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Dec. 18, 2023 - Freedomain Radio - Stefan Molyneux
40:43
GODZILLA MINUS ONE - The Freedomain Movie Review
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Good morning, everybody. Hope you're doing well.
Stefan Molyneux from FreedomAid.
So I went to go and see the new Godzilla movie, and it was a late night showing, and there was a sort of disturbing number of young children there, but that's perhaps a topic for another time.
So, I had some thoughts on it, because when a monster movie or a monster scenario, Japan plus radiation plus war plus Godzilla, has sort of fused together in the public imagination to create a very long-lasting...
Theme, it's well worth examining.
And I think that there is a lot worth examining in this movie.
There's spoilers here and so on, so just be aware of all of that.
But this is sort of what went down.
So, a brief plot.
Main guy is flying from a kamikaze mission.
He's flying back. He claims there's something wrong with his plane.
They can't find anything wrong with his plane.
And then Godzilla attacks the island where he landed his plane.
And he's supposed to shoot Godzilla from his plane, which is on the ground.
But he doesn't do it.
Godzilla kills everyone except two people.
And then it's interesting because it sort of starts off with a kamikaze question, as the mechanic says, like, okay, like, I understand we need more men like you.
What's the point of killing yourself when we're going to lose the war anyway?
Like, what's the purpose of killing yourself when we're going to lose the war anyway?
Honor, obedience, duty, obligation, loyalty to state commandments versus biological survival.
There's no point self-sacrificing if we're going to lose the war anyway.
All that kind of stuff, right?
So, that all makes good sense to me.
Interesting debate. And then, it's like these are two sort of weird movies jammed together.
One is a fairly sensitive study of post-traumatic stress disorder and guilt, survivor's guilt, and self-lacerations for cowardice, combined with a strange kind of sexual and romantic impotence, which we'll sort of get to.
But you start off with this, you know, kind of cheesy...
Monster attack. And the monster attack is interesting too, because in the monster attack, Godzilla doesn't eat anyone.
He just chomps them and throws them away.
So Godzilla is about destruction.
It's not about food.
I mean, Godzilla would need, what, like a thousand pounds of food a day, but doesn't eat anyone.
He just grabs them and then throws them away.
So Godzilla is about destroying males, in particular.
It's not about food.
And this tells you, of course, that it's a magical creature.
It's a creature of the unconscious.
This is not A real thing.
And they make that pretty clear by making Godzilla completely ridiculous.
You know, because it's always the question, right?
It's like, well, why wouldn't you just nuke, just hit him with tank shells or rockets or something like that?
But Godzilla has this wild ability to heal itself.
You know, at one point they blow up part of Godzilla's head and it just sort of fuses and heals itself.
And that tells you that it's not a real creature.
It's a mental phantasm.
It's a fear, right? It's a dream creature.
And Godzilla also has this mouth attack, which we'll sort of get into later, this sort of mouth beam attack that destroys everything in its path.
So, Godzilla is not a real creature.
That's made very clear.
It doesn't eat, even when it needs so much food to sustain itself.
It has magical attacks, self-healing.
So, this is not a real creature.
In the way that a dinosaur would be, or King Kong is a real creature, doesn't have magical attacks.
So this is very clearly an unconscious creature, a dream creature, a mental state rather than a physical thing.
That's pretty clear. So anyway, after the initial attack, it sort of veers into this Fairly sensitive portrayal of post-traumatic stress disorder and infertility.
Because the guy comes back to Tokyo and Tokyo is completely destroyed.
Of course, everyone thinks of Hiroshima and Nagasaki and so on.
But Tokyo is very interesting because...
And it was completely horrifying what happened there.
Like 100,000 people could die in a night because...
The B-29s would set up this firestorm wherein they would drop so much incendiary device on a city which had significant numbers of buildings composed of wood, and it creates a firestorm where the fire is raging so much it sucks in oxygen which feeds the fire further, and the bad human horror on the ground there is almost beyond compare.
And when you bomb civilians, you destroy the culture.
when you bomb civilians, you destroy the culture because women are drawn to men who can protect them and men who can't
protect them are abandoned for careers, are abandoned for a life of materialism
and a life of money grubbing and
hedonism and so on, right? So when women sense that men can't protect them, they abandon,
often abandon motherhood and pursue money and pleasure and status and sex and travel and all these kinds of things,
right?
So this is one of the things.
It takes a long time for a culture to die after civilians are destroyed end-to-end, but you can really see it happening, of course, in various countries around the world.
You sort of think throughout history. When the women in particular, or when the home country or the home state is put to the sword, The culture dies, because the women are no longer really pair bond with the men, because the men can't protect them, and this is one of the horrible things about modern total warfare that happens.
So, because the guy comes back to Tokyo, and his parents are dead, but there's this woman across the street who rails at him, And she says, if you had done your job as a kamikaze pilot, if you had done your job, my children wouldn't have been killed.
And she's really bitter and angry and hostile.
Towards him, and then sort of long story short, he finds a woman's running from a mob, and she thrusts the baby into his arms.
He hangs on to the baby, and she, who's a very pretty and nice and sweet young Japanese woman, she moves in with him.
Now, it's not even her baby.
She just found the baby orphaned by the bombings of Tokyo.
So, it's a completely non-nuclear family, right?
And it's a family without any particular bonds.
There's no biological bonds because nobody's related to each other.
I mean, it's not his kid.
It's not her kid. And it's also got no familial bonds because they're not married.
The man and the woman are not married.
They have no sexual bonds.
They don't have sex. And the reason they don't have sex is because he's so ashamed of having failed twice, right?
He failed twice. He failed in his mind in the kamikaze mission, and he also failed to shoot Godzilla from his plane on the ground.
And so Godzilla killed all these men, and so he sort of blames himself.
So he's self-attacking for his failure.
And so what that means is he survived, but he didn't.
I thought of the line from Shakespeare, the hero tastes of death, but once the coward dies a thousand times.
And so he survived physically, but But his lineage ends, right?
I mean, because he's so traumatized, he can't even make any romantic moves towards an attractive woman with no boyfriend or husband who's literally living under his roof, who he's parenting a child that neither of them are the parents of, right?
So this is sort of the end of the lineage thing, which is interesting, because they made it, I mean, everything in art is a choice, right?
So they made it that the baby wasn't her, that wasn't the woman's child, right?
They could have made it her child. And there's this whole interesting scene about he rejects being the baby's father, and so he rejects his masculine role, he rejects sexual roles, he rejects husband roles, he rejects romantic roles, and all that kind of stuff, so...
He survives physically, but it's the end of the line.
And, of course, if you look at current Japanese birth rates, there is a great deal of existential anxiety in Japan because, I mean, at current rates in 100 or 200 years, the whole thing's gone.
Like, it's all done. It's all gone.
And nobody knows how to reverse really low birth rates.
I mean, we all know how to do it, which is to have a free society, but that's not imminent, so it's going to sort of continue.
So there's these sort of two odd movies that are combined.
One is around sort of masculinity, PTSD, cowardice versus courage, courage being defined as self-sacrifice for the sake of the government and so on.
And, of course, I thought about, you know, the monster that destroys men and cities and so on, that this is, is Godzilla war?
Is Godzilla the state?
Is Godzilla conscription?
I mean, all of these things, I'm sort of running through my head faster than the extras in the background of the Tokyo destruction scenes, but none of them quite fit or satisfied, and so I came up with another one, which I'll sort of make the case for over the course of this.
You let me know what you think, but I think it's interesting.
So, Again, sort of long story short, and I don't particularly care about the monster battling scenes and all of that.
That's not interesting to me.
It was fine and well done and all of that.
I've never met a character, the doc, I never met a character more in a movie that I wanted to sit down and give a haircut to, put him in a strappy seat and give him a forced trim, because that was some wild shag hair, but So, yeah, the monster battling scenes are only vaguely interesting.
There were a couple of things that I thought were thematically, like, why is this such a powerful story?
Why is it that this is a collective dream that everybody identifies with and wants to see more of constantly?
So, a couple of themes, of course.
It's post-war Japan, so it can't be that this is war, because Godzilla doesn't happen during war.
Godzilla isn't a manifestation of wartime.
Godzilla happens after the end of the war.
So Godzilla has to be a manifestation of some form of post-traumatic stress disorder from the war.
Godzilla also is associated with radiation.
With radiation.
Which means that Godzilla has to be something to do with modern warfare.
It has to have something to do with genetic damage.
Because, I mean, obviously, it's almost hard to think of a culture.
And I really like Japan.
I think it's a very interesting country.
I think it's a pretty country, and the people are wonderful in many ways.
But it's hard to think of a country that has gone from martial strength and hyper-masculinity to...
I don't know, kind of anime, furry, girly infertility in a rap at a time.
And this tends to be what happens when a country is brutally defeated.
Of course, the men know they couldn't protect their families, their homeland.
The women know that, and the defeat just goes on and on.
And I think that Godzilla is a manifestation of the defeat of the conquered going on and on and on, and I think it is speaking to the real danger of what happens, the real danger of what is happening, which we'll get to in a sec.
Godzilla is the manifestation of something that's sort of very important, and it's happening worldwide, but particularly takes root in conquered countries.
So, the monster battling scene is only somewhat interesting.
And again, the magical aspect of the beast is pointed out in that they sink the beast.
They sink Godzilla 1,500 meters and then rise him back up through a variety of gaseous solutions.
And the beast perfectly survives that massive compression and then decompression.
So again, this is a magical beast.
The things that you can't defeat...
I mean, there's always a convention in monster movies and in dinosaur movies that you can't just machine gun the dinosaur.
The dinosaur always gets to you, clever girl, right?
Before you can get to your gun, the dinosaur has to have a certain amount of Speed or stealth or some environment where you can't defeat it with normal weaponry.
This is sort of the alien thing.
In the Alien and Aliens movies, the monster has acid for blood so you can't shoot it in a spaceship.
So you always have to have some...
You can't defeat them.
They're really, really tough to defeat.
In the first Alien, it's because they're in the spaceship and the monster has acid for blood so you can't shoot it in the spaceship.
In the second one...
There's just so many of them, and they can't get off world.
So, of course, the monster has to be tough to defeat.
I get all of that. And in this one, I mean, the whole movie is...
I mean, sorry, I know it's just...
You can't ever defeat Godzilla because you can't kill the franchise, right?
And, of course, the Godzilla movie being said in the past, you know that Godzilla can't be defeated.
This is not a spoiler. This is logical going in.
You know that Godzilla can't be defeated because...
There are, you know, post-1946 Godzilla movies, so you know Godzilla comes back, or Son of Godzilla, or something like that, and that's sort of evident at the end.
So the monster that can't be defeated.
To try and use weaponry to defeat a mind beast is...
I mean, it's like trying to shoot someone in the head because they have bad dreams.
I mean, that's just immoral and wrong, and I guess you could end the bad dreams, but then all that's happened is the bad dreams are transferred to you as now the murderer, right?
So you can't defeat dream creatures with weaponry.
All you can do is transfer the trauma.
So, let me make the case as to what I think Godzilla is, and why it is so powerful.
Not just in the Japanese imagination, but in the world.
This is not just some sort of Japanese franchise, like certain anime specialty or manga stuff is Japanese franchise.
This is a worldwide franchise.
How often do you see a movie entirely in Japanese with that half-strangled, screaming, pompous, aggressive, hierarchical, and somewhat hysterical Japanese vocal style?
How often do you see a Japanese movie with Japanese subtitles in a North American theater?
Well, that's because people are fascinated by Godzilla.
And I'll tell you why. So, why is it that Godzilla has these characteristics?
Its most powerful attack is from its mouth.
Well, that indicates that this is verbal abuse.
I mean, there's some physical abuse, of course, there's some physical destruction, but its most powerful attack by far is verbal abuse.
Now, in England, getting your back up means getting angry, and literally, he has spines that rise on his back that produce this heat ray or whatever it is, right?
So, getting your back up. So, this means rage.
And, of course, the moment the guy comes back from the war, his neighbor screams that he failed in his duty, and that's why her children died.
As if one guy going into the side or maybe even missing some U.S. ship, one guy, as if that would have turned the tide of the war completely and there would have been no U.S. bombers, that's not really a valid thing.
So, blaming... Rather than blaming the government, rather than blaming history, rather than blaming the US or whatever it is, the military-industrial complex, rather than blaming all of that, or rather than saying, how are we raising our children that we end up so universally hated for, I don't know, torturing endless Australian and New Zealand POWs to death.
Maybe our child raising is at fault.
Maybe our whole society has problems.
It's like, oh, it's you.
You didn't kill yourself. Therefore, my children died.
So this kind of verbal abuse, it does not help him.
Of course, a guy coming right back from war is heavily traumatized, and there are constant references to war trauma throughout the movie.
And so screaming at him that he is responsible for killing your children is a white-heart verbal attack that just disassembles his personality.
You can see him kind of crumbling and self-hating and all this kind of stuff, right?
So, Godzilla's interesting too because Godzilla's kind of triangle-shaped.
I've always sort of found it. Godzilla's got like thunder thigh Karen legs.
You know, it's got a big butt and narrow shoulders and a big butt.
That's a feminine thing, right?
That's a feminine thing.
That's a feminine thing.
And the way Godzilla walks is kind of matronly.
And so Godzilla has the powers concentrated waist and below, other than the mouth, right?
Godzilla doesn't do much with the arms, but he's got these big feet that stomp on anything.
So, Godzilla's basically pear-shaped.
In other words, middle-aged woman-shaped, right?
So, pear-shaped woman in comfortable shoes.
So, Godzilla is kind of pear-shaped, and Godzilla, the strength and power is waist and below, which is a woman's fertility, and Godzilla's big attack is when Godzilla gets angry, Godzilla has a mouth assault, a verbal abuse, a verbal assault.
So, this is female propaganda.
Now, what is the most common female propaganda?
It's feminism. And by that I don't mean, of course, women's equality, I mean female supremacy, I mean contempt for men, and so on, right?
And the abandonment of the responsibilities of child having and child rearing and so on, right?
The whole purpose of culture, the whole purpose of life, the whole purpose of the struggles of your ancestors is for your line to continue, and it is a form of murdering all of their sacrifices to not have children.
So when does, and let me make the case for this, when does Godzilla attack?
Godzilla attacks.
Oh, you ready? Are you ready?
Come on, man. This is good.
This is good stuff. Freedomain.com slash donate.
Just get ready for it. So, the woman who's living with the failed kamikaze pilot, She says to him one day, oh, I'm putting my child in the care of someone else and I'm going to work.
I'm going to work. And he's like, well, don't I give you enough money?
And she just kind of smiles.
And so she has decided to take a job in an office.
She's dressed in a business suit and she is abandoning her child to go to work.
And that is the very day that Godzilla attacks, if I remember it rightly, or it's very close, right?
So, the man, the soldier, cannot protect the homeland, and women and children are slaughtered through the fire bombings and so on, right?
So, women and children are slaughtered.
They lose faith in their men, and when they lose faith in their men and the men's ability to protect them, they turn to money-making and hedonism and material pursuits, and they give up on having children.
So, the real radioactive remnants in this analogy is not the effects of the atomic bombs.
But Godzilla is a manifestation of the feminism that is both inculcated in the Japanese women and also that they are most susceptible to because their men have failed to protect them.
And if women feel unprotected, they pursue money, sex, travel, material concerns, and they won't have children.
And why won't they have children?
Because the only way a woman can have children is if she feels protected, because why on earth Would you want to build something?
No, it could be knocked down at any time.
I mean, imagine some guy putting $3 million into building his dream home on land that he didn't even own and for which he did not have permits to build, right?
The house had no permits.
Well, you wouldn't put all of that Time and money and effort into building a multi-million dollar mansion if it could be knocked down, torn down, your construction could be halted at any time.
You wouldn't build something if you knew it could be knocked over.
Like, you wouldn't build an elaborate sandcastle, to take a silly example, right?
You wouldn't build an elaborate sandcastle right on the edge of the water if the tide's coming in, because it's going to get swamped before you've finished it.
So if women don't feel protected, which is the effect of Of losing a war so badly that the homeland gets bombed into oblivion, if women don't feel protected, they won't have children.
And this is why birth rates tend to plummet in places that have lost a war.
Now, of course, I'm fully aware you can look at places which were not directly bombed, the birth rate has plummeted as well, so I'm not saying this is the only reason, but I think that in trying to wrestle with what happened, So traditionally, women would, quote, feed off men.
In other words, women would produce children and men would provide resources and protection for the women to produce and raise the children.
But the women had to respect the man's ability to make money and to protect them.
And of course, in a time where a country has been destroyed, men can't make money and they really can't protect much at all, especially if there's some sort of occupation.
So, in the past, women would feed off men.
And I don't mean this in any negative way.
It's certainly not parasitical. It's just the exchange, right?
Somebody's got to take care of the kids, and that's the mom because of breastfeeding and evolution.
And someone's got to take care of the kids, and someone's got to go out and get the resources and do the farming and the hunting and build the cities and whatever it is, right?
That tends to be the men for reasons we all know about.
So, if Godzilla was eating men, then it would be closer to fertility.
It would be consuming men for the sake of nourishing itself, in the same way that society consumes men's labor to nourish its own reproduction.
And it doesn't do that.
I was really struck, and I saw this repeatedly at the very beginning of the movie.
Godzilla is...
Destroying men. What's the point?
Like, why is it coming to destroy these men?
Like, what is the motives?
What are the motives of Godzilla?
What are the motives? And there are no motives, which again tells you that it's not a biological creature, and it's made very clear it's not a biological creature.
I mean, it's got no mate.
It's got no reproductive organs.
It is, I mean, it is a middle-aged, childless woman, in that sense, right?
And so Godzilla just destroys men.
For no purpose. For no purpose.
But because...
So you could say that because the men have failed, right?
And on this island at the very beginning, you have one guy who did not...
Do his, quote, duty and kamikaze himself for the sake of the emperor, and then all of these other men who aren't even fighters, right?
Because they're just mechanics and so on, right?
So the mechanic says, hey, man, I sympathize.
We need more men like you because we can't win the war, so you'd just be killing yourself for nothing.
So you say, okay, let's do something practical rather than something self-sacrificial.
And then that transfers to the women who say, well, let's do something practical, which is to go make money, have fun, have sex, travel around, go to nightclubs, rather than something self-sacrificial, which is to have children and raise children and so on, right?
So when the men stop having sacrifices, feminism emerges and destroys the men.
Feminism in the form, of course, of Godzilla.
Now, of course, the welfare state and income redistribution is very, very powerful, deep, and important.
It has had probably the largest effect of any single factor in the relations between the sexes, right?
Because women can get male resources without providing companionship, children, child raising, homemaking, family sex, or anything like that.
So women can get a hold of men's resources Without having to serve any of the sort of cultural or tribal or sexual or romantic or familial needs of men.
So how is it that men can just be destroyed?
If men are destroyed, aren't women leaving themselves open to even further predation?
But of course, in general, one evolutionary strategy of women has been that if their men get defeated, they simply mate with the conquerors.
And probably unwillingly and so on, but that's one reproductive strategy that we can understand would work from a genetic standpoint.
But it's interesting that, of course, since we're evolved in many ways, men fight to the death.
Why? Because they'll be killed if they surrender anyway.
Throughout most of human history, you'd be killed or enslaved.
So you might as well fight to the death because your genes are going to die either way.
Slaves don't reproduce usually, at least in many countries, many cultures.
Some of them were even castrated.
Many, millions. So you might as well fight to the death.
For women, you stay alive and then you can mate with the conqueror.
And at least you can survive and your genes can go on and all of that.
And you could, of course, say in a sort of brutal Darwinian sense that the conquerors are better, smarter, harder working, harder fighting, superior, blah, blah, from a purely sort of amoral conquering standpoint.
So you're upgrading, right, to mate with the conquerors from a biological standpoint.
It's nothing to do with ethics. We're just talking about evolution, right?
But, so there has to be a rejection of men for the sake of the conquerors.
But Japan, of course, was a fascinating situation because they were conquered but never occupied in any sort of meaningful way, right?
Miss Okinawa and things like that, but in no meaningful country-wide way, they weren't occupied.
So the men were defeated but not displaced.
So the women's contempt for the men who failed to protect them landed squarely on the men who survived the war, and that's Godzilla.
Why would there be a war after the war?
Right? Why would there be a war after the war?
Because there is a war after the war, and it goes on and on and on.
And the men cannot defeat feminism with weaponry.
They cannot defeat feminism with weaponry, because they've already been defeated by an external force, and because the women...
We can self-heal from male rejection by simply taking the resources from men in the form of the welfare state, in the form of debt, or in the form of artificially created jobs designed specifically for women, which is, of course, not to say that all females in the workforce are part of this, but there's a lot of sort of busy work, make work, HR stuff that's invented for women to have them, in a sense, LARP at massive amounts of productivity.
And the same thing happens with men.
I think it happens to women a little bit more.
So the women can get resources either from largely made-up jobs or through government debt or through the welfare state or through inheritance or whatever it is.
So the women can get resources from men without having to serve the culture or men or their children or anything like that.
And this is why the men are helpless in the face of Godzilla.
Godzilla is the angry female who has contempt for the men who lost.
And again, I'm not making this up.
This is the very first dialogue between a man and a woman is a woman screaming at a man that he kills her children because he failed to do his duty and failed to protect them by killing himself.
Which, of course, shows a certain level of murderousness.
Now, that character does soften over time and has a nicer side to her, but that's the very first thing you see.
And it's interesting that the mechanic says to the kamikaze pilot, he says, yeah, I mean, why kill yourself?
We can't win the war.
And then he's enraged because the failed kamikaze pilot guy doesn't shoot Godzilla from his plane.
He's got a plane that's sort of on the ground and Godzilla walks in front of it and he should use his guns to shoot at Godzilla.
So he's really mad that the guy didn't do that.
Right? So, the fact that the guy did not kamikaze himself, he's totally fine with, because you're going to lose, right?
But then the guy fails to shoot at Godzilla, saying, well, what if I just anger Godzilla, right?
Which is, of course, a man who is scared to confront a woman because she'll just escalate, right?
And the reality, of course, is that Godzilla survives tank shells and bombs and having mines blow up in his mouth and being shoved down and back up 1,500 feet in an underwater trench.
So Godzilla survives all of these things.
Godzilla, in fact, even survives the sort of final attack on him.
And so, at the very beginning, if the guy had shot Godzilla's legs with his machine guns on his plane, Godzilla would have just killed him.
So, it's exactly the same situation as the kamikaze.
You can't win. Why die if you can't win?
Why die if you can't win?
And, of course, it's a self-fulfilling prophecy, because if every soldier thinks, why die, we can't win, then you can't win.
You lose, right? So you kind of have to get everyone in a line in a war if you have any chance of winning, because if everybody thinks you can't win on one side, then they'll stop fighting, or won't fight much, or will run away, or try and survive.
In which case, I mean, you wouldn't survive.
You have to sort of fight, historically, like evolutionarily speaking, right?
If the tiger bursts into your cave and you as a man run away, then the tiger kills your wife and children, right?
And then no woman will mate with you because they'll know that you won't protect them, right?
So it's exactly the same situation.
And what's interesting to me as well, which tells you it's got nothing to do with Godzilla, it's all psychological, is that when the men fail to protect the homeland, when the men fail to protect the women and children, this guy not doing the kamikaze run, then Godzilla emerges, destroys men for no purpose other than rage, right?
And the guy who...
Fails to kamikaze, in other words, fails to kill himself to destroy an enemy who can't be defeated by him killing himself.
This is always a challenge.
So each individual soldier wants to survive.
But if each individual soldier wants to survive, the war is lost and historically none of them would survive.
So that's the big challenge with individualism versus collectivism.
So he couldn't defeat the American Navy with one kamikaze run, but he also couldn't defeat Godzilla by shooting at its legs.
It would have just angered Godzilla and Godzilla would have killed him.
So, the two emergencies of Godzilla, I mean, outside of the ship stuff, which is really just there for funsies, is that Godzilla emerges, well, let's do the ship one, right?
So, basically what happens is Godzilla chases these guys, the kamikaze guy joins with a couple of other guys to clear mines, and shooting balls, right?
Destroying masculinity, where we get all of this, right?
It's pretty... In fact, they just have two balls in the back of the ship.
So the two balls, which is a symbol of masculinity, is designed to destroy feminism.
So masculinity versus feminism, right?
They're literally two balls, the two minds, two balls in the back of the little tugboat is there to combat the femininity or the feminism of Godzilla.
So, it emerges when the guy fails, then emerges when they're destroying masculinity, which is, right, they're getting rid of all of the mines around Japan, which are defensive, right?
So, they're getting rid of all of the defenses, they're demilitarizing, they're demasculizing, which is happening in Japan, of course, in the post-war culture.
There's a hostility towards masculinity, which, of course, occurred in other countries that lost the Second World War.
So, when they are destroying masculinity, that draws up, or draws forth from the deep waters, the Godzilla, the feminism, and then they try to destroy it, and it fails again, because Godzilla has one of the minds in the mouth, the guy shoots it to blow it up, and so on, and that takes off half of Godzilla's head, but then, and I kind of rolled my eyes, of course, like, this is a creature of the mind, this is a fear, this is not a real creature, because it just heals up almost instantly, right?
So this is a man trying to block the verbal abuse of feminism, the contempt for masculinity, patriarchy, and all that.
So this is a man trying to argue back against feminism by literally using masculinity in an attempt to block the verbal abuse.
This is yelling back at a feminist, which generally...
Even if you do some damage, they'll self-heal and come back even stronger, which is kind of what happens.
But he should know at this point, he should be completely relieved of any concerns or fear that he had about failing his fellow soldiers on the island at the beginning, because given that you can blow half of Godzilla feminism's head off and it just regrows means that he couldn't have done anything to save the guys on the island, right? Because if he'd have shot Godzilla's legs, given that he blew half of Godzilla's head off and still didn't defeat Godzilla, the fact that he would shoot the legs means he couldn't.
So that should completely relieve him of that fear and have him recognize that there's no way he could have defeated Godzilla, so there was no point in him getting killed since Godzilla was on a rampage anyway.
So Godzilla goes from attacking men to attacking the entire culture and country.
The entire culture and country.
It goes from attacking the warriors to attacking the homeland.
Now, the woman, when she decides to go to work, right, the woman who's living with the kamikaze guy, when she decides to go to work, she's on her way to work.
I think it's her first day, like, she's on her way to work, and she's almost killed by Godzilla.
And this, of course, is feminism will tempt women with abandoning any kind of traditional female roles, any evolutionary female roles.
It's the idea of the Soviet man that you can completely rewrite human nature according to ideology rather than having to accept how we evolved and work with that, which is a more conservative viewpoint.
Work with what you have rather than imagining properties that you can invent through language.
So the woman, and this is the last sort of thing I'll say because I think I've made the point pretty clearly, but the story arc of the woman is she's taking on a traditional role of nurturing because she's raising the girl, but because the man won't commit to her or protect her, she goes to work, right?
And when women feel they can't trust men to provide and protect, then feminism has an opening.
Which is to say, you can't trust men, they can leave you anytime, you gotta make your own money, be independent, and so on, right?
So, she's lured into abandoning her child, and then she is, as far as we know, destroyed by the monster.
So she pushes the man into an alley, and she's destroyed by the monster, or lifted into vapor, or it looks like she's lifted into vapor in a sort of nuclear blast kind of situation.
So she saves him, and she is destroyed, as we sort of understand it.
And remember, this is a non-nuclear family, nobody's related.
The man rejects being called to father and says, you just use my name, and all the other men are like, oh, that's so destructive, that's so harmful, how can you do that?
And then the woman is destroyed trying to save him.
So the woman goes to work and is destroyed by feminism.
And this, of course, is the women who realize that a paycheck is not a family, that a career is not love, and that you don't escape service by having a job.
You just escape service to those who love you and replace it by those who just pay you, and often unwillingly or according to sort of legal requirements.
So she's destroyed.
Now, at the very end of the movie, this is the coup de grace, the way of cementing the theory.
At the end of the movie, when the man believes he's destroyed feminism, the men believe they have destroyed feminism, and of course it's interesting that the government is helpless and useless, And they talk all the time about propaganda in the movie.
Like, I'm not just making this up that Godzilla is feminist propaganda.
I'm not just making this up. They talk all the time, oh, control of information is a Japanese thing, and Japanese control of propaganda is the government thing, and they talk all about this, right?
So they're talking about propaganda the whole time.
I'm making this up, right? Talking about propaganda the whole time.
Of course, another reason why, by the by the by, another reason why Godzilla is tied into nuclear war is because nuclear war changes the genetics, destroys genetics, right?
Harms genetics in the same way as has happened in Fallujah in the Iraq war where an entire population was genetically harmed with these horrible, horrible weapons.
They depleted uranium weapons.
So, women are afraid to have children if the children are going to be deformed, and that's another reason why they turn against the men and turn against having children, which is why radiation is also considered to be essential in the birth of Godzilla, right?
Because women are turning away from having children because, remember, back in the day, nobody knew the long-term effects of radiation or how far it would go, and so women don't want to have kids.
So the coup de grace, I shouldn't say the coup de grace because that's the ending, but the final confirmation of the theory is what happens at the end of the movie.
Well, the men think they've defeated feminism, and then the woman is resurrected.
Like, this is a resurrection scene because she's whisked off into the sky and destroyed 30,000 dead in Tokyo in the attack.
So at the end of the movie, when they've destroyed feminism...
The woman comes back to life, rejects her career, and accepts her role in the family.
Now, does she say this?
No. But the man comes and says, basically, I want to be a family.
She asks, is your war over?
He wants to be a husband.
He wants to be a lover.
He wants to have children. He wants to be a family man because he breaks down in front of her and...
So after they have successfully protected the women, after they have successfully defeated the monster and feminism and so on, after he's proved his worth as a man, then family life can resume.
Then the woman will return to being a wife and a mother and the society continues and all of this kind of stuff.
So when the men defeat feminism, then they can have children again, they can be fathers again, and the society can continue.
So this is very clear in the movie.
I'm not... I'm not twisting anything to fit the facts.
I really try to be as empirical as possible, but Yeah, Godzilla is feminism that is produced by the defeat of the men.
And the men, of course, as the women become more masculine, then the men become more feminine to compensate.
And the women basically say, well, if the men can't protect us, we'll have to protect ourselves.
If we can't rely on the men to provide for us, we'll have to get our own jobs.
If we can't rely on the men to protect us, as this woman, she protects the man by pushing him into an alley.
I'll protect the man forever.
And after she assumes the masculine role of getting a job and protecting the man, she vaporizes, so to speak, right?
And then she only comes back when the men have defeated feminism and have reasserted themselves as at least able providers and protectors, so...
Yeah, that's the movie. It's interesting to watch.
It's got a certain charm to itself.
But yeah, once you understand that, all that's going on, you can really understand why these essential truths are both explored and obscured by the movie.
Of course, if I were to ask the movie makers, does this have anything to do with feminism?
Well, they'd say no. Absolutely not.
But of course, you can see the gender roles are very clear.
The women are all nurturers and caregivers, and the men are all fighters and warriors and protectors and providers.
The man's like, don't I give you enough money when she gets a job?
But that's the war that happens after the war.
The war that happens after the war is trying to find some way to regain the trust and respect of the women by the defeated men Because if you don't, as we can see in Japan at the moment, well, you're not long for the world as a culture and as a history.
So, freedomain.com slash donate.
If you find these kinds of analyses useful, I think it's worth watching the movie.
And if you come up with counter examples, I'm certainly happy to hear them.
But I think that's pretty clear about what's going on.
So, I hope that helps. freedomain.com slash donate.
Thanks, Emil, for your support, my friends.
Lots of love from up here.
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