the extras—possibly an animated version? If the box office returns from the next installment don’t justify further live action films, it would be fun to have a MONARCH-centered animated series exploring the numerous Titans and how humanity must deal with them. The cartoon series that followed the 1998 Emmerich GODZILLA film was quite an improvement over its progenitor, so I suspect something similar could happen with this franchise going forward once live action films are no longer produced.

The Coming Conflict

Daugherty has reportedly had some plot input towards Wingard’s upcoming GODZILLA VS. KONG, and so the end titles give us glimpses into what might be to come via various briefly shown illustrated articles. One explains that the newly emerged Titans were being drawn to Skull Island, so one has to wonder if that locale could at the conclusion become the “Monster Island” of the MONSTERVERSE? That it is a gateway to the Hollow Earth is an exciting prospect, for more mysteries abound there. Already the rumor that the APEX corporation, which funded Colonel Alan Jonah’s eco-terrorists, is now behind the construction of Mechagodzilla (the toys of this character have been leaked already), who will have an ORCA variant built-in to lure Titans to the slaughter. 

King Ghidorah can regenerate in an unearthly manner and the director has mentioned in interviews that his consciousness is spread through his body. Daugherty has said that whatever might have fed on the carcass head could perhaps become some sort of mutating “legion,” perpetuating King Ghidorah, from flies to any sea creatures that took a nibble, if the series goes on. The rumor mill suggests that materials from the brain of this dead head have been used to create a bio-tech controller to enhance Mechagodzilla. Now that we’ve gone to a Showa series sensibility, the film makers have a great deal of latitude for referencing some of the more fantastic concepts from earlier films. With the biggest blockbusters today being super hero fantasies, one need not try to pretend that MONSTERVERSE films are bounded by the laws of our Universe. The relatively more “realist” approach of Edwards’ 2014 GODZILLA has been evolved into a broadly fantastic approach, which reflects much of what Toho had done in all of its series.

Fan Reactions

It seems some Godzilla fans on message boards are now turning on Dougherty’s epic—everyone seems to want each new film to be their vision of the perfect Godzilla film and then disappointment sets in when it isn’t. Yet so many of the films throughout the ongoing saga of Godzilla have been silly, cheesy, daffy, and sometimes just dopey—yet many of we aficionados embrace them all for their charms, after all, we get to see more of Godzilla and his fellow daikaiju. They appeal to quite a wide range of viewers of all ages, and as one ages, different films might head a favorites list based on one’s evolving tastes. Better that more Godzilla tales are wrought and released, regardless of whatever flaws we might find. In GODZILLA: KING OF THE MONSTERS the incarnations of our old favorites and some intriguing new Titans are truly extraordinary, brought to vivid life with contemporary effects capabilities. Never before have these sorts of films been graced with such mammoth budgets and been seen by such large audiences around the globe—a golden age for Godzilla is upon us.

Huzzah Daugherty!

Despite its flaws, I find so much to love in this film, particularly that final scene. After Godzilla has vaporized his age-old rival and literally “smoked” his final head, the Titans summoned by Madison’s activation of the ORCA in Fenway Park arrive. Godzilla, battered and weary from his strivings has exhausted the energy gifted to him through his ally Mothra’s sacrifice—like Heracles after his many labors. This unbowed victor is at last confronted by the other awakened super-species. It looks like a further battle could ensue, as Rodan swoops down at last. But, that canny firebird knows his place and thus submits to the true king, with a nod and almost a courtsey-like gesture of his cape-like wings. The other Titans then “bend the knee” and Godzilla bellows his triumphant “skreeonk” as McCreary’s music superbly supports this coronation scene. I felt such a powerful frisson at that moment and do with each repeat viewing. The Titans demonstrate their consciousness, intelligence, and their sense of natural hierarchy in what is one of my favorite conclusions in the entire canon of Godzilla films.

So, I salute Daugherty and all the others involved in what for me is a grand outing for all of the Titans and a very fine addition to the roster of Godzilla’s adventures. I’ve watched it many times since I saw that first Thursday night preview screening, and I continue to enjoy it immensely. Like all of the earlier films, I don’t dwell on what I see as flaws, but I celebrate the unique wonders that have been wrought, and these abound in this Toho-redolent GODZILLA: KING OF THE MONSTERS. 

The bar has been raised. Batter-up, Adam Wingard—let the MONSTERVERSE continue!

—Peter H. Gilmore

[eropandasennin]

Panda’s Opinion on Godzilla: King of The Monsters (may contain spoilers)

Honestly, while I really enjoyed Godzilla: KOTM for it's action, music, set pieces and even some genuine emotion, I also feel that what lets this movie down somewhat are the human characters. Not so much the people of Monarch (Ken Watanabe is ALWAYS a win in my book) but the villains and the main characters were barely fleshed out.

Though not really annoying, they weren't sympathetic or engaging as, let's say, Bryan Cranston's character from Godzilla 2014 (probably because Bryan Cranston is a great actor and also always a win). They have the bare minimum of character and their personal story wasn't strong enough to carry the movie. If they just used them to get the movie rolling and then focus mostly on the giant monsters it would be fine but nope, they took away screen time from the thing that I WANTED to see: giant monsters beating the crap out of each other!

Where I expected  the last half hour of the movie to be an all out brawl between Godzilla and Mothra VS King  Ghidorah and Rodan, I instead get that but interrupted with the not so interesting humans cutting away from the action. It's not really in the same cock-tease way as the 2014 one but it was still aggravating.

Which makes the complaints of the ''critics'' even more baffling because there WAS enough human drama! Too much if you ask me. I expected this to be a smaller scale version of Godzilla: Destroy All Monsters but it's more of a mix between that and Godzilla 2014 and it doesn't entirely work.

All my bitching aside, it was still a blast to watch it on the big screen as a (amateur) Godzilla fan. King Ghidorah was a BEAST of an opponent for Godzilla and he brings some genuine fear and terror to the screen (again, the movie has some spectacular and beautiful shots that I want to just frame and hang on my wall). Rodan was pretty good too though he's less of a villain and more like the sidekick of the main bad guy who thinks he's tough shit until he gets his asskicked by Mothra. All hail the Queen of Monsters! Speaking of which, I don't know how they did it but I CARED for a giant moth monster. Congrats on making her both beautiful AND intimidating! And I really loved the world building they did in this movie as well.

Not just the lore but also how these Titans affect the world at large, continuing what they started in the first movie by showing the utter devastation these creatures leave in their tracks and how us humans are nothing in comparison. All the world's natural disasters are nothing to a flap from Rodan's wings or the unnatural storms King Ghidorah creates. This isn't like Power Rangers where the city is just rebuild the next day. No, this has ACTUAL consequences that cause a ripple effect throughout the world. Love it!

Can't wait for Godzilla VS King Kong and whatever sequels they have in store after that. Next time though, WAY less humans and more kaiju action please! We get ALL the allegories that Godzilla stands for. We now just want Pacific Rim levels of quality but with Godzilla. Huh, Guillermo del Toro doing a Godzilla movie…MAKE IT FUCKING HAPPEN HOLLYWOOD!

PS: Godzilla X Mothra...I fucking ship it!

#godzilla #godzilla king of the monsters #godzilla king of the monsters spoilers

[emeraldspiral]

Things I am now willing to believe after what fucking TROS did to me:

Godzilla will become a villain after Mothra and Serizawa sacrificed themselves for him.

Kong will defeat him in a really bullshit way.

He will either die by Kong’s hand or against Mecha King Ghidorah in a heroic sacrifice.

Alternatively, he’ll be put down like a rabid dog by humanity, when it was humanity’s own creation (a modified Orca device) that made Godzilla act like a villain in the first place.

Mothra will either not appear at all, despite the tease at the end of KotM, or she’ll die permanently five minutes after being reborn. Probably in a really horrific or unceremonious way. Bonus points if it’s Godzilla who kills her.

If the Monsterverse continues, which is probably won’t because it’s not making enough money, it will only feature OC monsters so Legendary doesn’t have to pay for the rights to Toho monsters anymore.

Loki will go super evil in his series and die in the finale.

Loki’s actions will have consequences in MoM, but he won’t actually appear, let alone team up with Doctor Strange or Wanda.

Loki will never see his brother again.

Amora and Loki will hook up and it will neither be a healthy relationship that makes both of them grow and change for the better, nor will it be a toxic relationship that Loki eventually gets out of along his journey of self-improvement. It’ll just be a gigantic trashfire that’s played like two bad people who deserve each other.

Thor, will remain an overweight, depressed alcoholic and he will die alone without reconciling with Jane or finding new love with Valkyrie or receiving any kind of healing to compensate for all his losses.

Jane taking up his mantle will be supremely unsatisfying and unearned JUST LIKE REY PALPATINE TAKING THE SKYWALKER’S NAME WHEN SHE’S THE REASON THEY’RE ALL FUCKING DEAD.

Star-Lord won’t be able to win back Gamora so he’ll get together with Nebula on the rebound.

Either that, or Nebula will never find love.

Nebula and Loki will never share the screen together.

Nebula will die saving Gamora AGAIN.

The Guardians of the Galaxy won’t appear at all in Love and Thunder and Thor leaving with them at the end of Endgame will just be casually waved away.

The What If...? episode where Loki is worthy of Mjolnir,/he’s the Asgardian and Thor’s the adopted Frost Giant instead of showing us a Thor who’s jealous and insecure about being the un-favorite and a Loki who’s noble but arrogant due to being the Golden Child will instead portray them as exactly the same characters, suggesting that Thor is just inherently good and Loki is inherently evil regardless of circumstances.

After all that build-up to Peter Parker being the new central franchise character after Iron-Man, he’ll just get axed off and replaced with Miles and/or Spider-Gwen in the third film or not replaced at all so Disney doesn’t have to negotiate with Sony ever again.

Speaking of Miles and Spider-Gwen, there will never be a direct sequel to Spider-Verse featuring those characters again. It will always feature a different Spider-Man/Woman and none of them will ever compare to the first.

Steve Trevor will turn out to be Eros in disguise or defeating the villain of the movie will undo whatever magic brought him back so Diana has to lose him all over again.

Clark will dump Lois and get together with Diana for no reason like they did in the comics.

Steven Universe and the Crystal Gems will all die.

#reylo #star wars #rise of skywalker #tros #star wars tros #epix #the rise of skywalker #star wars the rise of skywalker #star wars spoilers #tros spoilers #epix spoilers #star wars tros spoilers #the rise of skywalker spoilers #rise of skywalker spoilers #star wars the rise of skywalker spoilers