Godzilla: King of the Monsters Movie Poster

Trivia for Godzilla: King of the Monsters

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  • The film has the same kaiju lineup as Ghidorah, the Three-Headed Monster (1964) (Ghidorah, the Three-Headed Monster).
  • This will be the 35th Godzilla movie, after Godzilla (2014), Shin Godzilla (2016) and the Godzilla: Planet of the Monsters anime trilogy series (2017 - 2018), although Shin Gojira and the anime trilogy of Godzilla: Planet of the Monsters are not in the same universe or timeline as Godzilla (2014).
  • Godzilla: King of the Monsters will release 64 years after the 1954 Japanese original.
  • King Ghidorah is Godzilla's most iconic enemy.
  • Godzilla: King of the Monsters is expected to set up the confrontation Godzilla will have with King Kong in the upcoming Godzilla vs. Kong (2020) film, set for release in 2020.
  • Max Borenstein said in an interview that the sequel will be "bigger and better" than Godzilla (2014).
  • Originally Godzilla: King of the Monsters was going to be released on the same day, June 8, 2018 as Bumblebee (2018). Now, the release date has been pushed farther for March 22, 2019 and later delayed once more to May 31, 2019, following Avengers: Endgame (2019), Aladdin (2019), Pokémon Detective Pikachu (2019), and John Wick: Chapter 3 - Parabellum (2019).
  • Gareth Edwards was originally set to direct the film, but he later dropped out on May 13, 2016.
  • Stranger Things (2016) star Millie Bobby Brown joined the cast in January 2017.
  • This film is a sequel to Godzilla (2014) and will be the thirty third Godzilla film, the third film in Legendary's MonsterVerse, and the third Godzilla film to be completely produced by a Hollywood studio.
  • This film is in series with Kong: Skull Island (2017) and Godzilla vs. Kong (2020). Kyle Chandler also starred in Peter Jackson's King Kong (2005).
  • This is the first American production of Godzilla to receive a sequel.
  • The third installment of Warner Bros. Pictures' media and shared fictional universe, the MonsterVerse, that is centered on a series of monster films featuring Godzilla and King Kong.
  • O'Shea Jackson Jr. is the third actor from Straight Outta Compton (2015) to appear in the MonsterVerse film after Corey Hawkins and Jason Mitchell in Kong: Skull Island (2017).
  • Millie Bobby Brown and Randy Havens had worked together on Stranger Things (2016).
  • This will be Thomas Middleditch's second MonsterVerse after Kong: Skull Island (2017).
  • Sally Hawkins and Ken Watanabe are the only cast-members of Godzilla (2014) to return for the sequel.
  • The five-year period between the release date of Godzilla (2014) and this film is the second longest gap between the release of the first and second films in a new series of Godzilla films, after the five-year gap between the releases of the The Return of Godzilla (1984) and Godzilla vs. Biollante (1989) to start the Heisei Series.
  • This film marks the reunion of Ken Watanabe and Ziyi Zhang, following their previous collaboration on Memoirs of a Geisha (2005).
  • The first trailer for the movie features Claude Debussy's "Clair de lune."
  • Millie Bobby Brown's film debut.
  • This film is set in a universe where King Kong exists. Kyle Chandler previously appeared in Peter Jackson's 2005 version of King Kong.
  • Sally Hawkins's third creature film after Godzilla (2014) and The Shape of Water (2017).
  • Godzilla received a slight revamp with his dorsal fins changing in shape, rather than being jagged and straighter in design, the new design features more protrusions, and looks more like the maple leaf design akin to earlier Godzilla incarnations, the director states that his eye color also changes when he uses his atomic breath (a bright blue hue) much like his attack.
  • While Michael Dougherty loved Gareth Edwards' slow-build for Godzilla (2014), Dougherty revealed that his film will "definitely take the gloves off for this film. No holding back."
  • On July 21, 2018, Michael Dougherty revealed that Bear McCreary will compose the film's score, incorporating themes from Akira Ifukube's previous Godzilla scores. Regarding his involvement, McCreary stated, "I am thrilled to be the composer for Godzilla: King of the Monsters, and honored beyond words to have the opportunity to contribute to one of cinema's longest-running musical legacies." The first trailer featured a rearrangement of Claude Debussy's Clair de Lune by Michael Afanasyev for Imagine Music. McCreary further expanded on his plans and involvement, stating, "I've known Michael Dougherty for a long time, as we both run in the same film-nerd circles. I have always appreciated his love of film music, chatting with him for hours on end over the years about the scores we both love. I was thrilled for him when he landed the gig to direct Godzilla, because I knew what it meant to him. When he later asked me to join the project, I was overwhelmed with excitement, and awe, grateful for the chance to join him in contributing to the legacy of our favorite monster. We knew from the beginning that we wanted to incorporate classic Ifukube themes, and yet I think fans will be excited to hear how they have evolved. There are some fun surprises in store. Fitting the material and Michael's visionary film, this score is the most massive I have ever written, and I can't wait for fans to experience it!" In November 2018, a sample of McCreary's Godzilla theme was leaked online after it was used during a panel at Tokyo Comic Con.
  • This won't be the first time Millie Bobby Brown has had to deal with giant monsters.
  • Charles Dance saying "Long live the King."
  • Creator's Favorite: While Director Michael Dougherty didn't outright say Rodan was his favorite, he has stated that he has a major soft spot for Rodan and prays he did "justice" for the character.
  • Colbert Bump: The trailer's usage of Clair de Lune astonishingly has fans looking up for the music. It wouldn't be inaccurate to say that no classical music fans actually minds this.
  • Release Date Change: The film's release date was initially sometime in June 2018, but was pushed back to March 22nd, 2019. It was subsequently pushed back again to May 30, 2019 to avoid competition with Disney's Captain Marvel.
  • Talking to Himself: While not quite 'talking,' Jason Liles does the motion capture for both Rodan and King Ghidorah's middle head.
  • Those Two Actors: Sayuri and the Chairman are reunited.
  • Gareth Edwards was originally set to return to the director's chair after taking a break from blockbusters, but he decided to take on Rogue One: A Star Wars Story (2016) in that time instead, meaning that his break was delayed to the point where it encompasses the time he could have directed this.
  • Early designs for Rodan gave him a more bird-like look and feathers, but this was scrapped for a more traditional design.
  • Working Title: Unsurprisingly, Godzilla 2. During production, the film was also called Fathom.
  • The Director posted an image of the Oxygen Destroyer on Twitter during the days of filming. The OD was used in the first Godzilla film (1954), to defeat Godzilla. In the 90's Heisei series, which are all films that tie into the original 54 movie and its reboot of the franchise Godzilla 1984, Godzilla Vs Destroyah (94) was released. The monster Destroyah was a creation that spawned as a direct result of the OD being used in the original 54 film. The Director of Godzilla King of the Monsters, has stated that, "...the Oxygen Destroyer is relevant to the movie, and is not a simple cameo, their are also several other weapons and things being created...". This could be a set up to bring in Destoryah for the next movie in the series, Godzilla Vs. Kong due out in 2020.
  • In the film, King Ghidorah stands at 521 feet (158.8 meters) tall, making him 128 feet taller than Godzilla, who stands at 393 feet (119.8 meters). This is the largest American incarnation of the monster in history, and also the second largest incarnation of the monster ever, being almost 62 feet taller than Toho's Heisei version, which stood at 460 feet (140.2 meters).
  • Godzilla's appearance has slightly changed in comparison to Godzilla (2014). In the film, his dorsal spikes resemble the original look from Godzilla (1954), and his body is also bulked up and more muscular, resembling a powerlifter.
  • The height of Rodan is somewhat smaller than the original in Showa era, however it's possible that Rodan's height could be a matter of posture.
  • This Rodan is the first of its incarnations with wider wingspan than that of Mothra within the same continuities.
  • As seen on the Monarch Sciences website, Monarch Outpost 56, where Rodan is contained homages 1956, when Rodan (1956) was released.
  • The reveal image for Mothra reads "Terrasearch #63061: Yucca Province". June 30, 1961 (6-30-61) was the date the original Mothra (1961) film was released. However, Yucca is a typo as it's supposed to be "Yunnan", and there is no such place as the Yucca Province.
  • As seen on Monarch Sciences website, Monarch Outpost 61-where Mothra is located, homages 1961,the year Mothra (1961) premiered. Based on the fact that the Nazca Lines are mentioned in her description, it can be assumed she has some ties to Nazca culture. Mothra's connection to the Latin American continent is similar to that of her AniGoji counterpart.
  • This Mothra's bioluminescence-based abilities are similar to a special ability of the male MUTO, originally dubbed 'Hokmuto', in an early version of the 2014 film, Godzilla. Said ability was said to be a lightning-like "shockwave" that created aurora-like lights. Furthermore, some scenes of Mothra (MA) is similar to the description of this Mothra's bioluminescence.
  • In the official Monarch Timeline posted on the Facebook page for, Kong: Skull Island (2017), the label given to Ghidorah is "Monster Zero", which was the name given to him by the Xiliens in Godzilla vs. Monster Zero (1965).
  • This trait where monsters had inspired humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. There are more claims of similarities between his works and monsters in the previous film.
  • An idea for Ghidorah to battle Godzilla underwater, as seen in the concept arts released at Tokyo Comic-Con, was also originally introduced to the series within Kaneko's work.
  • This is the second largest live action incarnation of Ghidorah, as well as the second largest next to the anime incarnation.
  • Monarch Outpost 32 where Ghidorah is contained, functions as a reference to Outpost 31 from The Thing (1982), this is backed up by its location which is in an Antarctic/Arctic region. Additionally, its a more subtle homage to 1964, the year that Ghidorah, the Three-Headed Monster (1964) was released (as 32 is half of 64).
  • Rodan bears elements of volcanic rock were added to its scales and skin color to look capable of living inside of a volcano.
  • Mothra's eye-spots on her wings were designed to resemble Godzilla's eyes in order to create a connection between the two monsters.
  • Mothra was designed to resemble real moths and given longer legs in order to defend herself against other monsters, a quality real moths can do.
  • Rodan's wingspan is 871 feet wide, nearly six times his own body height (154 feet). This is similar with Mothra, who has a height of 52 feet and a wingspan of 803 feet, which is nearly 16 times her own height.
  • Although not mentioned in the film, King Ghidorah's wingspan could be over 1,700 feet (518.2 meters) wide.
  • Godzilla is the only confirmed monster who can't fly in the film, while the others (Ghidorah, Mothra and Rodan) can.
  • In Mosura (1961), a scene explaining the origins of Mothra and the fairies was planned, but deemed too long and dropped from the final draft. This film will dive in to where Mothra originated.
  • Mosura (1961) is thought to have popularized the notion of presenting giant monsters in Japanese movies as their own individual, identifiable characters, rather than menaces who are meant to be defeated. Tellingly, Mothra is presented as more of a hero than an evil or mindless beast. This change in characterization would carry over to other famous giant monster characters, most notably Godzilla, as they would become similar to the early Western monster movie characters made popular in the Universal horror films (Dracula, Frankenstein's monster, the Wolfman, etc.) rather than the bestial and often interchangeable, generic Western notion of giant monsters.
  • The way Rodan escapes the volcano is similar to what happened in San daikaijû: Chikyû saidai no kessen (1964), where Rodan flies over to the volcano and scares the tourists.
  • In the original Japanese films, Rodan's name is spelled and pronounced as "Radon".
  • This is the third movie in which King Ghidorah is not controlled by aliens, after Ghidorah: The Three Headed Monster (1964) and Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack (2001). The rest of the films in the Toho series made aliens or similar advanced humanoids control him.
  • Aaron Taylor-Johnson and Elizabeth Olsen, who are the two main cast members of Godzilla (2014), couldn't return for this film due to scheduling conflicts with other films.
  • The film was made on a budget of $170 million dollars, which is just $10 million more than the budget of Godzilla (2014), which was made at $160 million dollars.
  • The name "Titanus Mosura" comes from the Latin term "Titanus", meaning Titan, with "Mosura" being a Japanese translation of Mothra.
  • Monarch's cryptid profile describes Mothra's origins as follows: "From erased Nazca lines to the hidden Temple of the Moth, the name "Mothra" is woven throughout the most secret mythologies of our planet. The folklore and fairy tales tell of a winged creature of blinding light, an angel of the clouds whose god-like luminescence has the power to shatter the sky. Ancient spirit tablets discovered in the mountain jungles of the Yunnan Province portray a giant winged alpha of the Lepidoptera order. In all of our findings, human civilization is pictographically shown in poses that imply deification of the so-called "Queen of the Monsters", suggesting that the creature was once a benign part of the natural order. When Monarch containment crews discovered the live Titan chrysalis within the Chinese myth site, Dr. Emma Russell was quickly dispatched to closely monitor the creature that lay dormant within it. A quickening sonar pulse suggests the creature is awakening. If she ever emerges from her ancient slumber, a superspecies that once illuminated the sky will be reborn as Mothra. Pupal DNA samples suggest a remarkable, multi-stage evolution. On reaching adulthood, Mothra's gigantic thorax is capable of emitting beta-wave bioluminescence which can be projected through the intricate patterns on its wings and weaponized into blinding "god rays". As one of the deadliest and most beautiful natural phenomena in Earth's history, no wonder this devastating guardian angel was worshipped as a goddess by the ancient human civilization blessed to witness her."
  • In 2009, a team led by Monarch scientist Dr. Emma Russell followed a strange bio-acoustic signature to a previously undiscovered megalithic temple in the high-altitude jungles of China's Yunnan province. A giant cocoon was found within the temple, with a rapid heartbeat detected inside.
  • Mothra was confirmed to be appearing in Godzilla: King of the Monsters, along with Rodan and King Ghidorah, on July 26, 2014. A Monarch timeline video uploaded to Kong: Skull Island social media accounts describes a giant cocoon with a "quickening heartbeat" discovered by Monarch in China's Yunnan province, within an ancient structure called the Temple of the Moth.
  • Mothra's screech in the film is a modified version of her original sound from the Toho series.
  • The Monarch outpost where Mothra is being studied is Outpost 61, a reference to the release year of her debut film, Mosura (1961).
  • Mothra's bioluminescent "God Ray" abilities, perhaps coincidentally, resemble an unused ability of the winged MUTO in the June 2012 screenplay for Godzilla (2014). In this version of the film's story, the male MUTO, originally dubbed "Hokmuto," had the ability to produce a lightning like "shockwave" that generated aurora-light lights similar to the ones Mothra gives off.
  • Ghidorah's name is likely based on Zmey Gorynych from the 1956 Soviet film Ilya Muromets, the inspiration source of the monster and was called "King Dragon" in Japan. Ghidorah is likely based on a direct translation of the pronunciation of Hydra in Russian language.
  • Ghidorah will be portrayed through a mix of motion capture and CGI. It was confirmed that Jason Liles, who starred in Rampage (2018), will mo-cap Ghidorah's middle head, with Alan Maxson and Richard Dorton portraying the other two, while unnamed colleagues play the monster's body.
  • Ghidorah has a cackling roar similar to his Showa and GMK incarnations. He also lets out a piercing shriek when he fires his gravity beams.
  • Ghidorah is malevolent in nature, which is supported by the skulls depicted surrounding him in the cave painting and a footnote in Vivienne Graham's notes that refers to him as "the devil". His sadistic and ruthless nature is elaborated when he willingly obliterates soldiers with his gravity beams instead of ignoring them. His middle head also appears to have a fairly large degree of intelligence and sentience while his other two heads act more akin to trained attack dogs. Ghidorah is depicted fighting with Godzilla in a cave painting, suggesting that the two have a history (he is even referred to as "a rival alpha to Godzilla").
  • In 2016, Vivienne Graham led an effort to build a containment and research facility around an extraordinary, but dormant creature in the Antarctic. Her classified field notes contained the mysterious footnote, "The devil has three heads", referring to King Ghidorah.
  • In the official Monarch timeline posted on the Facebook page for Kong: Skull Island, the label given to Ghidorah is "Monster Zero", which was the name given to him by the Xiliens in Kaijû daisensô (1965).
  • According to Monarch Sciences, Ghidorah (like his arch-rival Godzilla) has been alive for centuries and influenced the depiction of numerous mythological creatures (such as the Rainbow Serpent and the Hydra) which were in fact sightings of him. This trait where monsters had inspired humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. There are more claims of similarities between his works and monsters in the previous film. An idea for Ghidorah to battle Godzilla underwater, as seen in the concept arts released at Tokyo Comic-Con, was also originally introduced to the series within Kaneko's work.
  • Michael Dougherty has stated that, although King of the Monsters is not a comedy, he likened Ghidorah to Rip Van Winkle, having a sense of curiosity and cruelty. Additionally, producer Alex Garcia described Ghidorah as "not part of the natural order".
  • In one interview, Michael Dougherty likened Ghidorah's three heads to conjoined siblings. Additionally, when designing Ghidorah, he wanted to create a "unique" design that still resembled Ghidorah and worked closely with Toho to make sure the new design respected past incarnations; he also studied various animals, specifically king cobras, in order to add a sense of realism to the design. He also told the design team to maintain an Eastern Dragon influence, and to avoid any Western Dragon influences, stating "They're not traditional western dragons. So those were marching orders from the beginning... We don't want it to look like Game of Thrones' dragons."
  • Cranial scans indicate each of Ghidorah's heads possess different levels of cognitive function and possible independent thought. The middle head is the most intelligent, acting as the alpha, while the left and right heads are more akin to its lackeys.
  • Ghidorah has hyper-tensile muscle tendons in his wings capable of generating hurricane-force winds while in flight.
  • According to a cave painting, Ghidorah, much like his previous incarnations in Toho's pre-MonsterVerse films, is shown to be much larger than Godzilla. Also like his previous incarnations, each neck has row of spines going down but the middle neck has two rows of spines while the left and right necks have one. The middle head's horns are notably straighter and longer than those of its peripheral heads. Ghidorah's wings are also larger and more bat-like in appearance than most incarnations, and they can also act as forelimbs to support his massive body. Each of his heads have a crown of horns similar to the Heisei incarnation, but each horn is longer and more curved. The horns also tend to flare depending on Ghidorah's current mood. Ghidorah still has his traditional twin tails with spiked bludgeons at their tips that can rattle as an intimidation display. His legs are digitigrade with avian-like feet, similar to the 2001 incarnation. Ghidorah's eyes are fiery red which seem to glow whenever he charges up his gravity beams.
  • Rodan's Japanese name, Radon, is a truncation of "Pteranodon." It may also have been chosen to suggest radiation. The name was changed to "Rodan" in English-speaking markets, possibly to avoid confusion with the element Radon. Toho eventually trademarked the name "Rodan," making it the monster's official English name. According to Monarch, Rodan is referred to in some legends as the "Fire Demon" and "The One Born of Fire." Monarch's Titan designation for Rodan is Titanus Rodan, which unlike the designations for Godzilla and Mothra utilizes his English name rather than his Japanese name.
  • Rodan's origins are unclear, but he is presumably an ancient creature, due to being depicted in what appears to be an ancient cave painting. Similar paintings exist of Godzilla, Mothra and King Ghidorah, suggesting Rodan either appeared alongside them in the past or is prophesied to appear alongside them in the future. According to Monarch, Rodan is spoken of in legends, with his name referenced within many ancient temples in volcanically active regions. In 1991, Rodan was discovered by Monarch in pyrostasis in the magma inside the Isla de Mara volcano in Mexico.
  • Rodan has an internal combustion system of magma that flows throughout his body.
  • The Monarch outpost where Rodan is being studied is Outpost 56, a reference to the release year of his debut film, Sora no daikaijû Radon (1956).
  • The nickname given to the location where Rodan is found, "el nido del demonio," is Spanish for "the demon's nest."
  • Originally, the Mexican volcano in which Monarch discovered Rodan was named Isla de Mona, which is the name of a real island in the Puerto Rican archipelago. The name was eventually changed to Isla de Mara.
  • Michael Dougherty later revealed that the name "Godzilla" is not the primary name of the monster, but a nickname, with the scientific name used within the film's universe being "Gojira". The resulting scientific dubbing of Titanus Gojira comes from the Latin term "Titanus", meaning "Titan", and "Gojira", meaning "large lizard" in Japanese.
  • Godzilla received a slight revamp for King of the Monsters, with his dorsal plates changing in shape. Rather than being jagged and straighter in design, the new design features more protrusions, and are stated to be the same shape as the original Godzilla's dorsal plates. The claws of his toes are also longer and curved. His skin is rougher in texture. The tip of his tail is also more rounded. In addition, his eye color also changes when he uses his atomic breath, becoming a bright blue, much like his attack.
  • In an interview with Michael Dougherty, he revealed that even though he thinks the crew did a great job revamping Godzilla's roar, he pushed them further to bring it even closer to the original 1954 Godzilla's roar.
  • Godzilla was designed to have a personality that would evoke the "last samurai" archetype, and be a lone, ancient warrior content with solitude and preferring not to be a part of the world but has to resurface when certain types of events force him to appear and set things right. Godzilla also apparently has some degree of rivalry with Ghidorah, as he is depicted fighting with him in a cave painting. His relationships with the other kaiju are unknown.
  • In Godzilla (2014), when Ford and Joe Brody return to Janjira to visit their old home, a terrarium can be seen with a roach crawling on it, labeled "Mothra."
  • In Godzilla (2014), when the Janjira plant goes down, Ford Brody is attending a class about the life cycle of moths, completely with a moth that resembles Mosura (1961). Also seen in the classroom is a red pteranodon (that resembles Rodan in Sora no daikaijû Radon (1956)) and a dinosaur skeleton (whose form resembles Godzilla in Gojira (1954)).
  • King Ghidorah was the antagonist in an early draft of the script in Godzilla (2014), having crashed in the Arctic during the last Ice Age and being kept frozen in the Yucca Mountain Nuclear Waste Depository (a cover by MONARCH), before escaping and fighting Godzilla in San Francisco. He was removed by Gareth Edwards, who felt that Ghidorah (being extraterrestrial) did not fit the film's "wrath of nature" theme, and to avoid similarities with the popular alien film Transformers (2007). Ghidorah will, however, appear in this film.
  • One of the main criticisms of Godzilla (2014) was the lack of Godzilla himself, despite it having over twelve minutes of screen time (this is one of the highest amounts of screen times for Godzilla in a Godzilla movie). Many people criticized this "teasing" as boring and unfulfilling, while others praised its holding back of the monster as references to how the shark from Jaws (1975) was teased until the end. Nevertheless, Director Michael Dougherty later confirmed that Godzilla will appear much more in this film.
  • The Monarch organization is named after the Monarch butterfly. Its emblem features a butterfly-shaped symbol. This symbol is found on the helicopter in the beginning of Godzilla (2014).
  • Godzilla being an ancient beast from a time when the conditions on Earth were severely inhospitable and his conflict with other monsters from the same time period references Gojira no gyakushû (1955).
  • This is the second American film where Godzilla is a heroic character, in keeping with his evolution from a villain to a hero in Japan, with the first being its predecessor Godzilla (2014).
  • In Godzilla (2014), the news report at the end of the film reads "King of the Monsters". This is a reference to the subtitle of the American version of the original film: Godzilla, King of the Monsters! (1956), and also foreshadows this film.
  • During the final battle of Godzilla (2014), when Ford fills the nest with gasoline, the camera pans in to show a golden dragon statue head, a not so subtle reference to King Ghidorah.
  • Godzilla's atomic breath in Godzilla (2014) is a more concentrated solid beam, that explodes like the 80's-2000's movies but more of a whispier heat wave, like the earlier Showa movies with him in it. In this film, the beam is more powerful and spread out.
  • Godzilla is noticeably taller than he was in the first movie, which leads to the belief that he is truly evolving. In this film, he stands at 393 feet (119.8 meters) tall, while in Godzilla (2014), he stood at 355 feet (108.2 meters) tall. This makes Legendary Studios' Godzilla the largest live-action incarnation of all time, being nearly two meters taller than the Shin Gojira (2016) version, and eleven meters taller than he was in 2014.
  • At 521 feet (158.8 meters) tall, King Ghidorah is the tallest and largest monster in the film, dwarfing Godzilla (393 feet / 119.8 meters), Rodan (154 feet / 46.9 meters) and Mothra (52 feet / 15.8 meters).
  • Mike Daugherty has stated that although King of the Monsters is not a comedy he likened Ghidorah to Rip Van Winkle, having a sense of curiosity and cruelty. Additionally, producer Alex Garcia described Ghidorah as "not part of the natural order."
  • Since he has the ability to breathe with both gills and lungs Godzilla is considered more of an amphibian than a true reptile.
  • Godzilla (2014) was so successful, that two sequels were green-lit only two days after the premiere of the film.
  • The prequel comic, Godzilla: Awakening has a location called "Moansta Island", a reference to Monster Island.
  • Second Godzilla movie to feature Oscar nominated actresses and actors (Vera Farmiga, Sally Hawkins, David Strathairn, and Ken Watanabe).
  • This is the third installment in Legendary's MonsterVerse.
  • This movie states that Ghidorah is a fairly recent discovery thus Monarch has had little time to study him. Except that the post-credit scene in Kong: Skull Island (2017), set in 1973, shows that Monarch knows about him along with Godzilla, Rodan, and Mothra.
  • Just as Godzilla (2014) featured characters that worked for Project Monarch and used the term M.U.T.O., so too does Kong: Skull Island (2017), tying both together in the MonsterVerse, which includes Godzilla: King of the Monsters and Godzilla vs. Kong (2020).
  • Near the end of the credits of Kong: Skull Island (2017), is a line that says: Characters of "Godzilla", "King Ghidorah", "Mothra", and "Rodan" created and owned by Toho Co., Ltd. This ties in with the MonsterVerse and could be a clue to kaijus appearing in future movies, including this film and Godzilla vs. Kong (2020).
  • To date, this one of only three Godzilla films where Mothra is not accompanied by her twin fairies. The others are Destroy all Monsters (1968) and Godzilla, Mothra, and King Ghidorah: Giant Monsters All Out Attack (2001).
  • This is the first film in the MonsterVerse where there are no MCU actors seen. Whereas Aaron Taylor Johnson and Elizabeth Olsen (Pietro and Wanda Maximoff) appeared in Godzilla (2014), and Tom Hiddleston (Loki), Brie Larson (Carol Danvers), John C. Reilly (Rhomann Dey), and Samuel L. Jackson (Nick Fury) appeared in Kong: Skull Island (2017).
  • Despite there now being 35 Godzilla films since 1954, this film marks the first time Rodan and Adult Mothra have fought.
  • At the end of the closing credits, There is a dedication to two "Godzilla" veteran crew members, producer Yoshimitsu Banno and actor Haruo Nakajima.
  • This is the second american movie to use the original Godzilla theme by Akira Ifukube, after Ready Player One (2018). Although that movie is not part of the MonsterVerse, the soundtrack plays when Mecha Godzilla is formed.
  • The film is released on the 65th anniversary of the original Gojira (1954) film.
  • Before the premiere of this film, Director Michael Dougherty has confirmed that there will be a third sequel coming after Godzilla vs. Kong (2020).
  • During the credits, Godzilla, King Ghidorah, Mothra, and Rodan are listed as themselves.
  • This film is the second of three proposed Godzilla films. However, Godzilla vs. Kong (2020) is not the third sequel, but more of a tie-in for the MonsterVerse (like DCEU's Batman v Superman: Dawn of Justice (2016)), and also serves as a continuation of Kong: Skull Island (2017).
  • The movie Monster Island (2019), is a spoof mock buster of this film.
  • Kyle Chandler was in King King (2005) and now nearly 90 years later (in the movie universe) he is seeing Godzilla: King of The Monsters in present day. He will also star in Godzilla vs. Kong (2020) as the same character he plays in this film.
  • Early in the film a news broadcast shows footage of protesters calling for the government to exterminate the Titans. One of the protesters carries a sign reading "Destroy All Monsters" - a nod to the 1968 film of the same name.
  • The film received a Rotten Tomatoes score of 39% and an audience score of 86%. The critics' consensus reads "Godzilla: King of the Monsters delivers spectacular kaiju action -- and reaffirms that cutting-edge effects are still no substitute for a good story".
  • In one of the last scenes of the movie, a swamp of Monarch butterflies, after which the Monarch organization is named, can be seen flying over the Skull Island.
  • The title doesn't appear until the end of the movie.
  • Rodan is capable of lasting two minutes alone with Ghidorah, and has a long drag out fight with Mothra, making him considerably stronger than his Heisei and Millennium incarnations (who were largely manhandled by their opponents in short order) and the strongest incarnation since the Showa Era.
  • Mothra is also more in line with her Showa counterpart where she rivaled Godzilla in power, rather than later versions who often needed help to do the same. She's even referred to as the "Queen of the Monsters." Notably, advertising refers to her as an 'Alpha', a term also used to describe Ghidorah and Godzilla. She's capable of defeating Rodan one on one, finishing the fight by impaling him with her stinger.
  • King Ghidorah was already bad in other versions, but this version is capable of generating a cataclysmic storm simply by flapping his wings and is the largest Ghidorah in live action film. He has an incredible Healing Factor to the point it takes being completely atomized to kill him. Also, whereas every Ghidorah since the original except the Rebirth incarnation has been The Dragon to someone else, this Ghidorah is the one giving the orders to other monsters.
  • While King Ghidorah has never been exactly stupid, previous versions' plans amounted to 'kill everything by spamming it with gravity beams' (with the Rebirth version adding a mass kidnapping to that plan) or are the minion of alien invaders. This version is the mastermind leading the invasion, has a more complex plan (use Earth's Kaiju to terraform the planet in his own image), and shows more complex strategic thinking in combat than his previous counterparts (such as keeping Rodan close so he has back up if he needs it or absorbing the entirety of Boston's power supply to power himself up to get the upperhand on Godzilla).
  • Mark Russell perpetuates the outdated theory that wolf packs in the wild are dominated by an Alpha, who earns the position through fighting and physical intimidation. As it turns out, Titans follow that same dynamic. Godzilla is the Titan pack's rightful Alpha (with Mothra as another Alpha in a symbiotic relationship with him). King Ghidorah is a rival Alpha, who does command the other Titans' loyalty after defeating and apparently killing Godzilla.
  • Alternative Foreign Theme Song: "Pray" by the Japanese rock band [ALEXANDROS] will serve as the main theme of the movie in Japan.
  • All four monsters appear to be associated with certain colors: * Godzilla is associated with blue. Thanks in large part of living in the ocean and his atomic breath being blue. * Rodan is associated with red. Being a creature of fire and was living in a volcano. * Mothra's varies a bit, but the bioluminescent green seems to define her the most. This color showcases how much of a spectacle she is and gives a very warm presence. * King Ghidorah's main color is golden yellow. But he is also fittingly associated with the darkness/black to suit his statues as the dreaded Big Bad.
  • The Titans display various combat pragmatism: Godzilla jumps Ghidorah while he's distracted going for the Argo and drags him into an underwater fight the larger Titan (a massive flyer) has serious trouble with. Mothra attacks Ghidorah from behind while he's distracted by Godzilla when she's making her big entrance - and Rodan later attacks her this way. And however powerful he may be, Ghidorah has no trouble calling in other Titans for a numbers advantage when he's in trouble. Ghidorah's right head also shows shades of this, using a power generator as an Improvised Weapon to charge up a powerful lightning attack.
  • While Scylla has arachnid like legs resembling Kumonga, his body and head resemble Ebirah
  • The first shot of the film is Ford Brody and the other Special Forces descending on San Francisco during the events of Godzilla (2014).
  • Monarch, and the world at large, is very aware of the possibility of Kaijus coming together for more, intimate purposes and is discussed briefly several times throughout the movie.
  • In Kong: Skull Island (2017), Randa complains that Monarch is ignored and riduculed like "those people trying to prove aliens exist". And they do, in the form of three-headed golden dragons.
  • Unlike the MUTOs and Skull Crawlers, who were simply animals (if intelligent ones) acting on instinct, King Ghidorah is genuinely malevolent and sadistic, and ultimately acting on a plan with an actual endgame rather than simple instinct.
  • The truth about Emma's plan and the fact Madison was already on board when we first meet her is hinted at several times in the opening act. Madison nervously asks her mother if her father will be safe, Emma seemingly nonchalantly asks her co-worker if he wants to take the morning off (on the day their Titan is being born). Subtle hints that with hindsight tie into her involvement in what's to come. In a more subtle example, the opening logos are stylized to look like ancient stone carvings, and depict the unawakened Titans on either side of them. After the prologue, Mark is first shown taking pictures of wolves eating a carcass. Later, he's the first to notice the Titans are moving "like a pack" in response to an Alpha.
  • Long live the king." The first time it's said as a sarcastic quip by Alan Jonah, as they realize waking Ghidorah has upset their plans to wake the other Titans slowly, one at a time, since Ghidorah is waking them all up and summoning them (not that Jonah particularly minds). The second time, it's said as a "Facing the Bullets" One-Liner by Emma Russel before getting killed by Ghidorah, after she's bought enough time for Godzilla to get his Heroic Second Wind and activate his Super Mode, allowing him to destroy Ghidorah.
  • In the anti-Titan protest during the opening scenes, one of the protesters' signs reads Destroy All Monsters, a reference to the 1968 film from Toho, Destroy All Monsters.
  • Ghidorah is found under Antarctica, similar to how his Millennium incarnation is found in an ice cave.
  • In a Freeze-Frame Bonus, you can see that Castle Bravo's anti-Titan weapons are masers, the go-to option in the Toho films.
  • Rodan is found sleeping in a volcano. In Rodan, the two Rodans seemingly perish on the side of an erupting volcano, and one is revealed to have survived in Ghidorah, the Three-Headed Monster. In a similar vein, Rodan's being tied to fire basically makes him Fire Rodan from Godzilla vs. Mechagodzilla II (minus the Breath Weapon).
  • Dr. Emma Russell has discovered a way to communicate with the Titans, which may be a reference to Miki Sagusa and the Psychic program in the Heisei series. She also mentioned that said communication involves a bioacoustic process, much like how the Hanna-Barbera cartoon had the crew of the Calico summon Godzilla using a sonar device.
  • In the finale Ghidorah targets Madison after working out she's connected to the Orca device. This isn't the first time Ghidorah was a bit of a child hater. In Rebirth of Mothra 3, he specifically kidnapped many children with the intention of eventually eating them.
  • Also like his Rebirth of Mothra 3 counterpart, this Ghidorah is an Ancient Evil that can fire lightning bolts from his wings, and has a Healing Factor.
  • Godzilla's Super Mode is him covered in flames and glowing red lines in his skin whilst radiating super-intense heat, akin to his meltdown form from Godzilla vs. Destoroyah. Said super mode is also referred to as Godzilla entering "critical mass", a nod to the game Godzilla Unleashed where monsters could undergo a similar transformation of the same name.
  • During a slideshow montage of all the numerous Titans that Monarch knows about, the scientific name shown for Kong is Megaprimatus Kong, which was his scientific name in supplementary material of King Kong (2005).
  • The Titans Scylla and Methuselah are based on Toho kaiju Kumonga and Anguirus respectively. In the case of Scylla this is given an even bigger nod by having her emerge in Arizona, which is where Kumonga appeared in Godzilla: Final Wars.
  • Misanthropic humans (or at least humanoids) seeking to use the monsters to terraform Earth to their liking connects with the Xiliens, similarly misanthropic humanoids who use kaiju to wreak havoc on humanity in preparation for terraforming.
  • Mothra's energy revives Godzilla and gives him a red colored Finishing Move to kill the Big Bad with, just like what happened in Godzilla Vs Mechagodzilla 2, just with Mothra instead of Rodan.
  • The concept of eco-terrorists unleashing King Ghidorah (and the main female member of the team having a change of heart) calls back to Godzilla vs. King Ghidorah, though with a more faithful-to-the-original version of Ghidorah (and without the time travel).
  • When Ghidorah regenerates his left head after it got ripped off, as it grows back there's a few seconds where his lower jaw is split before it fuses. In some concept art of Ghidorah for Rebirth of Mothra 3, he was portrayed with a split jaw.
  • The ancient underwater kingdom that used to worship giant monsters is a tribute to Seatopia, an underwater kingdom in Godzilla vs. Megalon (1973), who had a monster named Megalon as their god and whom they appealed to fight Godzilla.
  • A nuclear sub is sent to the bottom of the ocean to nuke Godzilla to empower him to defeat King Ghidorah. Of course this time it goes far better for the sub and the humans.
  • Steve Martin is credited as the author of one of the articles seen in the end credits montage, referencing the reporter character Steve Martin who was added into the American version of the original Godzilla film, Godzilla, King of the Monsters!, and later returned in Godzilla 1985.
  • The place where Ghidorah is frozen is designated Outpost 32 -- Outpost 31 being the setting of another movie involving a frozen monster escaping (1982's The Thing).
  • Just before the undersea ruins explode, a statue of Pazuzu can be seen. Pazuzu was the Mesopotamian god of wind.
  • Ghidorah's pose while roaring atop the volcano resembles Chernobog atop Bald Mountain. Fitting, considering both are analogs of the Devil. Rodan also bears a close resemblance to the Firebird in Fantasia 2000.
  • The scene where Ghidorah regenerates his missing head also brings to mind the Hydra from Hercules, membranous sac and all.
  • Rick and Morty stickers are on Madison's laptop cover.
  • The Titan Scylla resembles the spider-squid aliens from the film Monsters (2010), which is directed by Gareth Edwards, who also directed Godzilla (2014).
  • A newspaper headline during the credits speculates on possibly using Kaiju feces as fertilizer, an idea previously discussed by Hannibal Chau in Pacific Rim (2013).
  • The scene where Rodan swallows an ejecting pilot is shot remarkably similarly to the scene in The Giant Claw where the titular monster does the same thing to the parachuting pilot of a downed plane.
  • The novelization make several allusions to the Cthulhu Mythos, with Monarch discovering the existence of an ancient Titan-worshipping civilization predating recorded history, the G-Team expressing horror at how unnatural the Titans and their abilities are following Rodan's awakening, Godzilla's lair being a sunken prehistoric cyclopean city, and King Ghidorah even being described as eldritch.
  • Jason Liles does the mo-cap performance of Rodan and Ghidorah's middle head.
  • Ziyi Zhang plays both Dr. Chen and her twin sister, as well as her mother/aunt and grandmother/great-aunt in photos.
  • Millie Bobby Brown expresses in an interview with Total Film Magazine, as she is honored her big screen debut is part of the Godzilla legacy.
  • O'Shea Jackson Jr. made it very clear that he is a huge Godzilla fan in every interview he has had for the film, even expressing that Gigan is his favorite villain. He felt extremely excited to join the project and even acknowledges the coincidence of his friends and Straight Outta Compton co-stars Corey Hawkins and Jason Mitchell previous involvement in Kong: Skull Island.
  • Charles Dance rather bluntly stated that he nearly fell asleep at the film's premiere.
  • Kyle Chandler said Godzilla is his favorite kaiju, while both Vera Farmiga and Millie Bobby Brown favorite is Mothra, Charles Dance stated in an IGN video that his favourite is Mothra when responding to Godzilla-related comments, "Look at Mothra spread her big wings. Female beauty at its peak."
  • According to Godzilla (2014) art book, The Art of Destruction, the Godzilla corpse found in the beginning of that movie would have been discovered frozen somewhere in Siberia instead of the Philippines. It was changed because Man of Steel, a film from the year prior, had a very similar scene of Clark finding the Kryptonian ship frozen in ice. This film appears to rework it, this time King Ghidorah is found frozen in Antarctica.
  • The film's release date was initially sometime in June 2018, but was pushed back to March 22nd, 2019. It was subsequently pushed back again to May 30, 2019 to avoid competition with Disney's Captain Marvel (2019)
  • Toy designs revealed that Godzilla would transform into Burning Godzilla for the final battle against Ghidorah well before the trailers and TV spots did.
  • The Jakks Pacific Ghidorah action figure quite noticeably has a detachable left head, with a joint located higher up on the neck than the middle or right heads. Predictably, Ghidorah ends up losing his left head in the battle against Godzilla in Mexico, though he later grows it back.
  • The Art Book for the movie shows concept art of Gigan, a titan resembling Kumonga, and most noticeably, a turtle titan that bears close resemblance to Gamera. None of them make any appearances in the movie.
  • Working title was Godzilla 2, during production, the film was also called Fathom.
  • The film, along with Pacific Rim: Uprising, was filmed at the Oriental Movie Metropolis facility in China, which is owned by Legendary Pictures' parent company Wanda Group.
  • For the monsters, Dougherty wanted their designs to emit a godly presence and evoke a sense of worship, stating, "Primitive man saw these creatures, and you want to give them a presence that would make him drop to his knees and bow to this god...It can't just look like big dinosaurs. Jurassic Park has that covered. These have to be distinct. They have to be their own thing. They're Titans."
  • The director instructed the designers to look at the original designs from every era and "distill those silhouettes and those key traits into something more modern." It was important for the director that the Titans were not just simply treated as monsters but "very large animals with a distinct thought process."
  • For Godzilla, Dougherty wished to put back the "God in Godzilla". He liked the design that Gareth Edwards and Matt Allsopp conceived but wanted to tweak it by adding the dorsal plates of the 1954 iteration, as well as making the claws and feet bigger to make Godzilla look like a more powerful predator. The director had the sound design team expand on Godzilla's roar by making it sound closer to the roars of the 1954 incarnation, stating, "I think they did a great job with Godzilla's roar in the first movie. I pushed them a little bit further to bring it even closer to the (1954) original even more."
  • For Rodan, elements of volcanic rock were added to the scales and skin color to make Rodan look capable of living inside of a volcano. Dougherty wanted Rodan's design to resemble something that "Mother Nature could have created". The designers were instructed to not just look at Pteranodons but at various birds such as vultures, eagles, and hawks due to birds being similar to dinosaurs. The director further described Rodan as a "massive A-bomb" that brings "speed and ferocity". Tom Woodruff Jr. and Amalgamated Dynamics provided the design for Rodan.
  • For Mothra, Dougherty wanted to create something that was "beautiful, and feminine, and elegant, and looked like a true goddess, but also dangerous if she had to be". He attempted to remain faithful to the color palette of the original 1961 incarnation and retaining the eye-spots on her wings. The eye-spots were designed to resemble Godzilla's eyes in order to create a connection between Mothra and Godzilla. Mothra was designed to resemble real moths and given longer legs in order to defend herself against other monsters, another attribute inspired by real moths.
  • Doughtery researched various moth species and discovered some looked "scary" and "predatory". He wished to maintain a sense of realism for Mothra, stating, "So the approach for Mothra is to create an insectoid, huge creature that looks believable from every angle, and especially in motion." The director found Mothra the most difficult Titan to design because he wished to avoid making Mothra look like a blown up moth. Legacy Effects provided the design for Mothra.
  • For King Ghidorah, Dougherty wanted to create a "unique" design that still resembled Ghidorah and worked closely with Toho to make sure the new design respected past incarnations. Each head was given its own personality, with the center being the alpha and the others beings its lackeys. He studied various animals, specifically king cobras, in order to add a sense of realism to the design. The designers were instructed to look at different scales from various reptiles to avoid having Ghidorah's scales looking similar to Godzilla or the original Ghidorah.
  • Michael Dougherty told the design team to maintain an Eastern dragon influence for Ghidorah and to avoid any Western dragon influence, stating, "They're not traditional western dragons. So those were marching orders from the beginning... We don't want it to look like Game of Thrones' dragons." Legacy Effects also provided the design for Ghidorah.
  • For the roars, the director felt it was important to "getting the noises right" and gave the sound designers a "super cut" of the monster roars from the Showa Godzilla films and had them start from there. He confirmed that the monsters would have new roars that will resemble the original incarnations. Dougherty used the Showa roars on a massive speaker system to use on-set for scenes where actors had to run from or react to the monsters.
  • Matthew E. Cunningham was hired as a Senior Illustrator during the research and development stage. Cunningham designed most of the vehicles after the storyboard artist worked with Dougherty. Senior conceptual designer George Hull provided a series of concept paintings of vehicles and monster imagery. Production designer Scott Chambliss managed all the art directors. Artists would sometimes show concept art to the writers, producers, and director however, Chambliss had final say on what would be shown to Dougherty and the producers. After the illustrations were approved, they were delivered for pre-vis. The visual effects used concept art and pre-vis as a reference. Legacy Effects, who worked on Edwards' Godzilla, were brought back to provide additional concept art.
  • Principal photography began on June 19, 2017, in Atlanta, Georgia under the working title Fathom. Dougherty confirmed that the film would feature practical effects and creature designs by Tom Woodruff, Jr. Lawrence Sher had been confirmed as director of photography. Parts of the film were shot in the Historic Center of Mexico City between August 19-22, 2017. Dougherty announced the film had wrapped production on September 27, 2017.
  • Visual effects for the film were provided by Moving Picture Company, DNEG, Method Studios, Raynault VFX, Rodeo FX and Ollin VFX. Guillaume Rocheron was the main visual effects supervisor. In November 2018, post-production on the film officially ended. Dougherty said that an earlier cut of the film was three hours long. Dougherty affectionately referred to the three-hour cut as Godzilla: The Miniseries. He considered splitting the film into two parts but decided against it, feeling that the final cut is faithful to the core of his original vision.
  • Speaking to io9 and other members of the press at a recent event in Tokyo, Dougherty touched on Serizawa's calls for balance in the movie--and the world we start to see take shape over the course of King of the Monsters' Blue-Öyster-Cult-soundtracked end titles--and how it called back to a kind of fantastical storytelling he felt had gone out of style in modern movies: I've always loved Jules Verne style adventures. I feel like movies don't have enough of that anymore. I personally love theories about lost civilizations and growing up, I'll never forget the disappointment felt when I found out that mankind and dinosaur did not live together. You know? That decades of Ray Harryhausen movies lied to me. This seemed like a natural fit. Personally, I loved the concept that there was a previous civilization that figured out how to live with the kaiju, that cracked that code and figured out how to form a symbiotic relationship for their own survival. And that some cataclysm broke that relationship. And so, while human beings went off and forgot about their connection to the monsters, and chalked up the monsters to fairy tales and legends, Godzilla never forgot. You know, which is why he has some weird distant memory of these tiny, little squeaky creatures. And maybe there is some sort of affection there, which is why Serizawa is all 'we would be like his pets,' because maybe that's how he views us.
  • Michael Dougherty said the idea that this film would sort of establish the notion that Monarch has found a lot of these creatures hibernating under the planet. "That after the events of 2014 and their studies on Skull Island, Monarch smartly realized that the Earth was littered with these hibernating beasts and had become very good at locating them, thankfully before they woke up. Something I love about the original Toho movies is that's what exists. Those movies essentially are saying that we live in a world populated by sleeping monsters underneath our feet. So that was my way of teeing up that ticking time bomb. For a little while it was up in the air as to whether or not we'd be able to license some additional Toho creatures to fill out those brackets. Lo and behold, Toho is very smart. They're great at business and they put a price tag on every single one of their creatures. If you want to license King Caesar or Mechagodzilla or any of them, you've got to pay up. They've got a fee. So, ultimately, we chose, at least for the new creatures that we're depicting on screen, to add new and original creatures. Again, that falls in line with the long tradition of Toho monster movies. They're always adding new monsters as part of the appeal. Every movie is going to introduce a new opponent for [Godzilla] to face. So it was a privilege to kind of get to exercise those muscles and take off the shackles and design new creatures that would still feel at home with the existing roster of monsters. The one you described as a mammoth is called Behemoth and he's one of the few other mammals. It was important to me that we add a mammal to the mix because so many of the other Toho creatures tend to be reptiles, insects or some sort of hybrid of the two. I wanted a good companion mammal for Kong, and I've been fascinated with ice age wildlife for a very long time, and woolly mammoths in particular, but I didn't want to just make it a literal giant mammoth. If you actually study his anatomy, you'll see that he's sort of a hybrid of mammoth, a giant sloth and even some primate features".
  • When asked if the "hollow Earth" civilization that prays at Godzilla's altar was new to the mythology, or was it an inversion of something he found going back to the Toho films, co-writer and director Michael Dougherty stated: "If you do go back and look at the entire library, there are sort of occasional references to lost civilizations. I mean, Mothra's followers are a perfect example, and so are Kong's followers. Mothra's egg tends to be housed in a mysterious temple surrounded by a singing and dancing troupe that's always trying to get her to hatch. So these creatures have a long history of being perceived as gods and deities. So it made sense to me that the Alpha of the group himself would also have a history, a deeper connection, to some ancient civilization that figured out how to spark and maintain a sort of symbiotic relationship with him, probably for their own protection. The same way that there are small fish that swim underneath a shark, or the tiny bird that pecks insects off elephants or rhinoceroses, human beings would be the tiny animals that seek protection under a much larger animal that simply puts up with their presence."
  • At one point Godzilla belches, Michael Dougherty stated, "A big reason Godzilla has this mysterious draw, this mysterious appeal, is that he does have human traits and elements and I think that's a lingering aspect of the fact that the Japanese executed him within man-in-suit process for decades. There were very humanistic expressions and body language that made us identify him a little bit more than we would have had he been executed with stop motion, let's say. so it was important to me to really embellish that and embrace that concept. Both the animators and the performance capture artists that we worked with became a fun team and were always pushing to add another close-up, add a squint of an eye, add a slight head tilt, anything to convey that Godzilla has a surprisingly large emotional range that we can connect to."
  • Took first place at the box office this weekend, grossing $49 million domestically and a little lower than initial projections which pegged the film to open between $55-65 million. In comparison, the 2014 "Godzilla" grossed $93.1 million in its opening weekend, and "Kong: Skull Island" ended up with a $61 million opening in March 2017. Overseas, the $170 million-budgeted movie took in $130 million which is again under the $140 million international gross for the 2014 film.
  • Grossed $63 million in the United States and Canada, and $130 million in other territories, for a worldwide total of $193 million.
  • Had a production budget between $170-200 million, as well as an additional $100 million spent on marketing.
  • In the United States and Canada, the film was released alongside Rocketman and Ma, and was projected to gross $55-65 million from 4,108 theaters in its opening weekend. The film made $19.6 million on its first day, including $6.3 million from Thursday night previews, which was lower than the $9.3 million made by the 2014 film but more than Kong: Skull Island's $3.7 million. It went on to debut to $47.8 million, finishing first at the box office but below expectations. Deadline Hollywood said the film "lacked urgency", having released the first trailer over a year before the film came out, and not separating its appearance from previous Godzilla films.
  • Worldwide the film was initially projected to earn around $180 million from 75 other territories in its opening weekend, for a global total of $230-235 million. It was speculated that the amount could go higher if the film overperformed in China, where it was projected to debut to $75-90 million. The film held early previews in China on May 25, 2019, where it grossed $2.5 million. King of the Monsters made $12.7 million from 51 countries on Thursday and $31.4 million from 75 countries on Friday, for a cume of $48.2 million through Friday. In China, the film grossed $54.15 million through Friday and Saturday. The film ended up grossing a total of $130 million internationally and $177.8 million globally, far below projections. Its largest markets were China ($70 million), the United Kingdom ($4.4 million), France ($2.6 million) and South Korea ($2.2 million).
  • Alan Jonah is the second human villain in the MonsterVerse, with the first being Preston Packard. Coincidentally, the two characters have military backgrounds. Alan Jonah's name is inverted as "Jonah Alan" on the Monarch timeline.
  • This is the fourth incarnation of King Ghidorah to be a space monster.
  • Several features of King Ghidorah were inspired by Smaug from the Hobbit desolation of Smaug (2013) specifically the foldable wings, similar facial structures, menacing facial expressions and their throats glow when using fire attacks, additionally both Smaug and MonsterVerse King Ghidorah were portrayed via motion captured. Weta Digital Workshop participated in the motion captured effects for both film series, the studio is known for their innovational introduction of motion capture into live action films and Andy Serkis known for his usage of motion capture of Smeagol aka Gollum in the Lord of the Rings and Hobbit trilogies played King Kong in the 2005 remake.
  • King Ghidorahs design is similar to the dragons from Reign of Fire (2002), the male bull dragon and the middle head of King Ghidorah have more curved horns and have both play the Alpha role, while the female dragons from Reign of Fire and the other heads of Ghidorah possess more linear horns and their heads are less built than their "Alpha".
  • The outpost Methuselah is contained in monarch 67 is a reference to Son of Godzilla (1967).
  • When Methuselah was first shown, many fans believed him to be Anguirus or Baragon.
  • The outpost Behemoth is contained in, Monarch Outpost 58, may be a reference to the 1958 Toho film Varan.
  • The sound system used on-set for Godzilla: King of the Monsters to create Titan roars was nicknamed "Behemoth".
  • Michael Dougherty created Behemoth (which is also a biblical reference) as a companion mammal for Kong, feeling that too many Toho monsters were reptiles or insects. A mammoth was chosen because of Dougherty's fascination with woolly mammoths and because he wanted a big, furry creature that looked like it could have "survived during the Ice Age", elements of sloth and primate were also added to make Behemoth look more than just being a giant mammoth. Early in production, Behemoth was a giant six-tusked mammoth with vegetation-like growths on his legs, and he appeared to have a wilder and more crazed disposition.
  • When Scylla was first shown in a trailer for Godzilla: King of the Monsters, she was widely believed to be Kumonga.
  • Scylla being located in Arizona can be interpreted as a reference to the scene where Kumonga attacked Arizona in Godzilla: Final Wars.
  • The outpost Scylla is contained in, Monarch Outpost 55, may be a reference to the 1955 Toho film Godzilla Raids Again, in a similar way to how Rodan and Mothra's Outposts are references to the years of the films they first appeared in.
  • In the novel, Scylla is mistakenly mentioned to have eight legs
  • Although it is known that Sargon attacked Mexico when Ghidorah was the alpha of the Titans, it is still unclear which Monarch Outpost belongs to it, as there are several within the vicinity of Mexico but none actually in it except for Monarch Outpost 56, which belongs to Rodan.
  • This is the first incarnation of Mothra that is not a literal divine creature. However, she is still worshiped as a deity by a primitive culture. This incarnation of Mothra to have long forelegs resembles Mothra's pre-production designs by Toho.
  • This Mothra's bioluminescence-based abilities are similar to a special ability of the male MUTO, originally dubbed 'Hokmuto', in an early version of the 2014 film, Godzilla. Said ability was said to be a lightning-like "shockwave" that created aurora-like lights. Furthermore, some scenes of Mothra (MA) are similar to the description of this Mothra's bioluminescence.
  • Mothra's design in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack by Shusuke Kaneko shares many similarities with the Mothra in the King of the Monsters; much smaller in size comparing to Godzilla, more sharp and aggressive facial expressions, to have long hairless legs with a slender body. Both incarnations of Mothra don't originate from Infant Island, and gained new weapons/abilities in stead of the iconic poisonous scales. Monsters to inspire humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. Shusuke Kaneko confirmed multiple similarities between his GMK and King of the Monsters including Mothra to become "that".
  • In an interview with Mike Dougherty, he revealed that even though he thinks the crew did a great job revamping Godzilla's roar, he pushed them further to bring it even closer to the original 1954 Godzilla's roar. The latest version of the roar measures 174 decibels. The final version of Godzilla's roar is overlaid with the roars from both the 1954 film and the roars used from 1962 onwards.
  • Ghidorah" is likely based on a direct translation of the pronunciation of Hydra in the Russian language.
  • Michael Dougherty loosely based Dr. Stanton on the Rick and Morty character, Rick Sanchez.
  • The first Godzilla film, either by Toho or a Hollywood studio to be released during Japan's Reiwa Period and the reign of Emperor Naruhito, after the end of the Heisei era.
  • The first American-made Godzilla film to include music originally composed by Akira Ifukube (not counting the 1956 American release of Gojira) and Yuji Koseki.
  • The release date of the second trailer, December 10, 2018, marks the 5th anniversary of the release of the 2014 film's teaser trailer, which was released on December 10, 2013.
  • The first sequel to a Godzilla film made by Hollywood.
  • This marks the first time that Blue Öyster Cult's 1977 single, "Godzilla", is used in a Godzilla film.
  • Godzilla and Ghidorah finally meet up in Boston's Fenway Park ball field, whose most famous feature is the large wall known as "The Green Monster."
  • It was confirmed that Jason Liles, who starred in Rampage, will mo-cap Ghidorah's middle head, with Alan Maxson and Richard Dorton portraying the other two, while unnamed colleagues play the monster's body.
  • As stated by Michael Dougherty, when King Ghidorah's head is severed and a new one grows, the newly-grown head retains the original head's memories and personality. This occurs because Ghidorah's neurons are scattered throughout his body, similar to an octopus.
  • King Ghidorah flies at a speed of 550 knots, or about Mach 0.8, while all previous live-action incarnations of the character could fly at least Mach 3 while in the Earth's atmosphere.
  • Monarch scientists theorize that King Ghidorah's scales are gilded with trace amounts of aurum which act as conductors, capable of carrying bio-electrical currents throughout his body. This allows Ghidorah to conduct electricity through his body and project it in different ways, either through the gravity beams he spits from his mouth or the lightning bolts he fires from his wings
  • The MonsterVerse Rodan is the shortest incarnation of the character, yet is also the heaviest and has the widest wingspan.
  • The basic shape of the Oxygen Destroyer itself is evidently mostly unchanged, as seen on a digital schematic. However, the Oxygen Destroyer is now fired while attached to a missile. Upon striking the water, rather than simply causing a violent chemical reaction, the Oxygen Destroyer produces a powerful explosion that creates a mushroom cloud. The blast does not reduce its victims to skeletons, though it effectively kills all sea life nonetheless. The explosion given off by the device was sufficient to seriously injure and weaken Godzilla, while the extraterrestrial King Ghidorah proved immune to both the blast and the chemical itself.
  • The device Emma Russell created was called "ORCA", which is another name for a killer whale, a reference to the etymology of Godzillas namesake as Gojira is a portmanteau of the Japanese words: gorira ("gorilla") and kujira ("whale"), owing to the fact that in one planning stage, Godzilla was described as "a cross between a gorilla and a whale."
  • Monarch describes Rodan's behavior as that of a "destroyer," unleashing "airborne devastation" upon the natural world.[
  • Godzilla is 393 feet with a length of 582 ft. and weighs 99,634 tons. Rodans height is 46.9 meters high with a wingspan of 265.5 and weighs 30,043, Mothras height is 15.8 meters high and weighs 244.8, King Ghidorahs height is 158.8 meters high and weighs 141,056.
  • Both Rodan and Methuselah contain traits of the monster Obsidius, a living bipedal volcano, from the game Godzilla Unleashed: Rodan has the "internal system is molten magma with glowing fissures on his body" aspect, while Methuselah has the "living moving mountain" aspect. King Ghidorah, Mothra, and Rodan are all composites of various aspects of their versions throughout the franchise, explained in detail in their character pages.
  • Godzilla once more finishes off his opponent by firing his atomic breath through their throat. Although this time it's going the other direction
  • Mothra arrives later to the Final Battle despite being last seen around Godzilla's location and being capable of flight. The credits reveal at some point she laid an egg before joining the final battle. This was confirmed by Doughty on twitter to be the case.
  • King Ghidorah's ditzy left head is given the fittingly unfitting monicker of "Kevin".
  • The Art Book for the movie shows concept art of Gigan, a titan resembling Kumonga, and most noticeably, a turtle titan that bears a close resemblance to Gamera. None of them make any appearances in the movie
  • The trailers usage of "Clair de Lune" astonishingly had fans looking up for the music. It wouldn't be inaccurate to say that no classical music fans actually minded it, with one YouTuber commenting: "I love how all the comments are about the beauty of the song or how it affects their lives through many ways, and than a bunch of Godzilla fans showed up screaming about being hyped for movie about four giant monsters fighting. And I don't mind at all."
  • The eco-terrorists talk about humanity being the infection and responsible for the imminent global extinction. While they are clearly referring to us being irresponsible with the environment in general, the existence of Titans gives a darker context to some of the man-made disasters like atomic testings (which awakened Godzilla in the first place) and strip mining (which awakened the MUTOs). The most ominous is about humans' effect on global warming, which, just like in real life, has started to melt the polar ice caps. And where is King Ghidorah imprisoned? In Antarctica. Humanity was already (and inevitably) in the process of unleashing the greatest disaster upon the Earth.
  • Given that the monster cast of this film is the same as that of Ghidorah the Three Headed Monster, it's actually quite fitting that this film (part of a cinematic universe) is a spiritual homage of that movie. Why? Because that film was one of the earliest examples of a cinematic universe, done in the 60s, since Godzilla, Rodan, and Mothra all appeared in their own individual movies, before being brought together in that movie to fight a common, greater enemy.
  • The moth cocoon aquarium in the previous film labeled 'Mothra' makes sense when you read that Mothra worship was widespread in this universe, especially in the East where she lives. Calling it Mothra is akin to naming a pet after a god like Zeus or Hades.
  • Mothra's design in the Monsterverse is reminiscent of the Male MUTO: she has a pair of curved front legs, digitigrade hind legs, a set of smaller arms on her chest and a pair of elongated membranous wings. This may be more than just coincidence: it's likely that Mothra's species is actually related to the MUTO, being in the same family just like how wasps and bees are, sharing common traits but being distinct in terms of behavior. Notably, both the MUTO species and, apparently, Mothra's species are symbiotic with Godzilla's, just different kinds of symbiosis (the MUTOs are parasitic and Mothra appears to be mutualistic, eg. what is colloquially referred to as symbiotic), and it is not unknown for evolution to cause jumps from one kind of symbiosis to another, or have speciation happen through specialising in different kinds of symbiosis. Alternatively, Mothra and the MUTO might not be related at all, but the MUTO evolved a similar appearance as a form of deceptive mimicry. This is similar to the real life fish called the saber-toothed blenny, that mimics the appearance of the beneficial cleaner wrasse, luring in unsuspecting fish for a grooming, only to attack them when they come close. It's possible that the male MUTO evolved a similar appearance to Mothra's species, to lure unsuspecting, inexperienced members of Godzilla's species over to their nest where the larger and stronger female would be lying in wait.
  • Godzilla's new design in King of the Monsters has his tail somewhat smaller and thinner, and his dorsal spines much bigger. real-life lizards store energy-rich fat in their tails as a source of energy during lean times, so it's possible that similar to this, Godzilla's been using up more of his stores due to increased activity since the Muto incident. His claws and spines being bigger may also be similar to him entering a hormonal cycle where he becomes more aggressive and territorial, like an elephant on musth or bucks during breeding season.
  • Godzilla's sauropod-like feet with stubby toes in the first film was actually not very plausible for a biped, as much of his weight would be supported by the front of the foot, as with humans and bipedal dinosaurs. As such, him having longer toes in the sequel would actually make more sense in supporting his massive bulk.
  • If one look looks closely at Mothra's face, notice that she has mouthparts more similar to her original design rather than a proboscis like real moths despite the Monsterverse going for more realistic designs, however most moths are small enough that they feed from flowers of which there aren't any large enough for a creature Mothra's size to drink from. This is likely a form of neoteny that allows her to retain her larvae form's mandibles so she can feed from more accessible food sources. She also seems to have retained the silk glands she had as a larva, allowing her to web her opponents in battle.
  • The concept of an "alpha" as frequently mentioned in merchandise is reflected in the behavior of Ghidorah's heads as seen in the Shazam trailer. The middle head is most vocal and aggressive of the three, rearing higher up in the air in a dominant posture, while the other two heads are more bowed down and look up toward the middle head, reflecting a submissive posture similar to dogs and wolves.
  • In one TV spot, a character asks (presumably of Godzilla) "is it just me, or has he been working out?" Since Godzilla has been out and about more after awakening from his decades-long hibernation in the first movie, he would be getting plenty of exercise and working off any weight. So basically, yes, he has - although in the movie itself, the line refers to a boost he gets in-film.
  • The Film's final trailer uses an instrumental version of the song, Somewhere Over the Rainbow. It makes perfect sense as both The Wizard of Oz and Godzilla are celebrating their respected anniversaries this year. (The Wizard of Oz is celebrating 80 years, while Godzilla is celebrating 65 years.)
  • In Godzilla Aftershock Jinshin Mushi AKA MUTO Prime made a powerful shout that was able to break apart all of Godzilla's dorsal fins, in this movie his dorsal fins are larger and look like the classic maple leaf shape, while it may be part of his of his evolution he basically regenerated a brand new row of them just like how a starfish can regenerate a whole arm after losing one.
  • It's revealed that Ghidorah can regenerate his heads after Godzilla bites his left head off, which makes sense as he is said to have inspired the legends of the Greek Hydra. Godzilla kills the middle head by incinerating it with his nuclear pulses in his Burning Form, just like how Hercules slew the Hydra by burning off its heads so they couldn't regenerate. And even after Godzilla vaporizes the rest of his body, the center head is shown still alive and struggling in Godzilla's jaws, just like how the mythical Hydra had one immortal head that lived even after Hercules severed it and forced him to bury it beneath a rock.
  • The film's logo involves Mesopotamian art, because the old Mesopotamians and Sumerians were one of the first peoples to construct a pantheon of divine beings. This fits with the "ancient", "godly" aspect of the creatures, and ultimately links to the sunken sanctuary the characters come across.
  • When Burning Godzilla unleashes his first nuclear pulse, we hear Mothra's roar and faintly see her outline in the flaming burst. Because she sacrificed her life to power up Godzilla, her essence now flows through him, and in a way she is still fighting alongside him, in spirit at least.
  • Godzilla and Ghidorah both win one of their two fights before the final battle, where Godzilla still needs a supercharge from a nuke and from Mothra's heroic sacrifice before he can go Burning Godzilla. But that's because Ghidorah has the clear edge in the battleground for the first and third fight: he's larger and can fly, so give him solid ground and atmosphere, and he'll overpower or outmaneuver Godzilla. However, when ambushed over water and dragged beneath its surface, he's helpless: Godzilla is a true amphibious life-form who doesn't need air and easily manuevers through water, so he can manhandle Ghidorah there.
  • The female MUTO who woke with the rest of the Titans bowing before Godzilla seems to make no sense. They're natural enemies, if the MUTO eggs in one of Godzilla's fellows is any indication. But perhaps MUTOs are only hostile to Godzilla and his kind when in mating pairs. If this is the last MUTO in existence, then she has no possibility of finding a mate, and would submit to the superior Alpha to preserve her own existence. Indeed, since Godzilla easily handled the MUTOs one-on-one in the first film, only really being threatened when they could work as a pair, might imply the relationship between these species is a lot more complicated than predator-prey or rival predators. Considering the plot of the Aftershock comic, it could also be inferred that the animosity between the MUTOs and Godzilla was being driven by the presence of the MUTO Prime, which might well have been another competing alpha, one that specifically targeted members of Godzilla's species as a host for reproduction. With the MUTO Prime out of the way, any remaining MUTOs would be subservient to the only remaining alpha.
  • The reason Ghidorah shrugged off the Oxygen Destroyer without a scratch is because he's an alien creature, whose biology is inherently different even to earthly Titans. Plus, it's hinted that, like his counterparts from other continuities, he's capable of independent space-flight. His body doesn't use oxygen in its processes. So there's nothing in his system for the Destroyer to set off.
  • Mothra arrives later in the final battle than Godzilla despite being capable of flight and having been around the same area as him. The credits reveal she'd laid an egg somewhere before her death, explaining why that would be the case.
  • A Twitter user asked why Godzilla's dorsal plates changed, and the director answers that the lizard-like kaiju grows its spikes constantly. "His spikes are constantly growing, breaking, and changing shape, just like deer or elk antlers. Or your own hair," he answered.
  • The governments plan to kill all the Titans while they slept becomes horrifying once you look at it through a mathematical lens. The people advocating for it seem to assume that the fact their targets are slumbering guarantees success (far from it, considering WHAT they are trying to kill) and don't seem to consider the consequences of failure (an awake, angry Titan). If the chance of failure for whatever method they use is any greater than 0%, then the odds are fairly good that at least one of the 17 monsters they planned to target would pay them back in kind, to illustrate this point, imagine that the governments chosen method (buried nukes or oxygen destroyers) had a 95% chance of killing or sufficently crippling a Titan and a 5% chance to fail and result in a rampaging Titan. Those odds are good for a single monster, but for 17, the odds of there being a very angry survivor jump to around 59%. Couple that with the unlikelihood that humankind can maintain those odds throughout all 17 of their attempts... This becomes even more so when you remember the one attempt we see at someone trying to kill a dormant Titan (the Male MUTO in the original film) via electrocution failed to so much as injure it, and the male MUTO is comparably physically frail for a Titan (with Godzilla only needing one solid hit to kill him), making it even more likely they'd only succeed in waking them up and making them mad. Think about the level of damage that the fight between Godzilla and the MUTOs, and the MUTOs in general, caused. This movie has four kaiju at minimum, all of which dwarf the MUTOs in power (the MUTOs only had one special ability that only caused indirect damage, Mothra, Rodan, and Ghidorah all have abilities capable of destroying entire cities) and if King Ghidorah is anything like his previous counterparts, just imagine the amount of damage they will cause. Remember how Gareth Edwards in the 2014 film said that humans are like ants to the kaiju, mostly ignoring us and swatting us away when we start stinging them? With that analogy, Ghidorah is the equivalent of a kid burning ants with a magnifying glass, reveling in their pain for his own twisted amusement.
  • King Ghidorah is explicitly a newer kaiju discovered by MONARCH, meaning they'd have killed the other Titans and due to King Ghidorah being nigh impossible to kill, likely only managed to release him and make him mad.
  • At one point in the movie, the MONARCH crew returns to Godzilla's nest, and finds themselves amidst an Advanced Ancient Acropolis filled with carvings of its former populace worshipping Godzilla and the other Titans. Considering Ghidorah and Godzilla once fought one another thousands of years ago, and considering a lack of any other landmass around the city, many fans believe that it was due to the intensity of their battle that Atlantis sank.
  • Mike Dougherty revealed that the right head of Ghidorah is the most-aggressive and bloodthirsty of the three, though that doesn't quite come across. Likely he's the most eager to fight and the smartest in combat. When the middle head roars out a challenge to Godzilla the right head's Quizzical Tilt can be seen as him sizing up his opponent and trying to analyze the situation, and later before Ghidorah flees the Antarctica battle, the right head can be seen spitefully shaking his head. He's also the first to notice important things in battle, such as the speakers in Fenway Park or the electrical transformer.
  • Godzilla's hidden resting place is a highly-radioactive area deep within the earth where he goes to recover from his wounds. But given the hostility of the place, how did ancient humans even build the temple without being roasted by the extreme radiation? It may have had lower radiation levels in the past and Godzilla didn't start nesting their till after it got like that. Another possibility, considering how incredible the size of the ruins are (i.e. indicating the capabilities of those ancient people), is that the ancient people who built it had amazing technology or access to some sort of special protection from radiation that is superior to modern technology.
  • The radioactive emissions of the Titans are a good thing mean, helping plants grow, somehow, but isn't the radiation still, , really bad for humankind, Depends on how long the radiation stays at dangerous levels, and perhaps the radiation given off by the titans is distinct from radiation that we're used to, maybe after being processed by the titan it stimulates organic life without damaging it, and probably more complicated than that. Some of the Titans might actually be able to metabolize using pollutants like CO2 and oil. Scylla was found under an oil field, so that can't be a coincidence. After all, creatures their size need an ABSURD amount or energy just to STAY ALIVE , let alone move and fight. It's very likely the case that they turn 'negative' radiation into a 'positive' form as a byproduct of their biology. Keep in mind they eat radiation, it wouldn't make sense for them to emit the same thing they take in.
  • Rodan was still badly wounded after mothra stabbed him with her stinger, a glowing molten hole in his body from where Mothra stabbed him. And if you look at when it happens, Rodan is not implied to die, as we can see him flailing about in pain on the ground. Mothra has a stinger, so it may well inject venom like a bee or wasp. bees and wasps can kill similarly-sized creatures with their venom, but maybe Mothra's affects kaiju like bees and wasps do a human: nonfatal, but extremely painful, There's also the fact that Rodan didn't just get stung, he gets straight up impaled. While he survived, it's not unlikely that he blacked out from the sheer agony of that.
  • In the novelization it's stated that Kong did hear Ghidorah's call but chose to ignore it as he's unconcerned with what goes on outside Skull Island, although stopping skullcrawlers who tried to leave the island.
  • The new MUTO looks different from the other two (grey skin, different crest and two fewer legs) so it's probable that it's a different sub-species of MUTO that may lack the parasitic reproductive method of the other kind and has no animosity towards Godzilla's species. She doesn't have two fewer legs, she has four front legs, two hind legs and a pair of smaller arms, just like the orginal Femuto of 2014.
  • After Mothra sacrifices herself to protect Godzilla the dust from her wings triggers an orange glow in Godzilla. Did he absorb her radiation as she died? And why was Ghidorah trying to "leech" out this energy from him To the first question, it seems likely her scales did something. Fans seem divided on whether it was the nuke or Mothra that enabled Godzilla's burning form. As for why Ghidorah would drain Godzilla, he wants all the power he can get, plus he recognizes the danger that energy may pose. He may also simply have to weaken Godzilla via the draining before he can have a chance of killing him. Look closely at Godzilla's first nuclear pulse, you briefly hear Mothra's roar and see a faint outline of her wings in the fiery explosion, perhaps hinting that Mothra's essence lives on within Godzilla, and in a way she is still fighting alongside him
  • Director Michael Dougherty revealed that perhaps the center head is the "true" body of Ghidorah's species, the rest of it just an extension that grows from it. Or perhaps its simply a reference to how the first head of the hydra of Greek mythology was immortal. There are several possibilities.
  • Dr. Emma Russell and Alan Jonah want to awaken the Titans to wipe out humanity for what it's done to the planet as "parasites" and "give it back" to the Titans as the rightful rulers. The problem? The "champion" they awaken to lead the Titans, King Ghidorah, is all but outright stated to be an alien that wants to terraform the planet to his specific ideal, meaning he has even less rightful claim to the planet than humans do. That said, it's implied that they weren't completely aware of this, but Alan doesn't care anyway.
  • When Emma wants to go looking for her daughter Alan coldly tells her that the mission is more important than one life. Then she pulls a gun on him... and he instantly decides to let her go rather than risk HIS life. Played with in practice; he seems more vaguely amused by Emma's defiance than anything, and makes clear he's happy for her to leave as his group has what they came for anyway - the remaining head of Ghidorah.
  • The map of the Monarch facilities around the world shows that the one in Peru is underneath Machu Picchu and that the Titan contained there is Quetzalcoatl. The only problem with this is that Machu Picchu is the most well known Inca ruin, while Quetzalcoatl is a deity from Aztec Mythology.
  • The temple that enshrines Mothra's egg is a classical Mayan step-pyramid--it would be a picture-perfect example of Tikal architecture if it didn't lack the castle at the top of the structure. The fact that it's in the middle of China is the movie's first hint that an ancient, far-reaching civilization from antiquity once lived in symbiosis with the Titans.
  • According to the novelization, Mothra's species name, Mosura, means "giver of life" in the language on this universe's version of Infant Island. Given her benevolent and protective nature, she lives up to it.
  • Mark blames Godzilla for the death of his son Andrew in the incidents of Godzilla (2014), even though the MUTOs were to blame for the destruction of San Francisco, and Godzilla was actually the one who stopped them.
  • Rather than resembling an actual moth, Mothra combines features of wasps and praying mantises, giving her a more intimidating appearance than previous incarnations. Rodan also combines aspects of birds of prey to go with his pterosaur-based look. Behavior-wise Ghidorah displays a mix of various animals as well: his twin tails rattle like a rattlesnake, his wing-spreading posture is a threat display of many birds of prey, and the dominant and submissive behavior of his three heads is similar to pack behavior in wolves. One of the new Titans, named Behemoth, resembles a cross between a woolly mammoth, a sloth, and an ape. Another of the new Titans, Scylla, resembles a cross between a spider and a crab with a squid-like face.
  • According to the military, the Titans responding to King Ghidorah's call are explicitly attacking capital cities--Washington, Moscow, Berlin, etc. While the military believes these attacks to be random and wild, the pattern is not lost on Monarch's scientists. Washington D.C. is completely wrecked, due to Ghidorah using it as a base of operations. One of the last wide shots we get to see of it shows only the Washington Monument and the Capitol Building standing as far as the eye can see, and the latter has chunks of it missing or on fire. Oh...and it's so completely flooded that battleships can run up close enough to fire on Ghidorah. In the Final Battle in Boston, Fenway Park is instantly flattened as it becomes ground zero for the festivities. Then Mothra webs up Ghidorah to the 200 Clarendon skyscraper (formerly John Hancock Tower) and Godzilla tackles him through it, miraculously leaving the iconic Prudential Tower unscathed... at least until the entire city is leveled by Godzilla's final Nuclear Pulse. At one point, the city's famous Paul Revere statue is flung all the way from the North End to somewhere in the Theater District. It's also implied that, by making landfall in Boston via the Charles, all of the city's iconic bridges must have been torn to bits by Big G.
  • In order to firmly establish Ghidorah as synonymous with the Devil, one scene shows him rearing triumphantly on an erupting volcano under a burning sky while the cross atop a ruined steeple takes up the other half of the screen.
  • The mythology-inspired names of the other Titans are quite fitting, but it's rather strange that the name "Scylla" would be given to a spider-like desert creature, since in mythology Scylla was a six-headed serpentine sea monster that was once a beautiful sea nymph cursed by a sorceress. That said, The Stinger has a newspaper headline stating that the Titan Scylla is Greek in origin.
  • The names given to Ghidorah's heads during production, Ichi, Ni, and San, are the Japanese words for "one", "two", and "three". San's nickname, "Kevin", likely refers to how San is easily distracted.
  • This incarnation of Rodan has a larger wingspan compared to any of his interpretations, with a fiery glow coating the bottom edge. His physique and general appearance bear a strong resemblance to a bird of prey, with dark-red skin, a v-split crest with the ends curling inward. He lacks teeth, much like the Showa and Millenium incarnations, though his beak has a serrated look to it, giving the illusion of teeth. He retains the spade-shaped tail from his 1956, Showa, and 2004 incarnations. His eyes are yellow and rather cat-like. He still retains spikes on his chest, though, compared to other incarnations, they are smaller and less defined, his roar is more akin to a screech or a scream, and is quite different from the roars of his previous incarnations. He possesses an aggressive nature. He is seen destroying jets and other aircraft that fly near him, but whether this is done out of defense or pure malice is debatable. It is revealed that Rodan follows the Alpha Titan, regardless of the latter's intentions, which is shown when he submits to Ghidorah after the latter overpowers him. Rodan aids Ghidorah in his battle against Godzilla by fighting Mothra. When Godzilla destroys Ghidorah, Rodan acknowledges the former as the new Alpha Titan by bowing down to him.
  • Like most of his past incarnations, Ghidorah is larger than Godzilla, and each of his neck has a row of spines going down but the middle neck has two rows of spines while the left and right necks have one. The middle head's horns are notably straighter and longer than those of its peripheral heads. Ghidorah's wings are also much larger and more bat-like in appearance than most incarnations, and they can also act as forelimbs to support his massive body. Each of his heads has a crown of horns similar to the Heisei incarnation, but each horn is longer and more curved. The horns also tend to flare depending on Ghidorah's current mood. Ghidorah still has his traditional twin tails with spiked bludgeons at their tips that can rattle as an intimidation display. His legs are digitigrade with avian-like feet, similar to the 2001 incarnation. Ghidorah's eyes are fiery red which seem to glow yellow whenever he charges up and fires his gravity beams, and his tongues are forked, similar to a snake's.
  • Ghidorahs jarring roar is a little similar to his GMK incarntation, but far more intense and without a trace of tinkling sounds. The unique point of this incarntation's roar is that sometimes Ghidorah's heads will roar one by one continuously three times. Ghidorah also growls, and they are similar to a lion's growl.
  • Each of Ghidorah's head has a distinct personality. The middle head appears to be the leader, being the most intelligent, dominant one of the three, and seems to be the most genuinely malicious and malevolent among the heads. The right head is the middle one's loyal and obedient follower, and is also the most irritable and aggressive of them, as well as displaying a sense of pragmatism in battle. The left head seems to be the least intelligent of the heads, and is always easily distracted, often to the frustration of the middle head who sometimes has to forcibly get its companion back on task.
  • In the novelization of Godzilla: King of the Monsters, Behemoth roars. In the film, he lets out a low, elephant-like rumble when bowing down to Godzilla.
  • Scylla appears to be the most popular Titan in-universe, as #Scylla is the most trending hashtag on Twitter after Monarch reveals Scylla's information to the world.
  • The Monarch outpost Castle Bravo is named after the first thermonuclear device detonated as part of the nuclear bomb tests at Bikini Atoll. Castle Bravo was detonated on March 1, 1954, and its energy release was 2.5 times the predicted amount. That same morning, a Japanese fishing vessel known as the Daigo Fukuryu Maru (No. 5 Lucky Dragon) sailed into radiation poisoned waters and unknowingly brought back with it contaminated tuna to be sold at market; leading to multiple deaths and devastating Japan's tuna market. These events formed one of the primary influences behind the first Godzilla movie, Godzilla (1954), released later that same year in Japan.
  • The scene where Ghidorah awakens in Antarctica is filmed very similarly to the male MUTO's awakening in Janjira in the previous film. Both feature a wide shot of fleeing people in the foreground while the monster climbs out of its prison in the background, and both scenes end with a primary human character fading into unconsciousness as the monster takes flight.
  • According to a dossier on the Monarch Sciences website, and posters seen in Ford Brody's childhood bedroom in the last movie, monster movies are a real film genre in this universe that predates public knowledge of kaiju. Of course Kong and Godzilla, undisputed two of the most influential characters of the genre in real life, actually exist in this universe, so it really makes you wonder what the genre is like in this universe if many of the most iconic monster movies don't exist.
  • Central Theme: Bearing grudges can carry long-term effects. Godzilla bears a very personal grudge against King Ghidorah and Mark Russel have a very personal vendetta against Godzilla since his battle in the previous film. Mark eventually lets it go upon realizing Godzilla is humanity's only hope to stand a chance against even bigger threats such as King Ghidorah. An old theme makes its return: Tragedy bears consequences, and consequences bear tragedy. Emma Russel is stricken with grief with the death of Andrew that she makes a deal with Alan Jonah to wake every dormant Titan on Earth. The consequence? A murderous three-headed monster plans to terraform the Earth to his liking, and does not give a damn if humans die.
  • Despite the rather sketchy nature of Dr. Serizawa's claims, it turns out that he was actually right that awakening the Titans would be good for the world; the epilogue credits depicts a number of news articles explaining how the radioactive emanations of the Titans has had massive ecological restorative effects on the world - ranging from deforested and depopulated areas bouncing back with endangered species, the Saharan desert turning into a lush jungle, and extremely durable and plentiful 'superfoods' appearing in areas where monsters passed through.
  • Mark Russell when he is brought to Monarch's oceanic base, where he calls out Dr. Serizawa and his team that this entire plot could have been foiled preemptively by either not building the Orca, which he had in fact destroyed several years ago to prevent this exact same situation, or just killing the Titans whilst they were dormant. Given that Monarch's leaders practically worship the Titans, especially Godzilla, his arguments are brushed off. Played With, as killing the Titans would be extremely difficult, given their Nigh Invulnerable status and the fact a nuke would only make many of them stronger, and as shown in the last film with their attempt to kill the dormant Male MUTO very likely to only succeed in enraging them if they weren't actually capable of killing them.
  • Rodan, whose internal temperature is so extreme he melts rock into lava and is therefore impervious to it. His heat does burn and heavily injure Mothra during their fight, visibly burning her. Then there's Dr. Serizawa, who goes into the massive heat and radiation of Godzilla's home, protected only by a radiation suit of unspecified grade, but doesn't burn up when he removes his gloves or helmet. And then there's Burning Godzilla, whose core temperature is so high he melts buildings, metal scaffolding, and even the pavement from dozens of meters away.
  • The film one-ups the previous film's tone, and maybe even Shin Godzilla and the anime trilogy. Alan Jonah's endgame is to revive King Ghidorah, who is an alpha rival to Godzilla and his literal worst enemy compared to the MUTOs. Plus, there are far more casualties, and Anyone Can Die. Godzilla himself almost dies, and had to be resuscitated in order to save the world.
  • At one point King Ghidorah lands and knocks over a Dunkin Donuts billboard.
  • The Orca works by taking over the "alpha" role and communicating authority, rather than some magic that compels obedience. Despite this being her area of research and presumably agreeing with Monarch's thinking that "Monster Zero" is a rival alpha to Godzilla it doesn't occur to Emma that Ghidorah may have a "different" response than the Titans in general. Oh he hears and understands it, he just thinks it should be killed.
  • Rodan is the first Titan to bow, first to Ghidorah then at the end to Godzilla.
  • Ghidorah awakens all the titans and summons them to his location, but they don't actually arrive in Boston until after Ghidorah is killed.
  • Rodan, Mothra, and Ghidorah are all cited as having at least one elemental power base: Rodan is lava-based. Mothra has bioluminescent abilities she can weaponize into beams of deadly energy. King Ghidorah has electrical powers and can generate hurricane force winds with his wings. Combining both powers allows him to generate cataclysmic storms.
  • small arms fire isn't even felt by the Titans, but it's still the first response of any Monarch soldier that ends up in their path (as opposed to, say, running like hell). The only handheld arm to get a reaction was a high-powered taser against a relatively tiny Titan, and even that only pissed off the Mothra larva rather than have any real effect. However, while Titans do feel missile bombardment, it still annoys them more than actually hurt them in any way.
  • While King Ghidorah does attack people who shoot at him or are challenging him with the Orca, he also repeatedly attacks and kills people who just happened to be in the wrong place at the wrong time such as gobbling up Vivienne and trying to destroy the Argo after defeating Rodan, even though it was running away from him. Tellingly, he also tries to atomize Madison after she's thrown the Orca away and much closer to him, damaging and shutting it off in the process. He also several times does a Slasher Smile when about to do so, implying he genuinely enjoys it. The novelization takes it a step further by explicitly stating he enjoys killing and practically lives for it.
  • Alan, Emma and Mark form one towards Kaiju, with Mark pulling double duty as the Cynic and the Apathetic. Emma is the Optimist, viewing Kaiju with almost religious reverence believing them all to be protectors of earth. Alan is the Realist, as Unlike Emma who deluded herself as to what releasing the Titans would entail, Jonah was under no such illusions.
  • of the 17 known Titans on Earth, 8 are mentioned but never actually shown onscreen (Leviathan, Baphomet, Abaddon, Typhoon, Tiamat, Mokele Mbembe, Sargon, and Bunyip). Kong isn't seen in this film either, but he appeared previously in Kong: Skull Island.
  • The film makes clear that Eco-Terrorist Alan Jonah's views of humanity - with all the wars, death, and destruction people bring about - aren't entirely wrong. It's his response to it all - letting the Ax-Crazy alien invader Ghidorah use the Titans to flatly obliterate humanity - that is presented as wrong, not the actions of humanity that left him so disillusioned in the first place.
  • The classic themes for Godzilla and Mothra have been brought back, with new themes being composed for Ghidorah and Rodan. Keeping with a "Monster Opera" theme, each theme has different vocal characteristics. Godzilla has the Akira Ifukube theme accompanied by powerful kakegoe chanting provided by a taiko group from Tokyo Mothra's Song is performed by an ethereal female choir. Rodan's theme is brassy and loud, pushing the French horn section into piercing screams, emulating the monster's calls Ghidorah's theme is built around three-note phrases and groups while featuring chanting from Japanese Buddhist monks. In addition to the four kaiju themes, there is a general "Ancients" theme heard throughout the film, with an Ancient Babylonian poem about the days when humans worshipped monsters being chanted throughout.
  • Two of the Monarch soldiers, Barnes and Griffin, have quite a bit of screen time, a decent amount of lines between them, and actually survive the whole film despite being in the thick of virtually every single battle and disaster that happens. Griffin also averts being a Disposable Pilot while she's at it.
  • The film is more or less a remake of Ghidorah, the Three-Headed Monster as far as the cast of monsters go. With several monsters rampaging across the planet, it is also one to Destroy All Monsters.
  • Stone Mountain, a major Confederate monument, is briefly mentioned as one of the sites a Titan emerged from (and presumably leveled). Given the fact that director Michael Dougherty's half-Vietnamese.
  • Jackson Barnes asks if Mothra and Godzilla "have a thing" and refers to the symbiotic relationship between them as being "messed up", perhaps a subtle jab at the "Mothzilla" shipping.
  • Previously a top-secret government agency, Monarch has given up the game and gone fully public in the aftermath of Godzilla's fight with the two MUTOs, since it would be almost hilariously impossible to cover up the fact that three giant monsters destroyed a city, and there's now no reason for them to try. Their mission has now shifted from trying to keep the existence of Titans a secret to prevent a public panic, to trying to reassure a rightfully-terrified public that all possible action is being taken for a hypothetical resurgence.
  • People are naturally terrified by the realization their world is actually populated by ancient, gigantic monsters so gigantic and powerful they can easily destroy a city just by strolling through it and are rightfully worried that more could awaken. People are also left to wonder if they are any out there even capable of peacefully co-existing with humans. Not everyone shares the sentiment that Godzilla is a hero. Mark Russo openly blames Godzilla for his son Andrew's death, and really wants him dead. At the same time, he's well aware just because he hates Godzilla, he's the only reason monsters don't go out and start rampaging.
  • People are more than a little skeptical of Dr. Serizawa's claims that the Titans are ecologically necessary and should be reintroduced to the world... which you'd only expect, given the destruction and death caused by Godzilla and the Mutos five years previously.
  • Monarch is literally on-trial because the government originally founded the organization to find a way to kill the Titans before they woke up, and they've deliberately avoided doing that.
  • Because of their size, Rodan and Ghidorah can cause massive damage from the shockwave and wind they generate by simply flapping their wings or flying at high speed. In older movies, barring Rodan's film debut, flying monsters can only create a small gust of wind that couldn't even uproot trees unless they put some effort into it. All of the flyers have gigantic wingspreads for their proportions. Anything as massive as they are would need an extremely large wingspread just to fly (even if in reality it'd be impossible for anything the size of kaiju to get off the ground by flapping no matter how large the wingspan).
  • Ghidorah, having three heads, has occasional disagreements between his heads, as would be expected of a creature with three separate minds controlling one body. This is most notable in the Antarctica scene when the left-hand head stoops down in seeming curiosity to examine the terrified Monarch soldiers as they shoot at it, with the centre head having to snap it back into focus before they start blasting.
  • Godzilla intercepts Ghidorah midway through the film and drags him underwater to continue their fight. He ends up curb stomping the dragon, ripping off its left head. Ghidorah's not meant for underwater fighting as his massive wings only get in the way, whereas Godzilla is fully amphibious.
  • Second monsterverse film after Kong Skull Island (2017) to have a end credits scene.
  • Researchers Nathaniel Dominy and Ryan Calsbeek investigated why the already massive Godzilla has doubled in size since he first stomped Tokyo. There isn't one easy answer to why he shot up to a height of 164 feet. Turns out the dinosaur with atomic breath is more complicated than we thought. "[Godzilla] represents a sensational example of evolutionary stasis, second only to coelacanths among vertebrates," the authors said in a study recently published in Science. "Yet, the creature's recent morphological change has been dramatic." Say Godzilla was an actual dinosaur. Dominy and Calsbeek believe he would have been a ceratosaurid and a Lazarus taxon, or a supposedly extinct species that surfaces later (another thing he has in common with the coelacanth). There is no known dinosaur as immense as the latest iteration of the most famous kaiju ever in Godzilla: King of the Monsters. He could have only gotten that big in the wild if he underwent natural selection 30 times greater than usual. That means he grew 30 times faster than any creature that ever existed. That monster needs tons of food, which means...you know. Such a boom in size would have been just about impossible -- even over a hundred million years ago. As a product of our human imaginations, however, Godzilla probably blew up for entirely different reasons. We crave disaster films. All you have to do is look at box office stats any given week to prove that. Behind that is an epidemic of anxiety brought on by both natural and political forces. "Godzilla is evolving in response to a spike in humanity's collective anxiety," they said. "Whether reacting to geopolitical instability, a perceived threat from terrorists, or simply fear of "the other," many democracies are electing nationalist leaders, strengthening borders, and bolstering their military presence around the world."
  • After Godzilla emerges post-nuking, he regards everyone on the deck of the sub with some interest for a few seconds, then leaves to go after Ghidorah. While it could be that he simply didn't see them as a threat, considering that he saw Serizawa in his lair, and Serizawa got close enough to touch his jaw just before the nuke detonated, it's quite possible that he could smell Serizawa's scent on the others and realized that they helped heal him.
  • The scene in Antarctica is likely a reference to a scene in Godzilla: Final Wars. Only in that movie, it was Godzilla frozen in the ice, and instead of Ghidorah being his opponent, it's Gigan.
  • The previsualization team for Godzilla: King of the Monsters based Madison Russell's face on Millie Bobby Brown's before she was cast. According to director Michael Dougherty, "We got so used to seeing her face that we just kind of said, 'Well... why don't we make her the offer?'"
  • Thomas Middleditch (Sam Coleman), had a minor voice-only role as Mason Weaver's contact Jerry in the previous entry in the MonsterVerse, Kong: Skull Island (2017).
  • Behemoth is slightly more prominently featured in the novelization than the film itself. One of the researchers at his outpost, believing he is "the most interesting Titan," sets Behemoth free herself before Monarch can preemptively destroy him, and is killed in Behemoth's escape.
  • Several fans in Japan have noted similarities between the head of Methuselah and a rejected head design for Godzilla from the 2014 film, which was displayed at San Diego Comic-Con in 2013. These similarities include the shape of their lower jaws and the protruding fangs which are visible when their mouths are closed.
  • The MonsterVerse King Ghidorah is the first incarnation of the character to be portrayed through motion capture, as well as the first to be portrayed by three actors simultaneously.
  • The MonsterVerse King Ghidorah shares some characteristics with the incarnation of the character from Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. For example, his feet are bird-like with three large claws and a smaller fourth digit, while his wings have visible phalanges which connect to his body, and can be folded at his sides when not in use. He also possesses electrical abilities in addition to his traditional Gravity Beams, much like the GMK incarnation of the character. Like the GMK King Ghidorah, this version of the character is initially discovered frozen in ice.
  • The Monarch timeline videos posted to Kong: Skull Island social media accounts in 2017 state that Monarch discovered King Ghidorah in 2016. Godzilla: Aftershock, set in 2014, shows a containment facility already built around him.
  • While its predecessor Godzilla was noted by some for similarities with the 1995 film Gamera: Guardian of the Universe, Godzilla: King of the Monsters also features some parallels with the other films of director Shusuke Kaneko. Godzilla's physical appearance has changed since the last film, much like how Gamera's appearance evolved in each film of the Heisei trilogy. The film also incorporates the idea that the kaiju have inspired creatures from real-world mythologies, a concept featured in both Gamera 3: Revenge of Iris and Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. Both Mothra and King Ghidorah's new designs in this film share some traits with their revamped designs from GMK. After seeing the film, Kaneko himself acknowledged the similarities between Godzilla: King of the Monsters and GMK. There are many parallels between Godzilla: King of the Monsters and Gamera 2: Attack of the Legion. Both films have humanity deciding to join forces with the heroic monster against a much greater threat. Both of the antagonistic kaiju are extraterrestrial monsters who want to reshape the earth to fit their needs with an army of minions at their disposal. The heroic kaiju is nearly killed before his final encounter with his enemy, but comes back to life. With the assistance of humanity and a powerful final attack, the heroic monster is victorious in his final clash with his foe. At the end of the film, both humanity and the heroic monster are in an uneasy alliance, but many question how long it will last. The film also shares some similarities with Gamera 3: Revenge of Iris, with human villains aiming to unleash the antagonist monster in order to drastically reduce the human population. It also features a lead young female character who had a previous traumatic experience with the main monster.
  • Five minor military characters in the film are each named after a noted special effects artist. *Lieutenant Bottin is named after special make-up effect creator Rob Bottin, who worked on films such as The Thing (1982), RoboCop (1987), Total Recall (1990), and the 1976 remake of King Kong. "Corporal Winston is named after late special make-up effect creator Stan Winston, known for his work on the Terminator films, Jurassic Park films, Aliens (1986), and many more. Winston and his studio were also set to handle the monster effects for the original 1994 incarnation of TriStar Pictures' GODZILLA before Terry Rossio and Ted Elliot's script was replaced by Roland Emmerich and Dean Devlin's version. *Sergeant Baker is named after retired special make-up effect creator Rick Baker, who designed and portrayed King Kong in the 1976 remake and is also widely regarded for his effects work in An American Werewolf in London (1981). Baker also had a cameo in the 2005 version of King Kong, and is a good friend of longtime Godzilla series suit modeler Shinichi Wakasa. *G-Team Officer Tippett is named after director and visual effects supervisor Phil Tippett, whose work includes the original Star Wars trilogy, RoboCop, and Jurassic Park. *G-Team Officer Harryhausen is named after late stop-motion animation pioneer Ray Harryhausen, who worked on films such as The 7th Voyage of Sinbad, Jason and the Argonauts, and Clash of the Titans.
  • After going uncredited in Godzilla (2014), Godzilla's motion capture actor TJ Storm is credited for reprising the role in this film. Jason Liles, Alan Maxson, and Richard Dorton are all credited for their performance as King Ghidorah. However, they are all listed among the crew, while the cast list states that Godzilla, King Ghidorah, Mothra, and Rodan were all portrayed by themselves.
  • The film's opening emulates the opening of the original Godzilla film from 1954, beginning with the sound of Godzilla's footsteps followed by his roar. Shin Godzilla also opened similarly, although it used the same sound effects from the 1954 film.
  • Outpost 33, which is labeled on a computer screen over Skull Island, refers to the release of King Kong's debut film.
  • During the scene where Chen's twin sister Dr. Ling observes Mothra emerging from her cocoon, her hair is styled much like the Shobijin's often is.
  • The turrets that G-Team commandeers when Godzilla approaches the Castle Bravo base are Maser Turrets. Maser Cannons are a recurring fictional anti-kaiju weapon in the Godzilla franchise first introduced in The War of the Gargantuas and featured in numerous films ever since.
  • While in the 2014 film Godzilla's roars were entirely new, Godzilla: King of the Monsters incorporates his classic roars from the Showa series at several points. In addition, Mothra's roars include some of her classic chirping sound effects.
  • There are several monster scenes in Godzilla: King of the Monsters that mirror those in past films. *King Ghidorah is initially found frozen in ice, which also occurs in GMK. "During Godzilla and King Ghidorah's first confrontation in Antarctica, there is a wide shot of them facing off that is framed similarly to a shot from Godzilla vs. King Ghidorah just before the monsters' first battle. *Rodan emerges from the crater of a volcano, which occurs in Ghidorah, the Three-Headed Monster. *Rodan engages in a high-speed dogfight with fighter jets over a body of water, which also happened in the character's debut film. *Rodan and King Ghidorah's fight includes a midair collision, as did their first battle in Ghidorah, the Three-Headed Monster. *Godzilla and King Ghidorah engage in an underwater battle. The military intervenes by firing the Oxygen Destroyer missile at the two, only for it to incapacitate Godzilla but leave Ghidorah otherwise unharmed. This is a subversion of the final battle in GMK, in which the *JSDF tries to hit Godzilla with a D-03 Missile as he battles with King Ghidorah underwater, only for the missile to accidentally strike King Ghidorah instead. *During the final battle, as Ghidorah lifts Godzilla into the sky, he constricts his middle neck around Godzilla's throat and strangles him, an attack he also used in Godzilla vs. King Ghidorah. Ghidorah restraining Godzilla and lifting him into the air is also reflective of their most recent battle in GODZILLA: The Planet Eater. *Mothra is annihilated by a direct blast from Ghidorah's gravity beams in an attempt to defend Godzilla. This is reminiscent of both GMK and Godzilla: Tokyo S.O.S., in which she is destroyed in a similar manner by Godzilla's atomic breath while attempting to defend either human characters (in GMK) or her larvae (in S.O.S.). *Before her death, the seriously wounded Mothra crawls onto Godzilla as he is left nearly dead following Ghidorah's most recent attack. After Ghidorah kills her, Mothra's energy flows into Godzilla, ultimately providing him with the power he needs to triumph over Ghidorah. A similar scenario plays out in the climax of Godzilla vs. Mechagodzilla II, in which the mortally wounded Fire Rodan lands on top of the crippled Godzilla and in his dying act transfers his energy into him. The revived Godzilla begins emitting intense heat and radiation and goes on to easily destroy Super Mechagodzilla. *Mothra's revival of Godzilla also echoes the climactic battle of GMK, in which after being destroyed by Godzilla's atomic breath, Mothra's energy flows into the unconscious Ghidorah and revives him as King Ghidorah so that he can continue the battle against Godzilla. *Ghidorah bites down on Godzilla with his three heads and lifts him into the air, draining his energy which is shown visibly passing through his necks. Keizer Ghidorah does the same thing to Godzilla in the final battle of Godzilla: Final Wars. *Godzilla becomes overloaded with nuclear energy to the point characters fear he may explode. Eventually, the energy builds to critical levels and Godzilla's skin becomes covered in glowing red patterns as he emits a tremendously high temperature. This same thing occurs in Godzilla vs. Destoroyah. *Godzilla defeats Ghidorah with a series of nuclear pulses that each deal devastating damage to him. This is reminiscent of both Godzilla vs. King Ghidorah, in which Godzilla frees himself from King Ghidorah's grip and gains the upper hand with a well-timed nuclear pulse, and Godzilla vs. Destoroyah where Godzilla bombards Destoroyah with a series of intense nuclear pulses that force him to try to flee. "The end credit scene where Alan Jonah observes the recovered severed head of King Ghidorah is framed very similarly to the opening scene of Godzilla vs. Mechagodzilla II in which G-Force salvages the severed central head of Mecha-King Ghidorah.
  • One news article shown during the film's end credits montage indicates that Monarch is constructing a "mechanized giant" to keep order on Skull Island following failed attempts to create organic Titans of its own. This could be an allusion to Mechagodzilla, which in many of its appearances is an artificial kaiju created by humanity to combat other monsters. Another article during the credits montage discussing ancient accounts of Godzilla battling members of Kong's species contains the headline "What's a King to a God?," a phrase popular among the Godzilla fanbase ever since Godzilla vs. Kong was announced.
  • Concept art exists for Margygr, implying that she was intended to appear (albeit as a corpse) in the film.
  • Despite delivering exactly what it advertised, Michael Dougherty's Godzilla: King of the Monsters isn't getting the box office love we all predicted it would. Now, the folks at Legendary may be getting cold feet about the next installment in their MonsterVerse, Godzilla vs Kong. Deadline is reporting that Warner Bros. Studio chairman Toby Emmerich is considering a delay stating "[Godzilla vs. Kong] will deliver for fans in the way they were looking for. It might come out later in the year, so we can deliver an A+ movie."
  • Ironically enough, Rambo 5 was originally supposed to be Rambo V: The Savage Hunt, and would've seen the action hero taking on horrific monsters, of sorts. The proposed storyline was based on James Byron Hugggins' 1999 novel Hunter, which centred around a squad of soldiers who encounter a beast tearing through facilities in the Arctic. As the soldiers begin to get knocked off one by one, it becomes clear that this creature is some kind of man-made monster. Rambo V would've added a super soldier angle to the beast's backstory, as sort of commentary on the new age of genetic manipulation and the pitfalls of mixing science with the violence of military combat. The Savage Hunt combined horror, sci-fi, and action under the banner of an iconic franchise character. In that way, it was pretty forward-thinking, as blending pulpy genres like action and horror in blockbuster franchise films is now all the norm. However, it's clear that time has changed Stallone a great deal, and now Rambo V: Last Blood is taking its cues from something like X-Men spinoff film Logan to bring the saga to a close. Ironically enough, Logan shares a lot of similar plot points with The Savage Hunt, including the theme of new-age genetic manipulation threatening to make old soldiers obsolete. It's also not hard to take the Savage Hunt concept and simpl tweak the monster at the center of its story into a much, much, bigger monster like Godzilla.
  • Sharp viewers recognized the return of a species from Kong: Skull Island (2017), Dougherty revealed. "So do you remember the tiny little bat-like creatures that swarm around and pick off the characters?" Dougherty asked. "So they're present in the final scene of the film. So I like the idea that once the earth opened up and these creatures started to emerge out of the hollow earth, some of these other Skull Island-type creatures flew out."
  • The question that Godzilla fans might be asking is, why create so many new monsters when the Godzilla franchise has so many to choose from, it turns out it's not as simple as all that. "I wish I could have brought in a few more of the classic Toho creatures but they all come at a price. They've all got their fees, and so it was a choice. Do I want to shell out money to use a Toho creature by name or do I want to actually put that money on-screen in a visual effects shot?" Michael Dougherty explained.
  • earned just $15.5 million in its second domestic weekend, dropping a brutal 68% from its disappointing $47.7 million debut frame. That gives the film a $78 million ten-day total and positions it for a $105 million domestic finish. Yes, it's doing better overseas (it may hit $130 million in China), but it still looks to end up over/under $415 million. That's well under Godzilla ($200 million domestic and $529 million worldwide) in 2014 and Kong: Skull Island ($168 million/$567 million) in 2017. It's not an exact match, but despite arguably "doing it right" with their MonsterVerse, WB (and Legendary) is now in a similar pickle. After Batman v Superman: Dawn of Justice underwhelmed critically and among general audiences (it earned $873 million worldwide from a $425 million global launch), Warner Bros. was stuck with the about-to-go-into-production Justice League and a November 17, 2017 release date. Regardless of whether Man of Steel was initially supposed to be a launching pad for DC Films, Batman v Superman was absolutely treated as such as thus its poor reception put WB in a precarious position.
  • Concept Artist Ken Barthelmey was tasked to do some concept artwork of Ghidorah, and the designer gave Ghidorah a straight-up terrifying look. The film ended up using a traditional look for Ghidorah based more so on dragons, but Barthelmey began his original design with a more aquatic look in mind, Ghiodrah's heads are way more streamlined in this artwork. The design makes the monster's eyes real beady, and their red hue is nightmare fodder. This look is only compounded by the spikes coming from Ghidorah's head, and its head has an elongated mouth which looks downright horrifying.
  • Despite succumbing to a subarachnoid hemorrhage in May 2017, Yoshimitsu Banno is given an executive producer credit for this film.
  • It may be minor but the Katakana characters written on the wall of the ancient megalithic city looks out of place. The said writing did not come to the world until 794 - 1185 A.D. nor did the Japanese people in ancient history ever travel to the Atlantic Ocean and build a city there. Then again, an advanced civilization "much older" than Egypt on the other side of the world in and of itself is already an extreme example of deliberate anachronism, so the writing on the walls of the city are the least of its issues.
  • King Ghidorah. As hinted at in Kong: Skull Island, he's been around a long time - enough that his existence is noted in the mythologies of all the world's oldest civilizations, but in hushed terms, as if they were actively trying to forget him. He's also genuinely evil and malevolent.
  • Godzilla and the MUTOs were living natural disasters, but Ghidorahs a living extinction event. While not exactly light beforehand, the moment he appears onscreen everything takes a much darker turn and he kills a named character within minutes of being released. Whereas the MUTOs may have been capable of sending humanity back to the Stone Age, Ghidorah actively desires humanity's destruction and is definitely capable of carrying that desire .
  • One of the Titans, Leviathan, is in Loch Ness, implying that it's the origin of the Loch Ness Monster legend. Toho actually nearly made a kaiju film staring Nessie in 1978 in co-production with Hammer Horror and got far enough into production for posters to be made.
  • The trailer makes it seem Jonah's line "Long live the king" is referring to Godzilla and is some kind of badass one-liner or quip. He's actually referring to Ghidorah, and it's actually a moment of wistful realization that the Evil Plan is officially Off the Rails. Several shots in the trailers also seem to set Rodan up as the hero we know from the Toho films. While he's not exactly an outright villain, he's also a destructive sadist who spends a decent chunk of the film as Ghidorah's Dragon. The second trailer shows a scene of Emma contacting Monarch urging them to free Godzilla as it's their only chance, painting her in a heroic light. In the film itself, not only does she never once advocating freeing Godzilla to stop Ghidorah, as this happens after Godzilla is presumed dead due to the Oxygen Destroyer and Ghidorah awakening the Titans, this is where she fully reveals her Insane Troll Logic, her utter hypocrisy, and her increasingly feeble attempt to claim the moral high ground in front of Monarch and her husband, even it's already pretty clear at this point she's just full of it.
  • The Titans were once worshipped by a widespread semi-subterranian civilization that existed roughly 20 000 years ago and possessed technology comparable to the Romans; implied to have been annihilated by Ghidorah's arrival. It's also indicated this civilization is the precursor of all other civilizations and cultures due to containing elements of other prehistoric cultures -- Egyptian, Mesopotamian, Mayan, etc. While this is only briefly discussed in the film, the novelization goes into more detail about it.
  • A recurring theme with the Titans. When Godzilla charges his atomic breath, his back spines glow blue. When Mothra uses her "god rays," her wings glow with blinding white light. And, in a new twist, Ghidorah's necks visibly glow with yellow light as he charges up his gravity beams. Godzilla's blue glow gets more and more pronounced as the final fight with Ghidorah progresses, with Rick counting down Exact Time to Failure before Godzilla goes nuclear thanks to the excess energy of the nuke used to jump-start his regeneration. When this combined with Mothra's Heroic Sacrifice causes him to enter Fire mode, his whole body glows red with firey atomic heat.
  • Godzilla is obviously known for stomping through cities and destroying everything in its path in the GODZILLA movies, but Godzilla vs. Hedorah (1971) suggests that all of this needless destruction could easily have been avoided, because, apparently, Godzilla can fly After receiving a vicious beating from Godzilla, the smog monster Hedorah morphed into its flying saucer form and escaped. However, the creature failed to realize that Godzilla, who had been struggling to find a way to defeat Hedorah, wouldn't give up so easily. To the shock of the Japanese military, Godzilla launched himself into the air with his atomic breath and chased after Hedorah through the air. Godzilla's breath was capable of propelling him upward. Everyone watching was in disbelief, as no one imagined that Godzilla could fly. Godzilla caught up to Hedorah, defeated him again, and took off a second time. This bizarre - but impressive - feat hasn't been repeated in any other Godzilla movie, though it has reappeared briefly in video games and comics. The fact that the only time it happens in live-action is in Godzilla vs. Hedorah makes this moment even more noteworthy. As for how it came together, Godzilla vs. Hedorah director Yoshimitsu Banno has explained (via Vantage Point Interviews) that Godzilla needed to fly in order to catch up with the smog monster. Also, the scene added a bit of levity to the movie, which was much darker than its predecessors. Alternate scenes were filmed with Godzilla chasing after Hedorah on foot, in case producer and Godzilla creator Tomiyuki Tanaka was opposed to the idea of Godzilla flying. Since Tanaka was in the hospital during filming, he was unable to personally monitor production. The movie was complete before Tanaka even saw the scene. After watching the movie, Tanaka was reportedly unhappy with Godzilla's newfound power. This is said to be the reason why Banno was never hired to make another Godzilla movie, and it also explains why Godzilla never flew again.
  • The whining sound which Rodan makes after getting stabbed by Mothras stinger is similar in tone to the whining sound the female MUTO made when she was killed by Godzilla in the previous film.
  • Houston Brooks' "Hollow Earth" theory is proven true when the Monarch submarine finds an undersea trench that leads deep into the planet which is the route Godzilla used to travel across the globe and avoid human detection.
  • A skeleton can be seen outside of Godzilla's underwater temple. This skeleton bears a body shape resembling Anguirus, a dinosaur who served as Godzilla's ally in a few films; the filmmakers have confirmed that it is in fact Anguirus.
  • At one point in the movie, the Monarch ship travels through the underwater ruins of a vast, ancient metropolis, which could be a tip of the hat to Seatopia, the advanced underground civilization that unleashes the title monster in Godzilla vs. Megalon (1973), or an even more obscure reference to Mu, the legendary lost continent that was portrayed in the 1963 Toho film Atragon (which also introduced the giant serpent Manda).
  • "It was really cool to work with [director] Michael Dougherty because he's a very big fan, obviously, of Godzilla and the whole universe behind it. So, that was really cool to work with someone who was paying so much attention to detail," Alejandro Diego, a producer at Ollin VFX, said. "We actually were told that there are some Easter eggs that are in the movie, so it was kind of fun for us to try to find them. We found one, I think, but we don't know" Not only was this a fun little exercise for the crew helping bring this colossal story to life, it was also a learning experience for Alejandro, who was more than happy to add fresh intel to his growing mental database of the Godzilla mythos. "Like most people, I knew about Godzilla and had seen some of the movies when I was a kid. I'd seen some other ones, the Japanese versions. Nowadays you look at them and you laugh at how fake they look. That was really about it," he said. "It was nice to learn a lot more about it. It's a great franchise and I think they've done a good job of staying true to the background of it while, at the same time, making a modern movie that audiences of today will like. I didn't realize that there were so many Titans. In the older versions, I had always seen Godzilla and maybe one or two [others]. This time around, there's a lot more [monsters]. I really liked the fact that [while Godzilla is] the king at the end of the day, there's a lot of others, much more than I certainly knew about before. " Based in Mexico City and one of the biggest special effects vendors in Mexico, Ollin is mainly responsible for the more subtle aspects of feature films such as environment enhancement, atmospheric construction, and set extension. While these tasks are smaller in the grand scheme of things (especially when compared to the giant kaiju and their epic battles seen in King of the Monsters), it does not mean that the work they do is any less important. Indeed, it's often those minute details that wrap up the fantastic illusion into a tight and neat bow that then transports the viewer into another world of believable impossibility. When all was said and done, Diego and his team had worked on over 500 VFX shots, a staggering amount, for this blockbuster project. For example, Ollin was in charge of crafting the skies through which the specialized military/Monarch aircraft carries the main characters from Point A to Point B. "We had to create the whole exterior clouds, sky, sun, to make it look like they're basically flying," Diego added. "Originally, they were gonna rent a plane and shoot that footage of outside skies and clouds. [Michael] was a little doubtful about whether or not it could really be done in CG and if it would look real and right. That was the first thing he asked [from us; he said], 'It has to be photoreal.' That was quite a test and he liked it very much when he saw it; the ability, of course, of being able to then being always able to digitally change the lighting to make it look like it's another time of day. If you wanna change the shape of a cloud or how quickly you're passing through it, all those things, of course, give you a lot more control when you're doing it with a computer. When the look was right, [Michael] was very happy that he could play around with that environment and make it look exactly like he wanted." Other Ollin duties included the extension of the underwater base from which Monarch tracks the movements of Godzilla; adding more snow to the scene where Ghidorah breaks free from his frozen prison in Antarctica (this involves taking light fragmentation and the stickiness of snow into account); and creating the time lapses in Las Vegas and San Francisco where the radiation given off by the Titans has sparked rapid plant growth. Despite only appearing for a few seconds onscreen, this last responsibility proved to be one of the most challenging CG undertakings for the Mexico City-based VFX house. "There were thousands of trees and plants," Diego said. "We couldn't afford to manually put in each one one-by-one and then tweaking them in order for them not to look like they were all replicated from one another Some of them started larger, some of them started thinner, some of them had one branch, two branches, four branches, and then the way they grew was also at different speeds and different directions and different ways to make it look natural. If you look at a forest of trees, even though they're similar, each one is unique. Your eye and your mind is very well-trained if they're all the same, you might not be able to actually pinpoint that, but an alarm will go off in your brain to tell you that something's off and that this is not real We ended up having them make it look really natural, but we had to also get a computer programmer to basically help us out because there were so many elements.
  • Came in below its estimated opening alongside Dark Phoenix, with an international box office opening of $103.7M in 53 markets, per the actuals. Combined with a heavily singed domestic bow, the global debut was $136.5M, lower than pre-weekend projections from the industry. The Simon Kinberg-helmed pic through Sunday was behind both of the last installments overseas, X-Men: Apocalypse (-30%) and X-Men: Days Of Future Past (-23%). It was No. 1 worldwide, and No. 1 in 36 offshore markets, but audiences essentially gave it the bird amid lousy reviews and social media reaction. An ultimate offshore cume looks to be in the low $200Ms for a possible $300M global final. China led all play this session with $45.6M which in today's rates is 28% bigger than Days Of Future Past, but 15% less than Apocalypse, each of which had three-day bows. Dark Phoenix opened in the Middle Kingdom on Thursday, looking to take advantage of the Dragon Boat Festival. It had a decent hike on Friday, the first full day of the holiday, but then saw a 30%+ drop on Saturday, and was down again Sunday, by about 39%, which resulted in a start below projections as we earlier wrote. The bird's Middle Kingdom trajectory was impacted by social scores with Maoyan at 7.7 and Douban at 6.1. During the course of the weekend, Maoyan lowered its final full-run China estimate for the Phoenix to a scorched $61M. China was the lead home for the last two X-Men, as well as Logan, but Dark Phoenix's wings were certainly clipped there. On Monday, local youth romance My Best Summer, overtook it at No. 1 for the day. Elsewhere, the numbers are low. Korea came in behind China, all the way down at $5.7M through Sunday (and against the continued success of Parasite and Aladdin there) with Mexico ($5M), the UK ($4.9M) and France ($3.8M) rounding out the Top 5. In IMAX, Dark Phoenix grossed $14.1M globally, including $9.1M from international where this is Fox's 2nd best opening weekend in the format. This is a competitive landscape, for sure, and in the summer a film needs to bring the goods in order to compete. But the expensive Dark Phoenix had been through reshoots and release date changes and ultimately resulted in a movie that drew the lowest RT score domestically for any X-Men title. Certainly, as Anthony has noted, franchise fatigue (like with Godzilla is a factor when the films aren't good or in high demand. After Apocalypse, which was not well-received, this can also be seen as a retaliatory reaction from moviegoers
  • The 200 Clarendon building in Boston--the city's most prominent and distinctive tower--becomes a very handy wall for Mothra to ensnare two of Ghidorah's heads with her silk, and the alien dragon barely has time to react before Godzilla puts him through it.
  • The 'Rebirth' track that plays during Godzilla's rising from the depths in his powered up state contains a version of his theme.
  • The "Monarch" codename for the organization has a double meaning after this movie, associating with the 2 monsters that takes humanity's side. On one hand, they're the MONARCH organization. AKA, they're ruling over and monitoring the monsters like Godzilla does/will. On the other hand, their symbol is 2 triangles together. A shorthand for something else, or the symbolism of looking like a monarch butterfly, Similar to Mothra, in being the wingman for protecting the earth with Godzilla.
  • Second film where a family deals with the death of a loved one - the Russell's son Andrew who was killed during the 2014 Muto attack. In Godzilla (2014) it was Ford Brody's mother who was killed at the Janjira power plant.
  • Though King Ghidorah is already considered to be Godzilla's greatest enemy, Godzilla: King of the Monsters makes him even better, taking their rivalry to the next level. Not only is Ghidorah a fearsome foe in Godzilla: King of the Monsters, but director Michael Dougherty succeeds in delivering the best version of King Ghidorah ever. Even though it hasn't been the huge, box office hit Legendary Pictures had hoped, and negative reviews from critics certainly haven't helped. However, reactions from fans have been extraordinarily positive, as many feel that King of the Monsters did exactly what was expected of it. The movie has been praised for capturing the spirit of Godzilla while also managing to change the meaning of Godzilla. Also, King of the Monsters' handling of Ghidorah proves that Godzilla isn't the only monster in the movie to receive a meaningful update.
  • Ghidorah has always been regarded as one of Godzilla best adversaries First appearing in 1964's Ghidorah, the Three-Headed Monster, the alien menace known as King Ghidorah has been a thorn in Godzilla's side for 50 years. In his first movie appearance, King Ghidorah was portrayed as a destructive force who came to Earth after wiping out all of civilization on the planet Venus. In his first heroic role, Godzilla teamed up with Mothra and Rodan to defeat Ghidorah. Ghidorah returned as the main antagonist in several Toho movies, including Godzilla vs. Monster Zero, Destroy All Monsters, Rebirth of Mothra III, and more. King Ghidorah's multiple appearances in Godzilla movies has cemented his spot at the top of the list of Godzilla villains. Prior to the release of King of the Monsters, Ghidorah and Godzilla have clashed a total of six times, which means that Godzilla has fought the alien invader more than any other monster.
  • One reason why Ghidorah is thought of as Godzilla's greatest enemy is that Ghidorah is one of only two villains -- the other being Mechagodzilla -- who Godzilla has needed help to beat. In all the times they've fought in Toho movies, only twice has Godzilla defeated King Ghidorah in one-on-one matchups. In Destroy All Monsters (1968), it took the combined efforts of several giant monsters to bring down the three-headed dragon.
  • When it was first announced that this would become the first Hollywood-produced Godzilla film to feature King Ghidorah, Rodan, and Mothra, fans were understandably concerned about how the three beloved kaiju would be portrayed. King of the Monsters was true to the legacy of the original characters by only making minor tweaks to their designs. Ghidorah's golden scales, three heads, two tails with bludgeoned tips, and gravity beams were all part of his original appearance, and each of them was carried over to the MonsterVerse. Among the things that were updated about Ghidorah's design were his legs, the size of his wings, and the shades of yellow on his scales. King of the Monsters also keeps Ghidorah's alien origins. Like his Toho counterpart, the MonsterVerse's Ghidorah is a powerful creature from outer space who lays waste to every civilization he comes across. At some point in the past, his travels brought him to Earth, where he remained for centuries in a block of ice in Antarctica. Ghidorah is the most sinister of all the Titans. Whereas Godzilla stomps through cities without intentionally bringing harm to innocent people, King Ghidorah purposively wreaks havoc on the people around him. Ghidorah's power is recognized by the other Titans. While Godzilla and Mothra don't regard him as the alpha, both are aware of the threat he poses to the world. This is the King Ghidorah that Godzilla fans are familiar with, and have been awaiting for decades.
  • Ghidorah in King of the Monsters threatened Godzilla in a way that previous versions never could, though to be fair, in several of these movies, Ghidorah was never allowed a fighting chance. Godzilla never had to make a miraculous comeback against Ghidorah because it was never necessary. It was three-against-one in Ghidorah, the Three-Headed Monster, and two-against-one in Godzilla vs. Monster Zero. After Godzilla and Anguirus dealt with Gigan in Godzilla vs. Gigan, the pair teamed up to take down Ghidorah. Ghidorah was vastly outnumbered in Destroy All Monsters when he had to face Godzilla, Mothra, Rodan, Gorosaurus, Spiga, and Anguirus, all at the same time.
  • Even though Ghidorah has such a long history as a Godzilla enemy, Toho movies with King Ghidorah as the main villain haven't actually given him an opportunity to show why he's Godzilla's greatest enemy. King of the Monsters achieves this perfectly by giving Godzilla the opponent he deserves.
  • Michael Dougherty got the job of directing after having a "general catch-up dinner" meeting with long-time friend producer Alex Garcia who produced Dougherty films, Trick 'r Treat (2007) and Krampus (2015), mentioning to him that Gareth Edwards wasn't returning to direct, he excitingly accepted the directors chair before Garcia could finish asking him.
  • Director Michael Dougherty said directing this film felt like a, "childhood birthday wish come true."
  • Michael Dougherty's first attempt at directing a Godzilla film happened when he was around ten years old, taking his family betamax camcorder and having his pet-box tortoise rampage through his Star Wars and Hot-Wheel toys or use his Shogun Warrior Godzilla and make "crude looking stop motion movies".
  • As soon as he was accepted the directors chair, Michael Dougherty immediately went home and started brainstorming by jumpstarting many childhood dreams and wish-lists, "I literally went crazy" he also started rewatching all the old Godzilla films to reignite his passion.
  • Michael Dougherty wrote a page and a half long rough treatment which he shared with Legendary Studios which got a "fat seal of approval".
  • Michael Dougherty and his writing partner Zach Shields ran a writers room of 10-12 writers for about 10 days, bouncing things around and revisiting some of the old movies, stating "it was like throwing a Godzilla party that has been raging ever since."
  • When Michael Dougherty came on board to direct, Legendary already did the hard work of securing the rights of Mothra, Rodan and King Ghidorah, which they did shortly after the success of the 2014 film, as they felt they were the "all stars and crown jewels" of the film.
  • Michael Dougherty said that Mothra was "daunting" he wasn't sure if there was a cool way to portray her as shes a giant moth with good vibes, so he watched for inspiration Tarantula (1955) and Starship Troopers (1997) so he approached her more as a deity almost more of a spiritual presence than a typical straight up giant monster.
  • Michael Dougherty always fantasized about the idea of Rodan emerging from a volcano, as he was heartbroken at the end of the 1956 film where both the male and female Rodan perish, and had the idea that "the Rodan couple laid an egg up there and after thousands of years had come to life as it was gestating inside the volcano", which was a no-brainer in the end.
  • Michael Dougherty loved the idea of a monster fight in Antarctica, which goes back to Beast from 20,000 Fathoms (1953) discovering a giant monster frozen in a tundra.
  • Michael Dougherty gave each monster a sequence of where they're discovered reflecting their personality in a way. Mothra- Rainforest full of mystery, beauty and nature Ghidorah- Antarctica, desolate and cold. Rodan- Volcano, somewhere tropical where the primal world made sense.
  • The aerial battle between Rodan and the fighter jets, is similar to the 1956 film.
  • Michael Dougherty used the previous MonsterVerse films to build off on for the VFX.
  • All of Michael Dougherty ideas were allowed in the film, none were left out.
  • Michael Dougherty calls the directors cut, "the Godzilla miniseries."
  • The test screening was "nerve-wracking" as Michael Dougherty had his AppleWatch on the whole time told him his heart rate had been elevated for the last fifteen minutes, as he felt it was like standing naked in front of a criticizing audience.
  • Michael Dougherty was fascinated with the prop MONARCH mugs and kept one which he uses for coffee.
  • Michael Dougherty still has his Shogun Warrior Godzilla figure from when he was a kid which he keeps in his bedroom, having been part of his life acting like his sentry for monsters under the bed or closet.
  • The shift of showing more screen time of Godzilla and other monsters could be interpreted as a reaction to the criticism of Godzilla (2014), but that was not the case, as King of the Monsters director Michael Dougherty explained: "I think that even if there weren't criticisms about the lack of Godzilla screen time with that film, we still would have taken the path that we took with this one. Even if you do a slow burn movie and it's well received, you kind of only get a chance to do that once."
  • Contrary to what the stark difference in the two films might suggest, King of the Monsters was in no way a response to Godzilla (2014), nor did Michael Dougherty feel forced to up the monster factor in the sequel. As he told Polygon, he believes that the sequel would have always had more monsters and more Godzilla - even if the first film had not been criticized for lacking enough of those elements. Although that's hypothetical, Michael Dougherty thinks that because you he wouldn't have wanted to repeat the same approach. The King of the Monsters director really liked what Gareth Edwards did with Godzilla in making it a slow burn monster movie, but doesn't think that's a method you can use twice and definitely not back to back.
  • Michael Dougherty felt that eschewing the slow burn approach of Godzilla was not a reaction to criticism, but simply the natural progression of the story and he looked to other iconic sequels for inspiration. As he explained: "Once you have established your monster, you need to up the ante a little bit in the next one. I used Wrath of Khan, T2, and Aliens as really good references of second chapters that built upon what was established in the first film to create a sequel that ideally is considered just as good, if not better, than the first entry."
  • Ghidorah, one creature, is played by three different actors, via motion capture. As Michael Dougherty explained, in the same EW article: "It was important to me that each of Ghidorah's heads have a slightly different personality than the other. Just imagine if you had three dogs, all of the same species. I mean, it's subtle. I used to have three dogs, and you sort of learn that they have very different ways of expressing themselves, even if they look alike. I loved the idea that each head did sort of have its own personality and quirks, with the center head being the alpha of the three. He's the one who's sort of the big brother and the most serious. And then, the other two are just a little bit different. One head is slightly more aggressive and tenacious. The other one displays signs of curiosity. So, in a lot of ways, they're just like three triplets. You know, they have a lot of traits in common, but they all have their own unique way of reacting to a situation. Ghidorah, he's a singular character with three distinct personalities and doing the mocap, the facial capture, that way just seemed to make the most sense. And it was a ton of fun too."
  • Behemoth's other name, Mapinguary, is an ape-sloth Bigfoot-like cryptid in South American folklore with mammoth fur - Behemoth resembles this, but with tusks, and without the one eye or second mouth on his stomach that the Mapinguary has. It is strongly implied that sightings of the Mapinguary in South America are actually sightings of Behemoth, which is why the locals call him Mapinguary.
  • Interspecies Romance is joked about twice in the film, when Mark states that Ghidorah is going to Isla de Mara to eat, fight, or mate with Rodan; and when Barnes asks if Godzilla and Mothra are mates despite one being a giant reptile and the other being a giant insect.
  • Monarch's underwater HQ, Castle Bravo, is named after the codename for the first in the original series of atom bomb tests in the Bikini Atoll. In the film continuity, these tests were intended to kill Godzilla, but instead woke him from his millennia-long slumber.
  • On the touch screen guide to the locations of the Titans, the Titan in Australia is listed as being located at Ayers Rock. The name was officially changed to Uluru in 2002. The name comes from the Pitjantjatjara Anangu, the Aboriginal people of the area who are the traditional landowners of Uluru.
  • Designer Ken Bathelmy created a new look for King Ghidorah, one of Godzilla's oldest foes, that has a much more demonic visage than that of a dragon. While the movie ultimately took a different direction, blending a union of the modern day Godzilla designs with that of the original Toho ones, these unused designs would have created a far more unsettling look to the past three headed king
  • Worldwide. The other two have earned about as much in North America as many of WB's biggest 2017 releases only to fall well short in China. Detective Pikachu and Shazam! have both earned $139 million in North American grosses. The Pokémon movie passed Tomb Raider ($131 million in 2001) to become the biggest video game movie ever in unadjusted domestic totals. Both films will end up between Ready Player One ($137 million) and The Meg ($145 million). Even Lego Movie 2 and Godzilla 2 will earn more here than Rampage ($101 million). What's different is that none of these films did all that well in China. If given a choice between breaking big in China and doing relatively well in North America, with the market where the studio gets back 50% of the ticket price and not 25%. For example, Rampage earned $101 million domestic and $428 million on a $120 million budget, but $156 million of that came from China. If Detective Pikachu, currently at $413 million worldwide, fails to pass Rampage and Warcraft ($433 million, including $218 million in China) as the biggest video game movie ever worldwide, it'll be mostly because it merely did okay ($93 million) in China. Had it pulled even Rampage numbers there, another over/under $63 million, it'd be looking at a $475 million finish, or well above its $150 million budget and well above Warcraft. That would only mean an additional $15 million in revenue for WB and Legendary. However, $475 million looks shinier than $420 million.
  • Michael Dougherty teased what was cut and what will be presented on home video. "The director's cut was around 2 [hours], 40-45 [minutes]. I called it Godzilla the mini-series," Dougherty explained. "There weren't a lot of whole scenes that got lifted out. There were a few, and they'll end up on the Blu-ray. But a lot of it was trimming moments within each scene. We had a large ensemble cast, so there was a tendency to give each character a moment and that adds up." He continued, speaking about those full scenes, "I don't have a tally; I want to say that there's roughly six to eight scenes, like actual, legit full scenes. And they're a fun watch. I mean, listen, if we were doing Godzilla: The TV Series, they would be perfectly great scenes. But when you're trying to make a 2-hour+ movie, pacing is a very important consideration." "It was too front-loaded. Too much set up. The first act was dragging," Dougherty added.
  • Upon hearing the Alpha Frequency the first time, Mothra reacts more with curiosity rather than with intimidation or submission. Not only is Mothra unaffected by it because she is an Alpha by her own right, it's also revealed that humans used Godzilla's calls to create the Alpha Frequency, mixed with some human vocals as well. She calmed down because she was hearing something that was similar to her male counterpart.
  • Was the highest-grossing movie of the weekend when it opened on May 31, but its $48 million take is subpar by summer blockbuster standards. It dropped to fourth place the following weekend and took in only $15 million, a 68% drop from just one week earlier. The movies that pushed it from the top spot didn't fare any better. The latest entry in the "X-Men" franchise, "Dark Phoenix," debuted at number two with a take of $33 million, the worst box office performance in "X-Men" history. It was denied the top spot by "The Secret Life of Pets 2," which earned $47 million, less than half of the $104 million that the 2016 original made during its opening weekend.
  • The Asylum, an American studio specializing in knock-offs of blockbuster films, produced Monster Island to capitalize on Godzilla: King of the Monsters. It premiered on SyFy on June 1, a day after Godzilla: King of the Monsters was released in American theaters
  • Godzilla in this was nicknamed DougheGoji combining the last name of the director Michael Dougherty with Godzilla largely which fans also did for Godzilla (2014), nicknaming Godzilla GareGoji due to it being directed by Gareth Edwards.
  • Several of the Titans are named after, or might actually be the basis of, legendary deities. Of particular note are Leviathan, an unseen Titan which emerges from the Loch Ness, the Mokele-mbembe (described in the novelization as having a mammoth-like trunk, glowing horn, and very large tail), and elephant-like Behemoth (which may or may not be the actual Behemoth). In the tie-in comic prequel, Godzilla: Aftershock, one individual of Godzilla's species was known as Dagon by ancient Phoenicians (although the interpretation of Dagon as a sea god is questioned nowadays). Chen says this word-for-word after seeing the ancient, underwater reliefs depicting Godzilla, Ghidorah, and other kaiju.
  • Behemoth resembles a mammoth, but lacks a trunk. However, his anatomy is more ape-like, so the presence of prehensile forelimbs likely puts off any need for a trunk.
  • The MUTO in this is not MUTO Prime from 'Godzilla Aftershocks' as Godzilla killed her, "MUTO Prime travels to the bunker to feed on the nuclear material stored there. As she approaches the bunker, Godzilla arrives and rams her to the ground. She quickly rises to her feet, and the two Titans proceed to violently pummel and wrestle each other. While fighting, MUTO Prime releases a sonic roar so powerful that it shatters some of Godzilla's dorsal plates. Emma and Tarkan rush into the bunker, and activate a device that blares the sonic pulses, which effectively distracts Prime. With the massive parasite distracted, Godzilla grabs and lifts her onto his back before releasing a massive nuclear pulse from his dorsal plates, sending her soaring into the air and causing limbs to break off. MUTO Prime falls from the sky and slams back onto the ground, heavily wounded. Before she can react, Godzilla crushes her head with a devastating stomp, killing her. With his ancient rival finally defeated, Godzilla makes his way back into the ocean, radiating a pure nuclear energy cloud from his back.
  • Pushed its ticket sales in foreign markets to $245.8 million it's third week of release, which surpasses the 1998 Godzilla's total of $242.7 million. this is somewhat celebratory for King of the Monsters, as its $47.8 million opening weekend was considered a huge failure (especially given its $170 million budget). Before this weekend, it had yet to pass the two other Hollywood versions of Godzilla at the box office. However, King of the Monsters has yet to match the 1998 version's worldwide total. King of the Monsters' domestic total only stands at $93.7, which will probably never reach the $136.3 million the 1998 version accrued. That means King of the Monsters' worldwide total of $339.5 million is still well behind the 1998 version's grand total of $379 million. Things get worse for the new Godzilla when we consider ticket price inflation. The 1998 version's domestic total stretches to $261.9 million, which is absolutely unattainable for King of the Monsters.
  • Godzilla's Big Damn Heroes moment to save Madison from Ghidorah looks awesome, but he somehow hit a direct blast at him from some distance away? How far away can he use it effectively? And why not just fight Ghidorah from a distance, perhaps try to incapacitate him with his atomic breath from further away before moving in for the kill? Godzilla can fire from quite a distance (we don't know his max), but unless its a surprise attack then the further away he fires from the bigger the chance his opponent can just move out of the way (amounting to a vast waste of energy for Godzilla). And as we saw in their first fight, Ghidorah is quite capable of dodging if he sees the attack coming
  • During the senate hearing, Dr. Graham references the fable of "The Lion and the Mouse" as an example of man living in peace with the Titans. In Kong: Skull Island (2017), the fable is also mentioned, by Cole who was told the story wrong and thought the mouse kills the lion with the thorn.
  • The U.S. occupation of Japan ended in 1952, but that same year, the first test of a full-scale thermonuclear bomb took place on an island in the Pacific Ocean at a distance that was probably still too close for Japanese citizens. Still bearing the physical and mental scars of two atomic bombs dropped on their cities in 1945, this 10-megaton H-bomb was 1000 times more powerful than Hiroshima. Two years later, a 15-megaton H-bomb was dropped on Bikini Atoll (a total of 23 explosions were carried out in this area), inadvertently exposing military personnel and Marshall Islanders to high radiation levels. A Japanese fishing trawler by the name of Daigo Fukuryu Maru (Lucky Dragon No. 5) was hit by the nuclear fallout, causing acute radiation syndrome and killing the boat's chief radioman, Aikichi Kuboyama, who succumbed to his injuries six months after the blast. Japanese film producer Tomoyuki Tanaka said this event inspired the monster called Gojira, spawning 35 movies across 65 years, making Godzilla the longest continuously running franchise (as per Guinness World Records).
  • Concept art shows that Methuselah appears to have trees on his armoured back, which may be smaller spines.[1] However, the King of the Monsters novelization mentions that the forest grows on Methuselah's shell.
  • Mothras larval state is much more insectoid in appearance compared to other incarnations and has a bluish-green coloration to it as opposed to the traditional brown and baby blue eyes. Her imago state possesses large wings with red, orange, yellow, and black coloration which give off a blue/orange glow with eye patterns akin to her Showa era, Heisei era, and Godzilla: Tokyo S.O.S. designs. She also possesses raptorial front and mid-legs and toed hind-legs akin to the male MUTO. Her wings are much narrower than most incarnations. She sports a stockier head than most other interpretations but retains the classic blue eyes. Her abdomen is shaped like a wasp's, much like her 2001 portrayal. Her body still retains her classic white fur though her mouth is vertical as opposed to the usual horizontal position.
  • Rodan has a larger wingspan compared to any of his interpretations, with a fiery glow coating the bottom edge. His physique and general appearance bear a strong resemblance to a bird of prey, with dark-red skin, a v-split crest with the ends curling inward. He lacks teeth, much like the Showa and Millenium incarnations, though his beak has a serrated look to it, giving the illusion of teeth. He retains the spade-shaped tail from his 1956, Showa, and 2004 incarnations. His eyes are yellow and rather cat-like. He still retains spikes on his chest, though, compared to other incarnations, they are smaller and less defined.
  • Methuselah was a Biblical figure known for living a long time, a trait shared with almost all other uses of the word "Methuselah", including the oldest planet, the oldest star, and proteins that extend the lifespan of insects. This would suggest that Methuselah is ancient, even more so than the other Titans, but the significance of the name remains unknown.
  • currently projected to finish more than $150+ million below the final worldwide gross of 2017's Kong: Skull Island.
  • headed for a $400 million worldwide haul from a production budget of $170 million. The 2014 Godzilla reboot grossed $529 million, while Kong: Skull Island finished its theaterical run at $566.6 million. King of the Monsters also debuted to the lowest Rotten Tomatoes score of all three MonsterVerse films at 40% (2014 Godzilla and Skull Island both scored 75%).
  • Earned an estimated US$8,105,000 to rank at #7 in the in the United States box office in its third weekend, a 48% drop from its second weekend. The film earned an estimated total of US245,800,00 in the foreign market, for an estimated total worldwide gross of US$339,488,172. earned US$49 million in the United States in its opening weekend.
  • Shaft, Men in Black: International (2019), Dark Phoenix and Godzilla: King of the Monsters are underperforming right alongside The Secret Life of Pets 2 (2019) and The LEGO Movie 2. But we were here before three summers ago. Summer 2016 saw a flurry of late May-to-late-July sequels (Independence Day: Resurgence), reboots (Ghostbusters) and revamps (The Legend of Tarzan) that didn't click. At the time, I argued that the problem, aside from many of these films not being very good (or, in the case of Teenage Mutant Ninja Turtles: Out of the Shadows, was a superior sequel to a lousy reboot), was that a lot of them were franchises that once qualified as a big deal but now were merely that week's court-appointed franchise tentpole.
  • According to Gitesh Pandya, Godzilla: King of the Monsters is en route to hit a franchise-low worldwide cume. In a recent tweet from the Box Office Guru founder, the worldwide numbers were broken down, and they weren't exactly glowing. China $123.8M US/Canada $94.4M Japan $20.3M Mexico $9.3M UK $8.1M Indonesia $7.7M Taiwan $7.7M Malaysia $5.5M France $4.9M Russia $4.3M India $4.2M Germany $4M INTL: $247.6M GLOBAL: $341.9M Headed to $400M final.
  • The ending credits for the movie mimic the opening credits for the previous movie, including the white-out of various words that obscure the credits and scientific journal articles with photographs and headlines about the Kaiju.
  • The film reveals that ancient humans had built a huge temple for Godzilla, where he still returns to for rest. This would explain why Godzilla has a softer spot for humanity and would go out of his way to avoid human casualties from Godzilla (2014). He had positive interaction with humans spanning thousands of years and he truly does not have any need to quarrel with them or cause intentional destruction to their homes.
  • The underwater civilization has drawn plenty of comparisons to the mythical lost city of Atlantis. While an exact location was never given for the movie's unnamed city, it's most likely in the Atlantic Ocean, since the Monarch ship was in Bermuda prior to traveling underground. The Atlantic Ocean is (for somewhat obvious reasons) depicted as the resting place of Atlantis, so it does seem reasonable that the city in King of the Monsters is the MonsterVerse's take on Atlantis. A connection between Godzilla and an underwater civilization - whether it be Atlantis or a completely original kingdom - is particularly interesting because of what it could mean for Legendary's cinematic universe. Here are some of the Toho monsters who could be linked to the MonsterVerse's Atlantis.
  • In 1973's Godzilla vs. Megalon, nuclear underground testing by the Japanese greatly angered the people of the subterranean kingdom known as Seatopia, a place that had existed for thousands of years. In retaliation, Seatopia summoned their god, Megalon, to take vengeance on the humans. Seatopia also managed to acquire the help of Gigan. It took the combined strength of Godzilla and Jet Jaguar to drive off the two monsters, forcing Seatopia to give up on their plans to defeat the surface world. Some have speculated that the underwater civilization in Godzilla: King of the Monsters is the MonsterVerse's Seatopia. If this were true, it would open the door for another movie in the series to introduce Megalon or Gigan. Megalon is a beetle-like kaiju capable of burrowing underground, while Gigan is an alien cyborg with hook-like blades for hands.
  • Gigan is widely regarded as a potential villain for Godzilla 3 due his popularity with fans, which includes Godzilla: King of the Monsters director Michael Dougherty. Gigan was featured in concept art for Godzilla: King of the Monsters, which reveals that Gigan was originally considered for one of the Titans who gathered around Godzilla in the movie's final scene.
  • In the Gamera trilogy from the 1990s, the Atlanteans were an ancient, advanced race who created a species called the Gyaos. When the Gyaos turned on them, the Atlanteans created Gamera, who was designed to be a force for good. Unfortunately, the Gyaos destroyed the Atlanteans, but Gamera defeated them and devoted himself to protecting the Earth. While certainly not a household name to Western audiences, Gamera has amassed a huge fan following in Japan. Gamera has served as the titular character in 12 movies, which arguably makes him one of the Japanese movie industry's most iconic monsters. Gamera was created by rival Toho company Daiei, but some of his films were distributed by Toho. Like Gigan, Gamera was one of the three previously established monsters included in concept art for the final scene. So it seems possible that Godzilla may not have been the only Titan worshiped as a god in Atlantis.
  • In the 1992 movie, Godzilla vs. Mothra, it was established that long ago an ancient culture invented a device that would allow them to manipulate the climate. The Earth, acting as a sentient being, created a monster called Battra to punish the people. Battra, often referred to as "The Black Mothra", was opposed by his righteous counterpart. The most notable difference between Battra and Mothra is that Mothra is the protector of the people of Earth, while Battra only cares about safeguarding the planet itself. Mothra defeated Battra, but at a great cost. The Earth was flooded, the civilization was destroyed, and was lost forever.
  • In Godzilla vs. Gigan, Godzilla vs. Mechagodzilla, and Destroys All Monsters, Anguirus was a faithful ally and companion of Godzilla who fought alongside him against villains such as King Ghidorah and Gigan. Dougherty's comment could suggest that Anguirus is - or was - a part of the MonsterVerse, and may have even co-existed with Godzilla in Atlantis. This would mean that in the past, Godzilla and Anguirus could have shared the same relationship that the two had in classic Toho movies. A movie that further explores Atlantis could reveal if Anguirus' species ever really lived there, or if one of them could still exist.
  • One the "articles" shown in the end titles credits Steve Martin as writing. This is most likely a nod to the character with the same name portrayed in the 1956 "Godzilla: King of the monsters" portrayed by Raymond Burr.
  • Even when frightened, Mothra in her larval form doesn't try to kill humans. Even when throwing them aside, she might knock them into webs or only a short distance away. Even from the start, she wasn't interested in seriously harming humans.
  • Director Michael Dougherty was born when Godzilla vs. Mechagodzilla (1974) came out, Kyle Chandler was born when Godzilla vs. Monster Zero (1965) came out, Vera Farminga was born when Godzilla vs. Megalon (1973) came out and Millie Bobby Brown was born when Godzilla Final Wars (2004) was released.
  • Michael Dougherty, co-writer Zach Shields, Dougherty's college roommate Jermaine Turner, Seth Green, Clare Grant, Eli Roth and Stephen Moyer all cameoed in the film through the sequence of the jet fighters flying alongside Rodan, even though their faces are obscured. Dougherty said about how this gathering came together: "I knew we were shooting this sequence where Rodan is escorted by these fighter pilots and so I thought, 'What a fun way? Do I just use extras or do I give friends who love Godzilla as much as I do a chance to be in a freakin' Godzilla movie?' So I chose 'Path B' and put out some calls." It would have been easy enough to get some extras to fill out the pilot roles, but Michael Dougherty instead decided to use the action sequence as an opportunity for him and some friends to collaborate. It did take some finagling and careful planning to pull off the cameos. Michael Dougherty said later in his interview with Fresh Fiction: "I knew that Stephen was shooting a TV show in Atlanta at the same time. He's married to Anna Paquin, so we were all buddies. I knew that Eli was in prep on a movie in Atlanta. Seth, Clare and Jermaine, I put out some text messages, 'Hey do you want to be in a Godzilla movie?' Given that it had its main shoot in Atlanta, Georgia, it sounds Michael Dougherty was able to arrange for most, if not all of these folks to actually come on set, rather than have them simply record their lines from other locations. Dougherty added that he likes when he's able to include friends in his projects, comparing it to playing Where's Waldo. Dougherty previously had James Marsden vocally cameo in 2007's Trick 'r Treat.
  • Reddit User decided to cleverly re-imagine the king kaiju as the Mad Titan in making this new meme. Reddit User HyLytez re-imagined the emotional scene during the Avengers: Endgame final battle where Scarlet Witch confronts Thanos, but bringing in Godzilla and his human counterpart, Ishiro Serizawa: Both of these franchise juggernauts had more in common than you may think, meme aside, with both blockbusters featuring a multitude of characters, or in Godzilla's case kaiju, with both managing to juggle the protagonists and antagonists to an amazing extent. While the kaiju didn't manage to eliminate half of the overall population as Thanos did, they still managed to cause planetary destruction the likes of which few movies are able to compare.
  • A fan asked director Michael Dougherty on Twitter: "How did Ghidorah get trapped in the ice in Antarctica in King of the Monsters?" Dougherty replyed Godzilla! "Ghidorah and Godzilla fought for the crown in ancient Antarctica. Godzilla won," he tweeted.
  • There are any number of reasons as to why the film stumbled, among them competition from Avengers: Endgame and Aladdin, the above-noted mixed reviews, the five-year-gap between installments (which did nothing for Pacific Rim: Uprising or The LEGO Movie 2), and the underestimation in audiences' interest in a "Godzilla versus monsters only your super-geek friends have heard of" sequel. But, just as Marvel (and DC Films) have allowed superhero movies to dominate by virtue of approximating rival genres, so too might Godzilla: King of the Monsters have ironically been stymied by five years' worth of buzzy successes within the specific realm of monster movies. King of the Monsters wasn't remotely the only game in town. In the five years between Gareth Edwards' Godzilla and Michael Dougherty's Godzilla: King of the Monsters, we've had two huge Jurassic World movies ($1.671 billion in 2015 and $1.31 billion in 2018) and one ill-received Pacific Rim sequel ($275 million in 2018, all from Universal and Legendary. But Warner Bros., both with and without Legendary, has also offered a handful of popular, well-liked and comparatively more crowd-pleasing monster movies within the last five years. Kong: Skull Island ($568 million in 2017), intended as a prequel to Godzilla and King of the Monsters, blended big movie stars (Tom Hiddleston, Sam Jackson and Brie Larson) with broad-daylight action and more conventional monster mash action. Warner Bros. and New Line Cinema's Rampage ($428 million in 2018) offered Dwayne Johnson and a host of colorful character actors facing off against three giant, city-destroying beasts (a giant gorilla, a giant crocodile and a giant wolf) amid a big-scale part-campy/part-scary (but in a kid-friendly fashion) action romp. And Warner Bros.' The Meg, arguably the first Hollywood/China co-production to score huge on both shores ($144 million domestic, $153 million in China and $530 million worldwide in 2018), offered Jason Statham and Li Bingbing doing battle with a giant shark in a kid-friendly action romp. To the extent King of the Monsters was merely "okay," it was outclassed by recent kajiu-type movies from its own studio. Prestigious cast (including Kyle Chandler as the ultimate Gary Stu, along with Ken Watanabe, Millie Bobby Brown, Vera Farmiga and Zhang Zyi) aside, it lacked the butts-in-the-seats/added-value element stars of The Meg, Rampage and Skull Island, while also lacking the IP value of a Jurassic Park movie. Nor did it have the colorful human characters (John C. Reilly's World War II vet in Skull Island, Jeffrey Dean Morgan's cowboy government agent in Rampage, Bryce Dallas Howard's "doing it backwards and in heels" heroine in Jurassic World, etc.) that provided entertainment value even when the monsters weren't mashing.
  • Given that Ghidorah was the alpha for most of Godzilla: King of the Monsters and how all of the other Titans gravitated towards him, it was believed that Ghidorah had always been the king of the monsters in this universe. However, that may not have been the case, at least not entirely. Ghidorah's origin story in the MonsterVerse made the alien creature a force to be reckoned with. And at some point, the three-headed dragon must have been defeated because Ghidorah was stuck in Antarctica until the sequel's story began. We now know why. It was theorized prior to Godzilla: King of the Monsters' release that Godzilla and Ghidorah had fought before and that their faceoff in the sequel was actually a rematch. As it turns out, that is true. Godzilla: King of the Monsters director Michael Dougherty confirmed on Twitter that Godzilla defeated Ghidorah before, which is why the alien was buried underneath the ice in Antarctica at the start of the film. What's more, Dougherty also says that Godzilla could've beaten Ghidorah if it wasn't for the humans interfering (with the Oxygen Destroyer). Godzilla's ancient battle with Ghidorah was first teased in the Kong: Skull Island post-credits scene, when Monarch scientists Houston Brooks (Corey Hawkins) and San Lin (Jing Tian) showed James Conrad (Tom Hiddleston) and Mason Weaver (Brie Larson) files they had on other creatures in the MonsterVerse - the last of which was a painting of Godzilla fighting Ghidorah. That painting could very well have been the depiction of Godzilla and Ghidorah's original battle, which Dougherty suggests, but then again, it could also be a visualization of a story that was passed down through generations. In the end, that painting was most likely Legendary's way of teasing the future without writing themselves into a corner. After all, who would have been around in Antarctica to witness a battle of this scale and survive? Regardless, it seems Godzilla remains undefeated in the MonsterVerse and is truly the king of the monsters (or alpha predator). Now it's a matter of retaining the crown when Adam Wingard's Godzilla vs. Kong releases in theaters in 2020, since the iconic kaiju is slated to go up against Kong, the king of the primates - and one of them will lose.
  • Mike Dougherty originally planned to use more of Toho's classic monsters in his movie, but the budget did not allow for any add ons. "Originally, I hoped to use other monsters from the Tohoverse, like Anguirus, Gigan, or Biollante, but every single Toho monster comes with a price tag -- something we didn't have the budget for. So instead of moping about it, I decided to embrace the opportunity and add new titans to the gallery," Dougherty said.
  • Onn Twitter, one user asked straight-up: "which unknown kaiju would you bring to life if you had the opportunity to re-visit this universe?" To which Mike Dougherty responded with: "The Gargantuas. Those boys are so weird and freaky yet strangely sympathetic."
  • Alan Jonah's quote "Long live the king", is a nod to Charles Dance's role as Tywin Lannister in Game of Thrones. The novelization takes it further, where he has a soldier under him who is so large Madison calls him "The Mountain", a reference to Tywin Lannister's chief enforcer Gregor Clegane, who is known as "The Mountain that Rides" or simply "The Mountain".
  • The film's novelization goes deeper into Alan's character as it is revealed he had a daughter named Lindy who was kidnapped on her way home from school, killed, and left to rot in a storm drain for six days until her body was found. It is also shown Alan had a father-son relationship with Asher and his humanity was extinguished when his companion was killed by Diane Foster.
  • Based on the fact that the Nazca Lines are mentioned in Monarch Sciences' description of Mothra, it can be assumed that she has some ties to Nazca culture. Mothra's connection to the Latin American continent is similar to that of her counterpart in the AniGoji continuity.
  • Mothra's design in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack by Shusuke Kaneko shares many similarities with the Mothra in the King of the Monsters; much smaller in size comparing to Godzilla, more sharp and aggressive facial expressions, to have long hairless legs with a slender body. Both incarnations of Mothra don't originate from Infant Island and gained new weapons/abilities instead of the iconic poisonous scales. Monsters to inspire humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. Shusuke Kaneko confirmed multiple similarities between his GMK and King of the Monsters including Mothra to become "that".
  • Director and cowriter Michael Dougherty talked loosely about Kong, and he said he's excited to evolve the monster on the big screen. "Obviously, I think Kong we will evolve quite a bit because he's been on Skull Island for some time since the 1970s. It'd be kind of interesting to see how he looks in this movie, and I have some pretty cool ideas of what I want to do with him," Wingard said. When asked how Adam Wingard will take care of Kong in the film, the director said his first order of business will be to size up the monster. "Kong is definitely bigger now, and they do imply in Kong Skull Island (2017) that he's still growing. There's a lot of stuff to figure out there... It really is important to look at those characters and how they interact with one another," he explained.
  • Director Michael Dougherty pulled a hilarious prank on his neighbors who were out of town, on his official Twitter account, showing that he placed the fake head of an alligator to bob in his neighbors' pool, sure to give his friends quite a shock when they eventually return to town.
  • In a piece for Forbes, one of their senior contributors opined that the reason Gods and Monsters underperformed bringing in $385 million worldwide against a budget of $170-200 million was because "it was outclassed by recent kajiu-type movies from its own studio" in some sort of "monster fatigue." The author says that movies like Rampage, Pacific Rim: Uprising, and Jurassic World all stymied the fever for a Godzilla movie five years after the last one.
  • In honor of everyone's favorite kaiju hitting retirement age, the Japanese-based manufacturer will produce a limited run of five officially licensed axes inspired by the 393-foot-tall monster. The Godzilla Guitar is based on one used by Toshihiko Takamizawa, the frontman of Japanese rock act The Alfee. Coincidentally, Takamizawa is the same age as creature formerly known as the God of Destruction. ESP's guitar features an Adler body sculpted to look just like the Godzilla that appeared in the last Toho-produced film in the franchise, 2016's Shin Godzilla (or Godzilla: Resurgence), and features the creature with its mouth agape about to let loose another terrifying scream. It features a 24-fret, three-piece maple neck meant to resemble the monster's long tale, an ebony fingerboard, Floyd Rose bridge, Gotoh tuners and an EMG-85 pick-up. If all that weren't enough, the guitar also features a switch that turns on a series of purple LED lights throughout the instrument, including the fretboard, that makes the guitar look as if Godzilla is about to unleash its patented "Atomic Ray" blast
  • While it did seem like a flop, for all intents and purposes, the final box office total seems to redeem this classification. With over $385 million USD earned worldwide, and with its reported budget of around $170 million USD (via EW), the film is more of an outright "disappointment" than a total flop. This under performance took everyone by surprise given that this film was meant to set the stage for the eventual confrontation with King Kong in Godzilla vs. Kong next year. The film's teasers and trailer set the stage for some monumental monster action, and while some fans were pleased with the final result, the majority of audiences felt the film lacked in either one of two key areas. While some felt the monster action was not what the expected to see, others felt the human presence in the film fell flatter than with previous MonsterVerse entries. The sequel never quite shook off this reputation as it continued to struggle with its official theatrical release. Both audiences and critics felt the film was lacking, and the sequel went on to perform worse than both 2014's Godzilla and Kong: Skull Island. Upon the end of its domestic theatrical run, the film seemed like it would be branded a "flop," but this change with its performance overseas. With a final total outperforming its budget keeps it from being a complete flop, there's no denying that this was a major stumble for the MonsterVerse. This has led to reports in which Legendary might be considering delaying Godzilla vs. Kong from its Spring 2020 release, but it still might be launching as planned. This performance hasn't seemed to scare Toho, who's reportedly been excited by what they've seen from Legendary's next effort so far, and while this was a stumble for the MonsterVerse it clearly isn't a total write-off. Now both fans and creators are hoping the MonsterVerse bounces back with its final entry.
  • The accompanying novelization goes into greater detail about the surrounding events and the character/backstory of the Titans (including the background ones), includes references to both the Godzilla: Awakening and Godzilla: Aftershock comics, begins with a prologue from Godzilla's point of view, has a segment on Skull Island from Kong's point of view.
  • Heroic Sacrifice:On account of the submarine's weapons systems being offline, Dr. Serizawa volunteers to manually detonate a nuclear weapon close to Godzilla in order to speed up his healing process. This decision is especially notable in that Serizawa is a survivor of Little Boy's detonation over Hiroshima, and so is well aware of what he is getting into. As a badly-injured Godzilla lies weakened after being dropped from the sky by Ghidorah, Mothra, herself severely wounded by Rodan, makes one final attempt to defend Godzilla before being vaporized by Ghidorah's gravity beams. However, as she dies, she releases a radioactive cloud that settles upon Godzilla, reviving him and granting him his Fire Form. Emma pulls one off luring Ghidorah away from her family with the Orca which gets her killed.
  • Although Godzilla has saved humanity from the MUTOs five years ago and is working to rid the world of King Ghidorah, he is still deemed a threat by the United States. Even Mark Russell, the human protagonist, wants Godzilla dead because his son was collateral damage during Godzilla's fight in San Francisco. Only Serizawa and Monarch appear to be on Godzilla's side. Thankfully by the end of the movie this seems to be going away, as multiple newspapers report about how Godzilla is keeping other Titans away from cities once the Titans accept and revere Godzilla as their king.
  • Some of the B-roll used in various scenes such as Emma's Motive Rant and the Senate subcommittee meeting is footage taken from the 2014 movie's Comic-Con teaser trailer.
  • When Godzilla arrives at Fenway Stadium, he appears from the side of the left field wall, which means he's approaching from the Green Monster.
  • Given that the monster cast of this film is the same as that of Ghidorah the Three Headed Monster, it's actually quite fitting that this film (part of a cinematic universe) is a spiritual homage of that movie. Why? Because that film was one of the earliest examples of a cinematic universe, done in the 60s, since Godzilla, Rodan, and Mothra all appeared in their own individual movies, before being brought together in that movie to fight a common, greater enemy.
  • The eco-terrorists talk about humanity being the infection and responsible for the imminent global extinction. While they are clearly referring to us being irresponsible with the environment in general, the existence of Titans gives a darker context to some of the man-made disasters like atomic testings (which awakened Godzilla in the first place) and strip mining (which awakened the MUTOs). The most ominous is about humans' effect on global warming, which, just like in real life, has started to melt the polar ice caps. And where is King Ghidorah imprisoned? In Antarctica. Humanity was already (and inevitably) in the process of unleashing the greatest disaster upon the Earth. The eco-terrorists just brought the apocalypse ahead of schedule. In a meta sense, Ghidorah in this film in a way represents an allegory of climate change just how the 1954 Godzilla represented nuclear war. He is unleashed from Antarctica, would have been freed by the melting of the polar ice caps, destabilizes the weather and causes Hostile Terraforming that threatens the existence of all life, just how human activity in real life has caused abnormal weather patterns and damage to the atmosphere.
  • A number of science fiction, horror, and fantasy movies helped shape the ultimate look of King of the Monsters. For example, Dougherty reveals on the director's commentary that he went back to watch 1997's Starship Troopers for inspiration on how to make a giant bug frightening and expressive. To him, Paul Verhoeven's sardonic take on the seminal sci-fi novel by Robert A. Heinlein "nailed the giant bug genre." In the end, production added bioluminescence and a praying mantis-adjacent structure for the "Queen of the Monsters."
  • The Orca (the device that mimics monster calls to keep them docile or aggressive), is a direct homage to Quint's boat in Jaws. This shark-related tribute is an extension from Gareth Edwards' Godzilla (2014), where the central character had the surname "Brody." The ode to Spielberg continues with Mothra's heavenly glow that makes the human characters stop in their tracks and look upon her with awe, a deliberate creative decision meant to emulate the colorful spaceship from 1977's Close Encounters of the Third Kind.
  • Dougherty deciding to show where Godzilla goes every time he slinks back into the ocean after a fight, he revealed his inspirations for wanting to visit the titular monster in his undersea home: "[It's] sort of a like a Jules Verne-style adventure. I just feel like we never see these kinds of scenes in big movies anymore, because it is usually so much about running, jumping, explosions, Infinity Gauntlets, and giant blue beams going into the sky. I miss the classic, almost Indiana Jones-style adventures where they enter strange new environments ... where you would enter mysterious new locations that had profound implications about who or what we are."
  • Michael Dougherty admits that the 15-year-old Stranger Things star Millie Bobby Brown was the person he had in mind for the main role of Madison Russell from the start. "Part of my process for writing a script involves doing screen grabs or image searches of actors or actresses you think would be great in the role and Millie Bobby Brown was the person we thought of for Madison," he said in a video interview. Michael and his team used a 3D animated version of Millie to act out scenes in the film. The movie's writer and executive producer Zach Shields couldn't say enough great things about the young starlet, who just so happens to be a two-time Emmy nominee. He says it's "disarming how put together she is and cool and thoughtful of a person. It's incredible and it's inspiring. It also really makes you feel bad about yourself because you see a 13-year-old kid and she's got more confidence and point of view than most adults that I know."
  • Some concept art shows Rodan with Godzilla and Mothra and fighting alongside Godzilla against King Ghidorah. It is unknown whether Rodan actually was originally planned to fight alongside Godzilla and Mothra instead of on King Ghidorah's behalf.
  • One of thee pieces of tech is the Argo, what is essentially a flying aircraft carrier, and as cool as Thomas Middleditch admits the ship is, he also admitted that the thing could never actually exist. According to Middleditch... "There's a lot of gadgets in this film, most notably the Argo which we're shooting endless scenes on. The Argo, it's this massive ship that is so big, I don't know if it could fly and also has hovering VTOL capabilities. As an aviator, I call bologna. But, it's still pretty fun. It's still cool." Thomas Middleditch actually is a licensed pilot, so he knows a bit about what he's talking about. The Argo is a massive flying wing, it looks to be about the size of a small city, so the idea that something of that size could fly with that design is a bit unrealistic. Add to that the fact that it has Vertical Take-Off And Landing (VTOL) capability, something that is impossible for most planes, and it becomes all the more unbelievable.
  • Director Michael Dougherty stated about the titular giant lizard's undersea lair. "Godzilla has always risen from the depths of the ocean, But something that we had never seen before in a Godzilla film is where he goes when he returns to the ocean. I saw that as an opportunity, for the first time in sixty-plus years of Godzilla films, let's see where the guy goes to hang out and rejuvenate." About five years have passed since the events depicted in 2014's Godzilla. Which isn't nearly enough time for people to stop freaking out about the discovery that they share the planet with a gargantuan lizard. "The world is reacting to Godzilla in the same way we would react to any other terrifying incident, in that we are overreacting," Dougherty told EW last year. Godzilla hasn't been seen since that destructive finale, "but there's paranoia and endless speculation about whether he is the only one out there or whether we're threatened by others like his kind."
  • Toho who worked on the film, released concept art of the lizard king's big moment where he takes his rightful place. WETA Workshop shared the concept art on their Official Twitter Account, with over a dozen kaiju surrounding their newfound king in a glorious moment that takes place at the tail end of the film The long awaited sequel to the original Legendary Pictures Godzilla film did its best at expanding the "Monster-verse" with leaps and bounds, introducing fan favorites such as Ghidorah, Rodan, and Mothra, as well as several other new kaiju that create entirely new threats for humanity to live with or combat. While Ghidorah as king riled the kaiju up, unleashing a destructive horde against humanity, we'll have to see how Godzilla's reign differs from that of the three headed dragon that came before.
  • Both CCH Pounder and Bradley Withford were in Robocop 3
  • Finished it's domestic theatrical run with a little over $110 million USD, the king of the kaiju wasn't able to meet the lofty sales goals that were established by its first outing with Legendary Pictures, as the 2014 picture stomped away with a domestic box office of over $200 million USD, marking a pretty sharp decline for the sequel. The international box office for the sequel faced a similar challenge from the original film, as the international take was over $100 million USD more.little over $110 million USD, the king of the kaiju wasn't able to meet the lofty sales goals that were established by its first outing with Legendary Pictures, as the 2014 picture stomped away with a domestic box office of over $200 million USD, marking a pretty sharp decline for the seqel. The international box office for the sequel faced a similar challenge from the original film, as the international take was over $100 million USD more.
  • One of the special features on the Blu-ray, "The Undersea Lair", includes a clear, black and white shot of the area before the explosion occurs. In this photo, the head, spiked nose, head, and tail can easily be recognized as belonging to Anguirus. While one could say that it may simply be a large ankloysaur the dinosaur Anguirus is based on the creature's spiked nose separates it from the ankylosaur and makes it blatantly obvious that Anguirus, or a member of his species, lived in Godzilla's underwater home. It seems possible that another Anguirus could exist somewhere in the MonsterVerse.
  • One of the special features included on the home video release, titled "Reimagining Rodan", sheds some light on where Rodan's fire powers actually come from. According to director Michael Dougherty, Rodan's fire powers come as a direct result of hibernating inside a volcano. What happened to Rodan can be explained by basic science: when an animal species begins living under unfamiliar, unsuitable conditions, it adapts to its environment over a great deal of time. Rodan survived simply by adapting to the volcano. As time passed, Rodan grew an outer shell of volcanic rock. This could also explain why lava circulates through Rodan's body as blood. It could have been another biological byproduct that Rodan experienced as his body adapted to living in volcanic conditions for many years. What all this suggests is that, prior to his resurrection, Rodan as not the Fire Demon at all. Instead, he could have been more like his Toho counterpart. Though Toho's Rodan did live in a volcano, he didn't typically possess fire powers or a volcanic outer shell, which is unique to Legendary Entertainment's MonsterVerse.
  • Debuted at No. 1 on the NPD VideoScan First Alert chart, which tracks DVD and Blu-ray Disc unit sales, and the dedicated Blu-ray Disc sales chart the week ended Aug. 31.
  • The ending credits for the movie mimic the the opening credits for the previous movie, including the white-out of various words that obscure the credits and scientific journal articles with photographs and headlines about the Kaiju.
  • One of the special features included in the home video release, "Godzilla 2.0", reveals that the sequel actually made a few subtle changes to Godzilla's look. Apparently, Godzilla's size, which went from 108 meters to 119.8 meters in five years, isn't the only that King of the Monsters changed. Director Michael Dougherty revealed that one of the biggest changes is Godzilla's back spikes, which he tweaked to make them resemble the original 1954 Godzilla. According to Dougherty, Godzilla's original, longer back spikes looked like something that "nature could have crafted". In addition to the new spikes, Godzilla also received longer claws on his hands and feet since the monster is of course a predator. These make him even more dangerous in close combat, especially when he's grabbing King Ghidorah by one of his three necks. Doughterty's version of Godzilla doesn't change much from the previous movie. It keeps the spirit of the monsters from Edwards' film while also finding a way to honor the 1954 monster. Also, as Dougherty points out in "Godzilla 2.0", it's not unusual at all for Godzilla's look to change from movie to movie, even when the franchise isn't being rebooted. It's standard practice for a filmmaker to put their own stamp on Godzilla, and in this case, Dougherty's biggest contribution is Godzilla's back spikes. This means that some of Godzilla's features could be updated again when Godzilla, who has now regained his crown as the King of the Monsters, goes up against the King of Skull Island in Adam Wingard's Godzilla vs. Kong (2020). ", It also goes into the thought process behind creating Godzilla's burning form. The featurette reveals several early designs for his fiery new look. Some of these images had Godzilla with significantly less lines all over his body, and others toyed with changing the color from red to blue. One in particular saw Godzilla covered in blue lines, from head to tail. If this was the chosen design, Godzilla would have had glowing blue energy bursting from his veins, mouth, and eyes. The reason why this design was rejected is never specified. This look would have been drastically different from the one that made it into the final film, which at least resembles Godzilla's original burning form in Godzilla vs. Destoroyah, where his body was covered in red patches. The same cannot be said for the blue version. It's worth noting that while Godzilla's blue form may not have been as visually spectacular as the red version, it still would have made sense, considering that Godzilla's atomic breath is already blue. What happened to Godzilla would have looked less like a transformation, and more like a power-up in that case.
  • This is the second of three monster movies of 2019 to feature a cast member of Stranger Things (2016) in a prominent role. The films being Hellboy (2019) with David Harbour, Godzilla: King of the Monsters (2019) with Millie Bobby Brown, and It Chapter Two (2019) with Finn Wolfhard.
  • One of the special features included in the home video release, "Creating Ghidorah," dives into the process that brought Ghidorah back to the big-screen. In the featurette, Millie Bobby Brown says that each head has its own character and role. Michael Dougherty explains each of their personalities, and how those personalities are reflected in the movie. According to Dougherty, the center head (Liles) is the serious alpha of the three who has to keep the other two in line, which is indicated in the Antarctica sequence when he yanks on the ear of the left head (Dorton), after he begins licking the corpses of the soldiers. The "playful" left head demonstrates his "curious, almost inquisitive" nature when he doesn't immediately attack the soldiers after waking up from the ice. At first, he just looks them over because he's never seen anything like them before. The right head (Maxson) is the most aggressive of the three, and the one that's most anxious to fight.
  • Michael Dougherty revealed they created hidden dialogue for the Titans, which was basically swearing.
  • Many of the headlines provide further evidence that Emma and Jonah were right, that waking up the Titans would be beneficial for the planet. A rain forest is somehow blooming in the Sahara Desert, Titan waste is being used an energy source, sea levels are being stabilized in the Arctic, 14 species have been taken off the endangered list, and fish populations are being restored. These are just a few examples of how Titans and their radioactive energy is revitalizing the planet in a huge way.
  • Godzilla is doing his job as the new alpha by reining in his new minions. As the King of the Monsters, Godzilla is maintaining the natural order by keeping the Titans in line and stopping them from laying waste to cities around the world. It's the first time in which humans and Titans are coexisting.
  • Scylla, a six-legged creature with a face that resembles a squid, is one of the Titans who accepts Godzilla as the new alpha at the end of the movie. A news article confirms that Scylla is a creature from Greek mythology that was mentioned in Homer's Odyssey. In ancient Greek texts, Scylla was a female monster with multiple legs and dog-like heads. She lived near the sea, and would attack any ship that drew close. Monarch has confirmed that the monster in the legends was inspired by the Titan. This means that Scylla is thousands of years old.
  • One headline reads, "New Titans Are Drawn To Skull Island." First of all, this piece of information clearly sets up Godzilla vs. Kong, because it means that other Titans are on their way to Kong's home. Secondly, it draws comparisons to Monster Island, a place that has been a part of Godzilla history since the 1960s. While Godzilla has often been shown to live deep in the ocean, this hasn't always been the case. In classic Toho movies, Godzilla was shown to reside in a tropical environment called Monster Island, which was also home to Rodan, Gorosaurus, Anguirus, Spiga, and more. There, the monsters live in isolation, perfectly free of humans. Most of the kaiju on the island have learned to live in peace, but occasionally there's in-fighting between the monsters. Different variations of the island have appeared in multiple Godzilla films, including Godzilla vs. King Ghidorah in 1991.
  • Godzilla and Ghidorah clashed three times. Godzilla had the edge in their first fight, and was winning in their second encounter in Mexico. It was their third fight that settled everything. After both monsters were super-charged, Godzilla was badly wounded, forcing Mothra to make the ultimate sacrifice and give Godzilla his life-force. After undergoing a fiery transformation, Godzilla killed Ghidorah. Earlier in the movie, Godzilla is apparently killed by the Oxygen Destroyer. Later, Colonel Foster (Aisha Hinds) asks if any other creature could stand a chance against King Ghidorah. According to Dr. Serizawa (Ken Watanabe), Godzilla was the only one based on their unique and ancient rivalry. Barnes (O'Shea Jackson) remarks that they just killed their best chance of killing Ghidorah. What's interesting about this conversation is that no one brings up Kong, even though Monarch has a file on Kong, and is most likely aware of his capabilities. Regardless, it doesn't occur to anyone in the room that they should look to Skill Island. The fact that no one even considers him as a possible opponent for Ghidorah speaks volumes about their confidence in his abilities. What does it mean that Monarch doesn't believe Kong could beat Ghidorah? Scientists at Monarch specialize in studying and understanding these monsters, so it stands to reason that they would know Kong's chances. Fans may never know what the outcome of the hypothetical fight would have been, but even so, the implication made by Godzilla 2 is that things would have ended badly for Kong. Also, it reaffirms one of the most important points of the movie, which is that Godzilla is the true King of the Monsters, partly because he was the only Titan capable of defeating Ghidorah.
  • Director Michael Dougherty, revealed why they killed off Sally Hawkins in the film. "[Laughs] There was never a version where she was in the film longer. She died that early going back to the initial treatment because I wanted to find a way to establish how cruel and vicious King Ghidorah was and to really seal the deal on this guy being the villain. I partially did it because I loved Sally character from the first film so much. Serizawa and Dr. Graham were my favourites because, to me, they had the ideal job that I would have wanted. They were the Godzilla experts! "Because she was the sympathetic and endearing, heart-warming character, what better way to establish your villain than to have them kill that person? It's a throwback to Janet Leigh's character in Psycho. You spend all this time setting up a certain character as a heroine or major character and then in a shocking way, they kick the bucket. I was tapping into my horror movie roots with that one. I remember hearing some of the criticism saying, 'Why would King Ghidorah do that? She's such a tiny little thing?' "I'm sorry but if you've been frozen in the ice for potentially tens of millions of years, you're hungry! [Laughs] If someone froze you in the ice for millions of years and you saw tiny little things currying across the floor, I guarantee you would want to go after it for a snack!"
  • When asked if he was teasing Mecha King Ghidorah, Michael Dougherty revealed: "That wasn't a direct set up of Mecha-King Ghidorah, no. I'm not saying it's not, but if you think about King Ghidorah and what's he capable of, regeneration being a key one and the ability to call the other Titans, he's a gold mine of opportunity. That DNA is an untapped resource as far as Charles Dance's character is concerned. A few scrapings of cells and who knows what you can create with it!"
  • Michael Dougherty revealed that another post credit scene was planned, written, storyboarded and even had locations scouted and costumes ready to go, but it was ultimately scrapped, while he didn't specify why it never happened, he did go into detail about what it would have entailed and his plans to delve deep into Toho mythology in order to introduce a new version of the Mothra Twins. Zhang Ziyi's character and it's set in the aftermath of the film. She's in Tokyo and goes into a restaurant bar and goes down a set of stairs and ends up in what looks like an ancient temple that is eerily similar to the one seen at the beginning of the film in China. Then, she meets up with her identical twin sister and the twin sister is expressing her concerns about whether they should go through with this or not, that these girls are so young, and they're not sure if they're ready. Ziyi says, 'So were we once' and they emerge into this giant chamber where we reveal a second Mothra egg and in front of that are two little girls, maybe three or four years old, also identical twins and they're singing the Mothra song to the egg to get it to hatch. Dougherty was heartbroken that they didn't get to shoot that because it would have confirmed that she was playing the Mothra twins which was a deep cut reference from the original films.
  • Michael Dougherty revealed that another post credit scene was planned, written, storyboarded and even had locations scouted and costumes ready to go, but it was ultimately scrapped, while he didn't specify why it never happened, he did go into detail about what it would have entailed and his plans to delve deep into Toho mythology in order to introduce a new version of the Mothra Twins. Zhang Ziyi's character and it's set in the aftermath of the film. She's in Tokyo and goes into a restaurant bar and goes down a set of stairs and ends up in what looks like an ancient temple that is eerily similar to the one seen at the beginning of the film in China. Then, she meets up with her identical twin sister and the twin sister is expressing her concerns about whether they should go through with this or not, that these girls are so young, and they're not sure if they're ready. Ziyi says, 'So were we once' and they emerge into this giant chamber where we reveal a second Mothra egg and in front of that are two little girls, maybe three or four years old, also identical twins and they're singing the Mothra song to the egg to get it to hatch. Dougherty was heartbroken that they didn't get to shoot that because it would have confirmed that she was playing the Mothra twins which was a deep cut reference from the original films.
  • There was going to be another post credit scene, one that wasn't shot. While Dougherty didn't specify why it never happened, he did go into detail about what it would have entailed and his plans to delve deep into Toho mythology in order to introduce a new version of the Mothra Twins. "Originally, we were going to have two post-credits scenes. There's the one we shot with Charles Dance buying King Ghidorah's head but there's a second one that we had written, boarded, and even had the locations scouted out and costumes ready to go. It basically involed Zhang Ziyi's character and it's set in the aftermath of the film. She's in Tokyo and goes into some sort of restaurant or bar and goes down a set of stairs and ends up in what looks like an ancient temple that is eerily similar to the one we saw at the beginning of the film in China. "Then, she meets up with her identical twin sister and the twin sister is expressing her concerns about whether they should go through with this or not, that these girls are so young, and they're not sure if they're ready. Ziyi says, 'So were we once' and they emerge into this giant chamber where we reveal a second Mothra egg and in front of that are two little girls, maybe three or four years old, also identical twins and they're singing the Mothra song to the egg to get it to hatch. I was heartbroken that we didn't get to shoot that because it would have confirmed that she was playing the Mothra twins which is a deep cut reference from the original films."
  • The main military vehicle is a, AM General HMMWV M1025.
  • The flying aircraft consisted of: a Bell-Boeing V-22 Osprey, a Lockheed Martin F-35 Lightning II, and a McDonnell Douglas F/A-18 Hornets.
  • In the article "Monarch Boosts Their Forces Around Skull Island", it's revealed that a scientist named De La Rosa has some interesting claims about Monarch's secret activities on Skull Island. According to De La Rosa, Monarch was building a "mechanized giant" on Skull Island. Before that, Monarch was engaged in other Titan-related experiments. The organization was also working on creating organic Titans. Their work is apparently the cause of several incidents involving Titans. Monarch's reasons for such experiments (if De La Rosa is to be believed) are open to speculation. These projects could have gone into development decades ago, long before it was agreed upon that Godzilla could be an ally to humans. Monarch depended on Godzilla to defeat King Ghidorah, but there may have been a time when Monarch didn't have a reasonable expectation that Godzilla would rise up to defend the planet. In which case, Monarch may have felt it was necessary to arm themselves with a weapon capable defeating Titans. Perhaps their solution to an attack from Titans was a Titan of their own.
  • The line about a "mechanized giant" on Skull Island could have been a reference to one of Godzilla's greatest enemies, Mechagodzilla. But what of the organic Titans mentioned in the same article? This, too, could have some level of importance in the MonsterVerse. In fact, it could have something to do with a monster who almost fought Kong in his first Toho movie. In the 1960s, King Kong creator Willis H. O'Brien wrote a treatment for a movie titled King Kong vs. Prometheus. Like the original King Kong movie, this film would have used stop motion animation. As for the story, the King Kong sequel would have seen the titular ape go up against Prometheus, a creature created by the grandson of Dr. Frankenstein. So basically the plan was for Kong to fight a giant-size version of Frankenstein's monster. Unfortunately, American studios weren't interested in the treatment, so O'Brien sold it to Toho, who re-purposed it to make what would become the legendary grudge match, King Kong vs. Godzilla. Prometheus was removed from the story and replaced by Toho's own monster, Godzilla. After King Kong vs. Godzilla, Kong only starred in one more Toho movie, King Kong Escapes, so he never had another chance to cross paths with Prometheus. However, Toho did end up making their own version of Frankenstein's monster in a different movie, but he was never called Prometheus. The monster's first and only film appearance came in 1965's Frankenstein vs. Baragon.
  • The article specifically states that Monarch "tried to create organic Titans in the past". The word "tried" suggests that their attempt wasn't completely successful. It's possible though, that they did succeed in building one, but their real failure was in controlling it. If this was the case - and if the organic Titan in question was the MonsterVerse's Prometheus - it could mean that it became a threat to the island. This would, of course, make him a target of Skull Island's self-appointed protector, Kong. Naturally, Kong would have defended Skull Island from Prometheus and battled him, just like he was supposed to in O'Brien's original treatment. Or, Kong was viewed as an obstacle for Monarch. Monarch's continued interest in Skull Island was made perfectly clear in the credits. Having a Titan on the same island where Monarch conducts a great deal of their research would certainly have been a dangerous challenge to any Monarch scientist. One obvious way to deal with this problem would be to eliminate him. This could have been Prometheus' true purpose. The timeline of all this is unclear, so it could have happened at any time after the events of Kong: Skull Island in 1973. Kong could have fought, defeated, and perhaps killed Prometheus off-screen. Prometheus' defeat at the hands of King Kong could be referenced in Godzilla vs. Kong. Their fight could further the antagonistic relationship between Kong and humanity that was presented in Kong: Skull Island. It may even play a role in what sets off Godzilla's showdown with Kong, especially if Monarch wants Kong out of the way.
  • Godzilla has between 8-15 minutes of screentime his burning form has 36 seconds of screentime, Ghidorah: 13-15 minutes, Mothra: 4-6 minutes her larva form has 2 minutes of screentime, Rodan: 4-5 minutes, Behemoth: 37 seconds, Scylla: 30 seconds, Methuselah: 15 seconds, Muto 3: 20 seconds.
  • In the scene where Mark sneaks up on a female wolf and her pups eating a deer carcass, the wolf and her pups were brought to the set in crates inside a van that was driven to the field where they filmed. A hot wire was placed around the area where the wolves were working. The wolves were placed inside the hot wired area. Production filmed each wolf separately before they put the deer with food in it inside the pen. The deer was created by the props department. Prior to shooting they placed pieces of meat and chicken inside the fake deer. When they called action, the wolves ate the meat inside the deer.

Spoilers

  • It was hinted in Kong: Skull Island (2017)'s post-credits scene that Rodan, Mothra, and King Ghidorah may appear alongside Godzilla in this sequel, which would mark the first time they have appeared in a non-Japanese film.
  • At the Comic-Con 2015 panel, it was confirmed that Godzilla will appear more than in the last film.
  • Also in the MonsterVerse, Kong: Skull Island (2017) features a post-credits scene revealing Godzilla, Rodan, Mothra and King Ghidorah, setting up this film.
  • A casting call confirmed that New monsters will appear alongside Godzilla, Rodan, Mothra and King Ghidorah.
  • Like in Mothra (1961), Mothra first appears as a giant larva before turning into a moth later in the film.
  • In San daikaijû: Chikyû saidai no kessen (1964), King Ghidorah arrives on Earth as a meteor, whereas in this film, he was already frozen in Antarctica for thousands of years.
  • King Ghidorah is the main antagonist of the film; he fights all three monsters.
  • Ken Watanabe (Dr. Ishiro Serizawa), Sally Hawkins (Dr. Vivienne Graham) and David Strathairn (Admiral William Stenz) are the only cast members from Godzilla (2014) to return for this film, and out of the three only two die, Serizawa and Graham.
  • It is confirmed that there are over seventeen monsters present in the world. This is confirmed by Dr. Ishiro Serizawa when he says "seventeen and counting".
  • Mothra appears to be more friendly toward humanity than most of the other Titans, as all ancient pictograms show humans worshiping Mothra as a guardian angel goddess. In the trailer of the film, Mothra is seen approaching Madison and Emma Russell, and allowing the former to touch her, suggesting that Mothra will retain her gentle nature.
  • This is the second incarnation of Ghidorah that is able to fire lightning from his wings, with the first being his Mosura 3: Kingu Gidora raishu (1998) incarnation.
  • The spikes on Ghidorah's tails can be used to create a rattling sound as a form of intimidation, similar to a rattlesnake's tail.
  • According to director Michael Dougherty, "Rodan is a bit of a rogue...you never quite know where his loyalties lie." basically switches sides based on whoever's winning, but he shows no direct attempt to turn on Ghidorah.
  • On the map showing the monarch sites for all the found titans, there is an area over Scotland as a nod towards the Loch Ness monster.
  • Alan Jonah pursuing King Ghidorah's severed head in the post-credits scene foreshadows the birth of Mecha Ghidorah, a cyborg version of the Kaiju from Japanese movies.
  • When Dr. Serizawa sets the nuclear device in Godzilla's sea subterranean 'recovery' location, he lastly glances at his old pocket-watch: it shows the time (almost) 8.15: this is the exact time that the first ever nuclear bomb exploded on Hiroshima in 1945. (Also see Nicholas Roeg's 'Insignificance')
  • Joe Morton plays an older Houston Brooks, the Monarch team member seen in Kong: Skull Island (2017).
  • When Dr. Serizawa sets the nuclear bomb to revive Godzilla, a statue of Pazuzu from The Exorcist can be spotted.
  • This film marks the return of the Oxygen Destroyer which played an important role in the 1954 Gojira.
  • The Warner Brothers and Legendary Pictures logos appear in a Babylon carving of monsters. During their appearance, Godzilla's stomping and roar is heard.
  • Aside from the four monsters, many other kaijus appear in this film. These include: A third MUTO (who is awakened by King Ghidorah); Behemoth (AKA Titanus Behemoth is sort of a cross between a wooly mammoth and a gorilla); Scylla (the giant spider); and Methuselah (the "Mountain Titan" seen in the trailers).
  • There are monsters which were never seen, but their names appear on computer screens and in newspaper headlines. These include: Mokele-Mbembe, Baphomet, Tiamat, Typhoon, Abaddon, Leviathan, Sargon, and Bunyip.
  • As Dr. Chen and Dr. Ling are identical twins with a connection to Mothra, it is possible that they are grown up versions of Mothra's fairy girls from the original Mothra movie, or a reference to them at a minimum.
  • The second monsterverse film after Kong Skull Island (2017) to use the f word, both are said by soldiers; in Skull Island it's said by Hank Marlow when he's referring to a giant ant "it may sound like a bird but it's a f*cking ant", in this it's said by staff sergeant Barnes when he sees Gidorah for the first time "you gotta be f*cking kidding me."
  • These are the seventeen titans that were seen and mentioned in the movie: Godzilla, Mothra, Rodan, King Ghidorah, King Kong (seen in footage and in a cave painting), MUTO 1 and 2 (from 2014's Godzilla), then a 3rd MUTO is awakened by King Ghidorah, Behemoth (AKA Titanus Behemoth is sort of a cross between a wooly mammoth and a gorilla), Scylla (the giant spider), and Methuselah (the "Mountain Titan" seen in the trailers). The Titans below were never seen, but their names appeared on computer screens and in newspaper headlines: Mokele-Mbembe, Baphomet, Tiamat, Typhoon, Abaddon, Leviathan, Sargon, and Bunyip.
  • One of the headlines in the credits mentions the discovery of a giant egg, possibly hinting at a rebirth for Mothra.
  • The female MUTO's decapitated head is seen on display at the Monarch's oceanic base. In the ending, after Godzilla kills King Ghidorah as King of the Monsters, one of the Titans that are seen bowing to him is a MUTO.
  • The Oxygen Destroyer returns as a military-developed weapon that almost kills Godzilla. On top of that, though it's delivered by missile, a schematic shows that, within the missile, the Oxygen Destroyer consists of that same capsule with a central-sphere design that it sported in its original incarnation in Gojira (1954).
  • Dr Ilene Chen and Dr Ling are twin sisters, and their family is mainly composed of twin females. They are the MonsterVerse version of the Shobijin ("little beauties"), a set of twins who have a mystic connection to Mothra.
  • In order to save millions of lives, Serizawa must make a sacrifice by locating Godzilla under the ocean, and detonate a man-made superweapon at his location. The difference is that in the original film Godzilla (1954), it was to defeat Godzilla with the Oxygen Destroyer. In the film, it's to save him with a nuclear warhead.
  • When all seems lost for Godzilla in his final battle against King Ghidorah, Mothra sacrifices herself so her atomized remains and life energy are absorbed into Godzilla's body, which revives him, grants him his "Burning" Super Mode, and provides him with the brand new Nuclear Pulse ability. In Godzilla vs. Mechagodzilla II, when Mechagodzilla has destroyed Godzilla's hind brain and paralized him, a fatally-injured Rodan sacrifices himself so Godzilla absorbs his lifeforce, which regenerates him and provides the brand new, red-colored, Spiral Heat Ray.
  • Michael Dougherty planned a credits scene where Dr Ling would arrive at an ancient temple to witness the rebirth of Mothra. However, this scene was never filmed, but instead mentioned as a news report in the closing credits.
  • During a visit to Toho Studios in Japan, io9 asked director Michael Dougherty and star Ken Watanabe about the death of Dr. Ishiro Serizawa in King of the Monsters, namely if Watanabe was going to appear in future films. The scene is the most moving part of the action film, and Watanabe was terrific as Serizawa. The movies won't quite feel the same if he's truly gone. Dougherty chuckled and said, "No one's really gone." "Akihiko Hirata, the first Dr. Serizawa, he appeared many times in the Godzilla movies," Watanabe said, adding that "hopefully" he will return. "Yeah, Dr. Serizawa's evil twin," Dougherty joked. "That's where you get to wear the eye patch." I asked Watanabe if he was sad when he read the script and saw that his Serizawa dies in the movie. He replied that when he read it, he loved how the story centers around a scientist and how philosophical the movie gets regarding the relationship between humans, civilization, and science. Even though Dr. Daisuke Serizawa died in the 1954 Godzilla film, Hirata remained closely associated with Godzilla throughout his life, appearing in King Kong vs. Godzilla as "Doctor," Son of Godzilla as "Fujisaki," Godzilla vs. Mechagodzilla as "Prof. Hideto Miyajima," and Terror of Mechagodzilla as "Dr. Shinji Mafune." "I like the idea where he comes back as 400-foot tall radioactive Serizawa," Dougherty joked. "Like, Serizilla." "That would be great," I said. Well, it would.
  • Michael Dougherty knew from the beginning that King Ghidorah origin should be off planet. There was a little bit more to the scene where they discover his name and his origin, where it was sort of debated whether he was from space or whether he was created by man. "So originally in that scene it was sort of more open ended, the idea that they still weren't 100 percent sure what the records they discovered were pointing to, but ultimately, we decided to sort of plant our flag in the extraterrestrial concept because I think that's the concept that most Godzilla fans love and embrace. The notion that he is extraterrestrial means that he could be potentially be more disruptive to our ecosystem".
  • When asked if Emma was a villain to him, Michael Dougherty stated "Emma was sort of born out of a very dark corner of my own mind. When I was a kid in grade school, when I would get teased, which happened now and then (I was like the little short half-Asian kid in a very white Catholic school) I used to sort of fantasize and imagine that Godzilla and the other monsters would show up and teach my school a lesson. So I've always had this weird, dark fantasy of populating the world with giant monsters just to see what would happen. Because honestly, maybe human beings shouldn't be at the top of the food chain. Maybe there needs to be a species above us that sort of keeps us in line, you know? And keeps our population in check, because look what happens without that. So I tried to come up with some logic, some character that would embrace that philosophy, but also one that can be painted in shades of gray, that wasn't a mustache twirling villain that wanted to do it just to see the world burn, or was doing it for some sort of bizarre financial profit or anything like that. But a very complicated and conflicted antagonist. I don't even like referring to her as a villain, to be honest. I think Ghidorah is most definitely the "villain," but I find that Emma, and even Jonah, as much as they go to very great extremes to accomplish their mission, their intentions are good, and very much debatable as to whether or not they are effective."
  • Serizawa's death isn't just a character moment, it ties into King of the Monsters larger themes of finding a way to respect and co-exist with the forces of nature. "To me, the whole movie about us trying to understand Godzilla and even potentially form a relationship with him," Dougherty said. "The concept of having a lion and the mouse moment between a human being and Godzilla where a tiny, little theoretically insignificant human being would b the one save Godzilla, it just seemed really appropriate thematically." The location of Serizawa's death also ties in thematically look closely enough at the markings on the walls and you'll see evidence of a primitive society that worked with Godzilla. "In this mythology, man and monster co-existed," Dougherty said. "We figured out how to bridge that gap, and we smartly formed alliances with Godzilla, Mothra, Kong, and maybe a few other more benevolent monsters and they helped ensure our survival." The message, Dougherty explained, was "to say that, if this existed in the past, if there was a civilization that learned how to peacefully coexist with Kaiju/nature, then hopefully, if we smarten up finally, then hopefully we can do the same thing."
  • Speaking of Mothra, the filmmaker also touched on the heartbreaking moment when the Queen of Monsters sacrificed herself to save Godzilla in the big battle against King Ghidorah. In short, don't expect that to be the end for Mothra. "Mothra never dies. Mothra always comes back," Dougherty said with a smile. "That's what I love about Mothra in all the Godzilla films, she represents that endless cycle of birth, life, death, and rebirth. She's so far above the other creatures, and us as a stupid species of talking monkeys, that she sees the bigger picture. She knows that her self-sacrifice is a noble one that, ultimately, she wins. She knows that she will live on through her children." But Dougherty doesn't just think that it's her lineage that lives on. "I like to think that her children have all the collective memories of the previous Mothras," he said.
  • For the film's ending, the biggest reveals were saved for the film's credits sequence, where Easter eggs and hints pointing towards Godzilla vs. Kong. "It does lay the groundwork for the next chapter, for Godzilla vs Kong," said Michael Dougherty, who also co-wrote the script for Adam Wingard's upcoming showdown of the monster icons. But it turns out those credits weren't originally mean to be end credits at all. "Initially, that was an opening credits sequence," Dougherty said. "It was traditional main titles and then it became main on ends, which is the latest trend. You no longer get to have opening title sequences because we don't have the attention for those anymore So for a while, all the sort of news stories and headlines were setting up the world and when we realized it was becoming main on ends, I thought this was an opportunity to create an epilogue of sorts. Because the film ends on such a weird cliffhanger where all the genies are out of the bottle, so to speak, that I thought it made sense to at least tell the story of the immediate aftermath of what happened."
  • Michael Dougherty said the epilogue means establishing that the end of the film wasn't apocalyptic, but the start of something new and exciting. The teases in the credits allow the audience to "see that the world isn't ending as much as it's being born, ideally in a better form," Dougherty explained. "The end of the film represents a world I would gladly bring about if ever given the opportunity, the idea of monsters roaming the planet, just part of our natural ecosystem." Much like Vera Farmiga's anti-hero, Dougherty said he would "bring about that world without hesitation."
  • Among the Titans in the Godzilla: King of the Monsters that hear Ghidorah's call are Behemoth, Scylla, Methuselah, Kong, and a third M.U.T.O. Unlike the others, Kong apparently remained on Skull Island and didn't acknowledge Ghidorah as the alpha. Kong isn't the only monster dwelling on Skull Island, though. Other creatures, such as the Skull Crawlers, live beneath the island. Any of them could have heard Ghidorah's call, as well. If so, this could ignite a new conflict on Skull Island, which could potentially draw the attention of Monarch - and even Godzilla. According to Houston Brooks' (and now Monarch's) "Hollow Earth" theory in Kong: Skull Island, monsters are able to live in giant caverns beneath the Earth and use them to travel to different regions. Skull Island supposedly acts as a gateway for the monsters, including the Skull Crawlers. This "Hollow Earth" theory comes into play again in Godzilla: King of the Monsters when Monarch is trying to track Godzilla's movements. The theory explains how monsters, notably Godzilla, are able to travel around the world so easily. Dr. Stanton (Bradley Whitford) uses the theory to support his beliefs that underground tunnels exist under the ocean. This theory is proved to be correct when Monarch follows a dying Godzilla into the ocean to revive him. In fact, they find an entire civilization down there, possibly one based on Toho's Seatopia. This forgotten culture is dubbed "The Hollow Earth Humans" in newspaper clips during Godzilla: King of the Monsters' credits sequence. "Hollow Earth" may be what sets the stage for Godzilla vs. Kong. Following King Ghidorah's defeat and the other Titans' acceptance of Godzilla as the new alpha, the credits gives audiences an idea of what happens in the aftermath of the showdown between the four Titans. One of the newspaper clippings in the credits mentions that Titans are being drawn toward Skull Island, but of course, it doesn't specify about which Titans are on their way. It remains to be seen what will happen when these Titans, who are likely traveling through the underground tunnels, arrive on Skull Island. It's possible that Godzilla will be one of them. King Kong could see these new monsters as intruders on his land. If this were to happen, Skull Island could be the battleground for the next giant monster battle in Godzilla vs. Kong. Even if Godzilla isn't initially involved, this would soon change, based on his actions in Godzilla and King of the Monsters. So far, Godzilla has been portrayed as Earth's self-appointed guardian whose primary purpose is to preserve balance. If something on Skull Island threatens that balance, Godzilla will set a course for King Kong's home. One of the major themes driving the plot of Godzilla: King of the Monsters was an animal hierarchy, and this idea that Titans, like many animals, regard the strongest of them as the alpha or apex predator. While described as the "alpha predator" in the 2014 Godzilla, the title of "alpha" goes to King Ghidorah when he defeats Rodan and unites all the other monsters under his call. The title is reverted to Godzilla once King Ghidorah is killed, however, and Rodan and the others bow in respect to the new King of the Monsters. This theme could continue into Godzilla vs. Kong, especially if King Kong has aspirations of being the new alpha. After all, one of the newspaper clippings purposely called out, "What Is A King To A God?" Furthermore, King Kong's species may actually have been ancient rivals of Godzilla, since cave paintings in the movie have depicted the two battling it out. And with Kong is much older and stronger now than
  • When King Ghidorah is attacked in Washington DC, the ship leading the charge is the 'USS Brody'. Ford Brody was the lead human protagonist in Godzilla (2014).
  • The fate of each of Madison's parents is hinted as far back as which monster they are associated with. Mark is associated with Godzilla because he left an an impact on him, even deeper than it did to his wife. Emma is associated with Mothra because she and her daughter were witness to her birth. Mothra's ultimate fate is to sacrifice her life for Godzilla. In the end, Emma does the same to protect her family. Mothra's always survived by her family. Likewise, Emma is survived by Madison.
  • Just how unhinged is Madison's mother (right down to Madison calling her a 'monster') - a Well-Intentioned Extremist who is resorting to desperate measures to save the world, or a straight-up Omnicidal Maniac of an eco-terrorist who deliberately wants to destroy all humanity? Writer-Director Michael Dougherty said she's somewhere in between. She's a Monarch agent who not only took Dr. Serezawa's beliefs about the necessity of the Titans to preserving Earth's ecological balance to heart, but went radical, becoming convinced that only by releasing the Titans to "cleanse" Earth and forcibly push humanity out of its dominant role could she prevent humanity causing the mass extinction of all life. To this end, she allied herself with radical eco-terrorist Jonah Alan and betrayed Monarch to set them loose. Once the full impact of her plan actually hits home, though, she comes to realize how crazy her plan was and regrets it.
  • In Godzilla (2014), the military tries to initiate a plan to use a nuke to kill the MUTOs and Godzilla, but failed because the MUTOs saw it as food. Serizawa voluntarily detonates a nuclear warhead on Godzilla to charge him up, but it works too well as too much radiation made him a literal nuclear weapon. Meaning if that plan even worked at all, Godzilla would have been a walking nuke that might destroy half of the United States because of his size.
  • Emma Russell is similar to Joe Brody from the first film: someone dedicated to a cause and forcing it on people that they wrecked their family life, but eventually realize they were wrong about harming their family, though it comes near the end of their lives.
  • Near the end of the movie, you'll know exactly why Godzilla means "God incarnate": After Mothra supercharges and balances Godzilla's internal radiation properties, he becomes Fire Godzilla and No-Sell Ghidorah's Gravity Beams and dominates the evil space dragon., and finally finishes him off by destroying his still-living head. Truly a god incarnate indeed.
  • King Ghidorah genuinely becomes the King of the Monsters after Godzilla's apparent death and thus makes his name fitting. His title, the One Who Is Many, is also meaningful, given his three heads and being an Alpha Titan, able to make the rest of the world's Titans act as extensions of his will.
  • At the film's Darkest Hour, when it seems Godzilla has died, and with him humanity's only hope against Ghidorah, a small shaft of sunlight pierces the clouds. It grows brighter and brighter, until the glow is revealed to be not the sun, but Mothra. . . who with a mighty flap of her wings dispels the storm clouds and brings the true rays of the sun shining on our human heroes. After Godzilla kills King Ghidorah, his hurricane dissipates and the sun finally cuts through as the Titans bow to him and he roars triumphantly.
  • Dr. Vivienne Graham's death is so quick that even if you were paying attention you might not have been sure what happened or who it happened to. Ghidorah, seeing a group of less than a dozen humans running for their lives, arbitrarily targets her out of the crowd, and in a flash devours the ice upon which she was standing whole. A few minutes later Serizawa is shown sitting in front of a monitor listing her as deceased, just to make sure the audience knows it was her that died.
  • The Oxygen Destroyer kills all the fish around Isla de Mara. The post credit scene reveals that Isla de Mara's fishermen have lost their livelihood and are desperate enough to take any offer Jonah makes for the severed head of Ghidorah they dredged up.
  • It is unknown which Titan killed Margygr in the novelization, and even Monarch are unaware. It was likely one of the aquatic or amphibious Titans (Godzilla, Scylla, Leviathan, Methuselah, or Kraken), as Margygr died in the sea, but it is also mentioned that Margygr has scorch marks on her scales; this makes Godzilla himself the likely candidate, as only he would have been capable of causing this damage out of the aquatic Titans. Another candidate is Rodan, as the novel mentions him to be capable of killing sea creatures, and he is also one of the few Titans capable of causing scorch marks.
  • Director Michael Dougherty revealed that Mothra simply will never die, "She represents the eternal cycle of birth, life, death, and rebirth. And she knows it."
  • Jonah, having survived the events of the film, collecting Ghidorah's head from a fisherman for reasons unknown. The novelization even has a character posit that Ghidorah could regenerate a new body from dismembered pieces, leaving it possible that he could return.
  • For Godzilla fans, King of the Monsters delivers an accurate portrayal of Godzilla's biggest rival while also finding a way to improve him in more ways than one. First of all, King of the Monsters gives Ghidorah his best story. In the movie, Ghidorah's alien origin is what causes Emma and Jonah's scheme to fall apart. In waking up King Ghidorah, they unleashed a weapon they never truly understood to begin with, and for this reason, they nearly brought about the destruction of the planet. Their plan rested on the Titans battling and restarting civilization, but no one accounted for Ghidorah being an outsider and having plans of his own. Ghidorah woke up the other Titans and sought to terraform the Earth. Godzilla's epic battles with Ghidorah showcased another major improvement made to Monster Zero. In their final showdown, Ghidorah flies Godzilla high up into the sky and drops him, nearly killing Godzilla. Ghidorah pushed Godzilla to the edge throughout the fight, biting him, blasting him, and hitting him with everything he had. It took a sacrifice from Mothra to give Godzilla the advantage he needed to win.
  • Many fans thought that Charles Dance was playing Tom Hiddleston's Captain James Conrad (both military men, both British, the age difference is about right), and everyone went on with their lives. Until it was revealed that Dance was playing the villainous Alan Jonah and everyone lost their minds trying to work out who the crossover character was. To be fair, some people guessed Brooks would be the returner as he worked for Monarch, which is basically the SHIELD of this MonsterVerse. But what they couldn't possibly guess was how little the film would do with him. Joe Morton plays the character because we paid attention to the credits. You certainly wouldn't know it from the movie, which doesn't name him, and throws him away in a cameo that's eerily reminiscent of his Batman V Superman: Dawn Of Justice (2016) appearance.
  • Ghidorah's alien origins proves that Godzilla didn't just become the "King of the Monsters" in the movie - the crown had always belonged to him as the most powerful Titan. As an outsider, fallen from outer space, King Ghidorah never had a legitimate claim to the title. King Ghidorah was a pretender in a sense. Like his Toho counterpart, he was an alien invader who came to Earth. This means that Ghidorah was not part of the natural order. After awakening, he had an unusual effect on the planet's creatures. While Ghidorah may have been the supreme being of his own planet, as one character in the movie puts it, "This is Godzilla's world". This explains why Ghidorah is referred to as "The False King". Godzilla, on the other hand, is the natural alpha predator and Earth's one-and-only true King of the Monsters.
  • There are a number of similarities in the characters that Kyle Chandler plays in both J.J. Abrams' 2011 nostalgia-fest Super 8 and this film: *Disney is fond of killing at least one parent (sometimes both) at the start of a movie, but this plot development extends beyond animated classics. A death often shapes the relationships in summer blockbusters, impacting not only the personal bonds but also how the impending disaster is dealt with. In Super 8 and Godzilla: King of the Monsters, Chandler plays a father emotionally estranged from his child after the loss of another family member. The arrival of a deadly outside force means he has to confront and break through the emotional barrier he has constructed around his heart. *As Deputy Jackson Lamb in Super 8, Chandler's role is to protect the town from not only the creature wreaking havoc but also the shady military clean-up operation. When the Sheriff disappears, Lamb is who the people turn to (and yell at). Amid the chaos caused by this extra-terrestrial, his already-imploding relationship with teen son Joe (Joel Courtney) is put the test. The opening of the movie isn't a world-changing event depicting how the alien came to this small Ohio town; instead, it is the aftermath of the factory accident that kills Lamb's wife, Elizabeth (Caitriona Balfe). The wake that follows indicates the emotional void that already exists between father and son, which will only continue to grow. *Set in 1979, rigid rules of masculinity are on display in the Lamb household. Four months after the accident, Joe comes home from school to find his dad crying in the bathroom, but instead of embracing this shared pain, Lamb shuts the door, telling him he will be out in a minute. They are strangers living in the same house, the emotional tether connecting them is frayed and Lamb can't cope with both his grief and his son's. His solution is to send Joe to baseball camp for the summer. "It's what we both need," Lamb explains, but this act of denial is only going to destroy this relationship. Sports are what Lamb understands; the artistic expression of making a zombie movie is alien to him. *Matters are complicated further when Lamb finds out Alice Dainard (Elle Fanning) is involved in this movie project. Alice's father is who Lamb blames for his wife's death, and a classic forbidden friendship follows. Lamb tells his son he can no longer hang out with Alice, but Joe refuses to obey, telling his dad, "You and I aren't clear about anything." The matter is left unresolved as Lamb has to go back to work, but his duty to the town also means he can temporarily ignore the emotional trauma he and his son are both experiencing. The alien of Super 8 is destructive, but all it wants to do is go home. *The real villain is the military, which has been conducting experiments on the extra-terrestrial since it crash-landed in 1958. Like Joe, the alien is feeling lost and scared and the teen connects with this creature from another world before his big reunion with his father. *Ultimately, Lamb doesn't need to save his son, but another rescue does bring some closure when he breaks Alice's dad out of the military hospital. Chandler is so good at playing stoic authority figures, but he isn't completely closed off as he makes peace with Louis (Ron Eldard) over the death of his wife. These catastrophic scenarios help reevaluate and confront past pain. *Forgiveness is also crucial in King of the Monsters, which follows on from Gareth Edwards' 2014 franchise reboot. The sequel opens on the attack in San Fransico, here the human toll is shown from a different perspective. The Russell family has lost their son in the destruction, a death that splinters them beyond repair. Chandler, as Mark, goes off into the wild to continue his work after boozing too hard as a coping mechanism, whereas his now ex-wife Emma (Vera Farmiga) continues her research into Godzilla and other Titans. Daughter Madison (Millie Bobby Brown), has stayed with her mom, mostly communicating with her dad over email (when she finds time to reply). Mark blames Godzilla for losing his son and isn't a fan of Monarch either, but he has to work with both when his estranged wife and daughter are kidnapped. *Chandler plays a father who finds it hard to express himself beyond bottled up anger. Mark isn't without empathy; he is incredulous, but there is something in the way he bitterly laughs at the ridiculous nature of these end-of-the-world scenarios. Whether he is a scientist or a sheriff's deputy, Chandler oozes reliability with his thick head of hero hair. He might be emotionally unavailable, but he will do anything for his kids including running into a dangerous situation armed only with a handgun facing down men with bigger weapons or a monster with three heads. *A glimpse of the past is shown through old home movies and photographs in both Godzilla: King of the Monsters and Super 8, calling back to a time before death tore these families apart. The only way to go back is through the magic of film, but in order to heal, the past is confronted via these extraordinary events that go way beyond typical therapy sessions. In Super 8, the alien is a stand-in for letting going, to acknowledge the pain and talk to each other. In Godzilla: King of the Monsters, Dr. Ishiro Serizawa (Ken Watanabe) sums it up before he sacrifices himself, saying to Mark, "Sometimes the only way to heal our wounds is to make peace with the demons who created them." *The true monster of these movies is the grief that turns into anger threatening to stomp all over the living. As Kyle Chandler proves in both Super 8 and Godzilla: King of the Monsters, a distant dad doesn't need to stay that way.
  • It may seem odd that Madison is defiant to the end when faced by Ghidorah in Fenway Park, but is reduced to a screaming wreck once she barricades herself inside her house. However, it makes sense that Godzilla's timely arrival gave her a hope spot: beforehand, she was 100% sure she was gonna die and decided to might as well give Ghidorah one last "screw you!" in retaliation, but now that she's got a fighting chance, she now wants to live to see her parents again.
  • Godzilla is the kaiju Christ. He practically dies for Man's sins when the military tries to kill him and Ghidorah with an "oxygen destroyer" bomb (a callback to the original bomb from the 1954 movie). Then Dr. Serizawa (also named after the scientist who kills him in the 1954 movie) detonates a bomb to restore him to fight for humanity.
  • When Godzilla becomes the Alpha Titan, he does not attack others who followed Ghidorah, and instead spares them when they swear their allegiance to him.
  • The film begins with a flashback to 2014 with the Russells standing in the ruins of San Francisco as Mark screams out the name of one of his children that he's trying to find among the chaos. Close to the end he finds himself in a similar situation, screaming for Madison as Ghidorah and Godzilla battle in the background.
  • During Ghidorah and Godzilla's first battle, Maddie is in a helicopter with her mother, flying away from her father who is on the ground. In their last battle, she is yet again on a chopper, this time flying with her father and watching her mother.
  • Both Dr. Serizawa and Emma Russell die by sacrificing themselves and by radiation explosion, exposure.
  • Director Michael Dougherty believes Godzilla would have been able to defeat Ghidorah if the Oxygen Destroyer wasn't deployed.
  • Maddy's screams when she runs towards her house have the same sounds and pitch as Mothra's when Rodan burns her wings.
  • According to Michael Dougherty, the name of the clandestine outpost is meant as a hat tip to Outpost 31 in John Carpenter's 1982 remake of The Thing. In his mind, Outpost 32 became the government's main hub for weird and unexplained phenomena after 31 burned down, courtesy of the Molotov cocktails thrown by R.J. MacReady & co. Another reference to the Carpenter classic arrives when Godzilla rips off one of Ghidorah's heads and it grows right back in a severely gross way that is meant to recall Rob Bottin's disgustingly "visceral" creature effects on The Thing. Since Ghidorah is an alien, it makes a lot of sense that he'd have a similarly gross biology to that of E.T.
  • One of the bigger twists that the film's marketing materials didn't give away is the fact that Emma Russell is technically the bad guy in the story. While the director considers Emma a "very complicated antagonist" rather than a straight-up bad guy, the character's monologue that reveals her plan to awaken the Titans in order to save the world was inspired by 1982's Star Trek II: The Wrath of Khan (1982) "There's a scene in that film where they explain how the Genesis Device works. And the Genesis Device could take a lifeless planet and create a whole new ecosystem on a planet or a moon. I just love the idea that these giant monsters don't just destroy things, but in the aftermath of their destruction, they could cause nature to reclaim an environment," Dougherty continues.
  • During the final scene where all of the remaining Titans bow to Godzilla, now the one true king and Alpha after dethroning Ghidorah with a destructive atomic blast in his "Burning" form, a homage to Conan the Barbarian (1982), during the sequence where Conan decapitates Thulsa Doom then holds up his head, and throws it down. Godzilla establishes his dominance in a similar way by eating and then melting Ghidorah's last-living head. "You knew who was boss from that point forward, you knew there was a new sheriff in town. This is Godzilla firmly establishing himself as the king of the monsters," stated Dougherty.
  • Jonah's right-hand-man, Asher, is listed in the film's credits as "Asher Jonah," suggesting the two are related, possibly father and son, as Jonah seems visibly distressed when Asher is killed. However, neither the film nor its novelization comment on this.
  • Michael Dougherty spoke with Collider and brings up a good point in that Ghidorah can regenerate, but teases even more: Asked if that moment tied into the earlier reference that Alan was messing around with genetic engineering, Dougherty replied, "It ties into so many different things. The fact that Ghidorah is not of this earth, that can affect our ecosystems merely by existing, that he's capable of regeneration." He continued. "The possibilities with King Ghidorah's severed head are endless. What happens to the flies that were picking at his flesh? It's a giant possible ripple effect or domino effect."
  • It had long been theorized before the release of the film that Anguirus, another Toho kaiju, was to make an appearance in the film, however though while Anguirus doesn't make a living appearance in the film, his skeleton however is briefly visible when Godzilla's temple is destroyed
  • According to director Michael Dougherty, Ken Watanabe changed the delivery of the line (when filming his sacrifice) during the first run through of the script, specifically, the language in which the line was delivered, and it worked so perfectly they kept the line that way. Dougherty says... "I think this is actually the first Godzilla film where a human being touches Godzilla in a meaningful way. There's only one line of dialogue which is, 'Goodbye old friend' and in the original script that was written in English. But at the table read Ken said it in Japanese and that was completely his invention but it was just one of those moments where it felt, like, so obvious. Of course, it sounded so much better in Japanese because of course, he would say it in Japanese."
  • The cut scenes add a few minutes of content to the movie. The fact that the movie already had a run time of two hours and 12 minutes could explain why the scenes didn't make it into the theatrical release. The first deleted scene, adds a flashback that takes place shortly before Mark wakes up. Mark is barely conscious while Dr. Stanton is checking him over. Mark relives a birthday party for his son, Andrew, who was killed during Godzilla's battle with the M.U.T.O.s in San Francisco. The flashback is interrupted by a memory of Andrew's death, when Mark is searching frantically his son. The scene is a reminder of his hatred for Godzilla, and that Mark is still consumed by grief. The flashback doesn't tell audiences anything that it doesn't already know about Mark and what he feels toward Godzilla or about his son's death, so this is likely why the scene didn't make it into the final film. After Godzilla's showdown with King Ghidorah in Mexico and Mothra's transformation in China, Godzilla: King of the Monsters cuts to Madison and Emma arguing in a hallway. This is the moment where Madison expresses how she truly feels about their plan to save the world, and is eventually what leads Madison to head to Fenway Park and use the Orca. The second deleted scene reveals how this conversation began. Madison is show practicing her boxing skills with one of Jonah's men, while several others watch. Emma approaches and gets Madison's attention. Emma tells Madison that they need to talk, possibly because Madison had previously called her a "monster". Madison's fury while boxing illustrates just how frustrated and angry she is with her mother over what they've been doing with the Orca. The third deleted scene from Godzilla: King of the Monsters picks up where the last one left off. This scene is basically an alternate version of Madison's argument with Emma in the hallway. In the theatrical release, Emma assures Madison that even though things didn't go according to plan with King Ghidorah, it could still be fixed. Madison angrily snap at Emma about how their plan was supposed to restore balance and not destroy everything. Emma claims that they didn't have a choice because the government was going to kill the Titans. This is when Madison points out that all of this was supposed to be for Andrew and asks Emma if this is what he would have wanted. Of course, Emma has no answer for her. The deleted scene takes this conversation in a completely different direction. Instead of seeming apologetic about their plan having unexpected complications, Emma says that Madison was already warned of the dangers. When Madison brings Mark into the conversation, Emma speaks critical of him for leaving, which is something that didn't happen in the original scene. Also, in the deleted version, Madison doesn't mention that they were doing it for Andrew, which is an important omission. Like the original version, the scene ends with Madison locking herself up in her room. It's easy to see why this alternate take on a key moment in the movie wasn't included. This version fails to adequately explain how Emma convinced Madison to help, especially since the role of Andrew's death in the formation of their plan is never discussed. Her lack of regret and criticism of Mark would also make it even more difficult for audiences to sympathize with Emma. In December 2018, Legendary released its second full trailer for Godzilla: King of the Monsters which gave a much better look at the Titans featured in the movie. The trailer begins with Madison turning on a radio and asking if anyone can hear her. As she listens to so many people in distress, Madison starts crying. Interestingly, none of this happens in the theatrical release. The fourth and final scene reveals when and why this happened. Immediately after the events of the third deleted scene, Madison is in her room when she looks over at the radio. After turning it on, the scene plays out just as it did in the Godzilla: King of the Monsters trailer. Madison is visibly upset when she hears the screams and cries of people being killed by the Titans. This moment adds to Madison's guilt and provides her with even more motivation to leave Jonah's hideout and use the Orca to call the monsters away to Fenway Park. Madison's decision is what sets the stage for the final battle between Godzilla and King Ghidorah.
  • Godzilla's atomic pulse contains the pattern of Mothra's wings. Also, the sounds effects that accompany the atomic pulse curiously match the sound of Mothra's cry. Mothra's cry and the pattern of her wings in Godzilla's ultimate attack symbolizes the importance of Mothra's sacrifice. It's also the movie's way of telling audiences that when Godzilla is finishing off King Ghidorah with his atomic pulses, Mothra, in her own way, is helping, too. But her sacrifice doesn't mean she can't return in a future film, seeing as rebirth is a cornerstone of what makes Mothra unique.
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