Godzilla gay

A Cast and Director Working in Unison

On a technical level, the film has incredibly tight editing and special effects that shouldn’t be ignored. There’s a quiet sadness, a pathetic nature that is just under the surface of the deaths here that reminds you these aren’t action movie heroes. Is Godzilla the friends we made along the way?

Fukasaku’s yakuza films have often been interpreted by film journalists and scholars like Will Robinson Sheff and David Hanley to be “harsh-lit exposés of postwar Japan’s demoralized spirit”, “[conveying] the chaotic nature of the period”. This brings us to Coming Out, the 2020 short film directed by Cressa Maeve Áine, in which Godzilla celebrates the transition of its young daughter (also a Godzilla, albeit a very cute one).

Only Americans use gendered pronouns for Godzilla—they were introduced in the first subtitle translation, and “he” was used only because it was considered a “universal” pronoun at the time. (This is Godzilla’s American franchise; in Japan, Godzilla works with Toho Studios.) “Godzilla is ‘evolving’ into a pink, slim-waisted, big-booby version, and I’ll bet they are transitioning him,” wrote one deeply confused, and perhaps horny, internet commenter.

Much the way that so many of us trans and queer people have been doing and are doing right now, saying, ‘No, we are part of this world.’”

After all, where Godzilla walks, the world changes—even if Godzilla does have to stomp through a city-size obstacle or two to get where it’s going.

The 4 Gayest Godzilla Movies

Listen, nerds, quit yer bellyachin’, and let me have my fun.

“I imagined Godzilla coming up over the hillside and just watching me do it and stomping along. “But we have plenty of other organisms that do.” Crocodiles and alligators, for instance, don’t have sex chromosomes; their sex is determined by the temperature at which their eggs incubate. They take back their dignity, and though it’s a slow climb back, one that might seem impossible, there is hope.

They’re left rudderless by a society that didn’t care about them as anything more than a scapegoat or an economic panacea. But all these years later, it’s more difficult not to be stunned by how many runaway performances this film has that are just that good. For Áine, Godzilla is a reminder of her father’s love; for those of us who grew up in unsupportive environments, Godzilla was often the all-powerful protector we needed but never got.

“Coming from a home that was not safe for kids, these monsters were kind of, I want to say, like the parents that I didn’t have,” Black says.

Jun Fukuda)

I recently rewatched this, and my goodness if it didn’t drip with homoerotic tenderness between our group of himbos, led by the devastatingly handsome Akira Takarada. That was certainly a long voyage across the seas.

There are two things to note here. It goes like this:

Q: Where does an 800-pound gorilla sit?

A: Anywhere he wants.

I encourage you to think of that joke when you contemplate the 390-foot-tall, 164-ton subject of our inquiry.

Fukasaku often called the film a “fable” or a “fairy tale” about the next generation’s challenges, and its heroes do feel heroic in that sense; Shuya, Kawada, and Noriko, stand defiant against the tide of hopelessness in an iconic way.