The B-Movie Boys head back to the atomic age this week with The Beast from 20,000 Fathoms, a movie that basically looked at giant monster cinema and said, “Yeah, I think I’ll invent an entire genre today.” What starts as a straightforward 1950s creature feature quickly turns into a deep dive on filmmaking innovation, nuclear panic, stop-motion wizardry, and the absolute madness of making a dinosaur attack New York using techniques invented by one guy working alone in a rented Hollywood storefront.

We break down the legendary work of Ray Harryhausen, the accidental plagiarism of Ray Bradbury, and why this movie somehow feels both wildly important and occasionally like homework between dinosaur scenes. Along the way, we discuss fake dinosaur science, bizarre accents, the logistics of shooting bazookas at prehistoric monsters, and whether the Rhedosaurus simply wanted to enjoy a nice day at Coney Island before everybody got rude about it.

It’s a movie that created the DNA for everything from Godzilla to Jurassic Park, while also featuring one extremely confident cop attempting to fight a 200-foot dinosaur with a revolver. The Schlockometer is deployed. Dynamation changes cinema forever. And a giant radioactive sea lizard steals the show and our hearts.

Mention in this Episode:

• Jurassic Park (1993)
• The Fast and the Furious (2001)
• King Kong (1933)
• The Lost World (1925)
• Godzilla (1954)
• Cloverfield (2008)
• Ray Harryhausen
• Tom Hanks
• Captain Phillips (2013)
• Elvis (2022)
• Charles R. Knight
• Willis O'Brien
• Ray Bradbury
• Tomoyuki Tanaka
• Bo Burnham
• MrBeast

Our Links:

• BMovieBoys.com
• Official Discord
• Patreon
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Incoming transmission. Incoming transmission. Let's boogie.

Welcome to The B-Movie Boys. Where bad movies get the love they deserve and the respect that they don't.

I'm Dave Michaels.

And I'm Bryan Betz.

Bryan, we did it again.

We sure did.

This thing is huge.

We thought Dolomite was here and it was Dolomite. Huge. This movie, massive.

I feel like we're going on a bit of a journey at this point because we thought we knew what we were getting into when we said, hey, let's talk about B movies. And then you start realizing the reason why a lot of these older B movies are still being talked about today is for a reason.

It's fun to explore every week to see. Why is this one still around?

Laurier.

I don't know how to say it, guys. It's not important. Ray fucking Harryhausen.

Ray fucking Harryhausen. This is Harryhausen's film debut, is it not?

His solo debut. Yeah. And he pretty much just came in and just. Big swinging dick let it hang.

And he showed up and said, this is the way it's going to be done from now on. Yeah.

He pulled off a magic trick and created modern special effects, for the most part, an entire genre of film because.

Of this movie 40 years before Jurassic park did it.

Oh, my God, this one blew my mind reading the backstory behind it.

Yeah, there's a lot of cool stuff in this one that we will absolutely get to.

But the real question is, is it a good B movie? And frankly, now I'm shaken to the core on what's a good B movie.

We thought we knew what a B movie makes, but here we are. And now I have more questions because this feels too big to be a.

B movie, but yet it checks all the boxes. It has.

It has all that. Yeah.

Well, we do have our Schlockometer, patent pending, where we will assign scores for our 10 categories to figure out exactly what this thing deserves as a b movie. That's one movie, 10 categories. And the first category is the audacity. To determine that, we need to tell you the tale of the beast from.

20,000 Fathoms during a top secret nuclear test in the Arctic Circle titled Operation Experiment. The heat from the atomic blast thaws a 200 foot prehistoric predator from the ice. And this thing is called a Rhetosaurus.

It's not a real dinosaur.

The made up Dinosaur.

Because real dinosaurs aren't scary, to quote modern movies. Moviegoers.

Right. Real dinosaurs are not real and never have been. Be a wild time to drop that on people. It's like, holy Dave's been a dinosaur denier this whole time.

What?

Where does he think we got all this oil from?

What do you think he's looking at when he goes to those museums and he sees bones?

Physicist Tom Nesbitt witnesses his buddy George die in an avalanche. Freak.

That is how. I'll give you that. Yes.

They're usually pretty unexpected and.

But like, he was on flat ground, which is the insane part.

That is the insane part. He was. I'm still baffled by, like, how they. He fell into a hole.

And I'm pretty sure the stunt, if it was a stunt person must have died because it was such a far fall.

Yeah.

But yeah, George dies and it's not from the fall. It's. It's from the avalanche. And he fires his gun off into the air around a giant 200 foot prehistoric monster dinosaur. That's not real.

And the only person who sees this happen is Tom Nesbitt. He sees the beast retreat to the sea.

But because of exhaustion and trauma and all of that, military officials and doctors, they dismiss his claims as a hallucination. Because they always do and they always will. Because it doesn't sound like a thing that could actually happen.

No. But it's amazing how. It's just the formula for this is thing happens, makes thing appear or thing come to earth or whatever it is. Right.

No one believes it for the next.

Yeah. Hour. Yeah.

Then we're going to quickly wrap this thing up once. Like I believe now.

Oh, I believe now. We got to kill it. That's the plot.

So the creature begins a destructive journey south along the Atlantic coast, sinking a fishing catch near the Grand Banks and destroying a lighthouse in Maine, leaving a trail of unexplained maritime disasters.

But they still don't believe the guy that's like, there's a monster out there.

No, it's just big waves.

Yeah. Lighthouses are falling down all the time without storms.

I gotta make them sound like they're from Maine.

Yeah.

How do you sound like you're from Maine? It's easy. Just kind of go Liverpool and then take it back a few notches.

Dill Liverpool. And then kick him out of the country.

Great record.

Great record. Just ask Tom Hanks and Captain Phillips. It's. It's Liverpool meets Boston with a little bit of transatlantic.

Nailed it. You sound like a Mainer now, good job, Lobster.

Right.

That lighthouse seed we're gonna get to and we're gonna talk about it and.

I hope we do.

We have to.

It is important to how this movie got made.

That does seem to be kind of what all of this is, is how did these things get made with either whatever budget was or whatever fucked around in the background to make this thing happen? How did it stand the test of time? It's the story we've seen at this.

Point and it's all pretty predictable.

Yeah, this one's very formulaic.

It's the shenanigans that happen off camera that make it interesting.

Yeah, for sure. This one.

Yeah. Well, there's some interesting stuff happening on camera in this one too.

There is, but I don't want to discount it. It's one of those, like, oh, Ray Harryhouse is going to eclipse this movie. And he does.

He absolutely does. Tom seeks out the support of paleontologist Thurgood Elson and the heart of his assistant Lee Hunter.

But he can claim neither until he tracks down a surviving fisherman who also identifies the creature from an illustration. And that's all it takes. It's just two who point at the same drawing and say, yep, that's the guy. And now everybody believes him.

Well, at least the scientists do.

I love how this Tom Nesbitt guy is like standing over the fisherman's shoulder after he brings him to New York from Canada. Like surely had time to prep, but we're supposed to just imagine that like everyone's moral.

Yeah, of course. Now I'm not going to nudge you or anything when you get to the right picture.

But I like how this is like the cynicism now I'm bringing to like life. He's like, oh shit, I can't even trust it.

But I love how Tom Nesbit's like standing over this fisherman the second this fisherman like stops on this one illustration of the only dinosaur looks like it was drawn from memory of like, what do you think a dinosaur looks like? Something like this.

This has got to be it, right?

Points to and he's like, that's the same one I pointed to.

Surely that must mean that things real.

And then they all start believing it. It's like two people, they saw the same illustrated dinosaur running around.

To be fair, that illustration was done by Charles R. Knight, the forefront dinosaur illustrator of the era. Very famous for his dinosaur illustrations and other wildlife illustrations.

But for some reason this one, I guess it was because it was for the movie. He probably half assed it or he.

Full asked it because it had to stand out so much that it had a look like a little uncanny valley, I guess.

Yeah, yeah. He's like, well, I'm going to try to model.

I'm used to drawing real animals and this is based on a model of a fake animal that came out of HarryHauser's brain. So I guess I'm just going to draw it however it works.

Don't get me wrong, it works somehow.

Somehow.

So based on fossil records, Professor Elson's going to theorize that the beast is returning to its ancestral breeding grounds in the Hudson river, of all places. So this professor decides to just Titan submersible himself and hop in a diving bell and he just drops down into.

The Hudson as you do.

He's hanging out down there so long that he sees a shark and a squid just fight because like at the B roll, I guess they might as well use it.

You got a pad runtime somehow, right? There's either that or a musical number.

But then he's going to see the beast, the monster, the dinosaur, whatever it is down there. He starts yelling out his findings as he's watching this thing. He's being a true scientist. And then he gets eaten.

The whole divaville just gets eaten by this big dino. As is to be expected.

The line goes dead. And they're like, oh no, Professor.

Well, I like how Tom Nesbitiel is like, professor, I need you to come to get to the surface, please.

Thank you. Speaking of Tom Hanks with weird accents, where is this guy from?

You keep saying Tom Hanks. Yeah, you're just saying Tom Hanks. The real man, the Woody. There's a stake in my boat.

Tom Hanks puts on a weird accent in Captain Phillips because he's trying to do a manor. And also in Elvis, he tries something real weird.

Now I understand where you're coming from. Yeah.

What is this guy's accent? Where is he supposed to be from? I know, he's just like a professor that was in the Arctic or Antarctic doing Operation Experiment, I'm not sure.

And the best that I can find is that it was just one of those choices. Choices again. Like it's an another accent that they just never settled on.

Yeah, and I guess it didn't really matter because they never had the time to settle on it because the shooting schedule was nuts for this.

So the Ritasaurus, the giant monster finally emerges from the Atlantic in. Where else? New York City, obviously. Sparking immediate panic and politely only knocking over one building it up.

That building though.

Yeah. Like people shooting at it. It's doing nothing. It's great. We love it.

I love that one cop who just walked towards it, started firing. It's just standard issue firearm at this giant. So confident, the dinosaurs walks over, just eats him. It's like again, what were you expecting?

Don't worry, I'll take care of this. Pulls out his tiny pistol and shoots a 200 foot monster. It's like, well now you're going to get eaten.

So the military, led by Colonel Jack Evans, attempts to stop the creature using an electrified barricade and conventional weaponry. But nothing works.

Until a bazooka works and the team manages to wound the beast in the throat by doing exactly the thing that they said they couldn't do.

I was very entertained by the fact that they tried all this smaller weaponry and then finally went, alright, let's use the bazooka. It's like you had a bazooka the whole time. Start with that.

What are you trying to do? Just trying to see what's going to make a hold. You're not the fucking Mythbusters here. Exactly. Work your way up to it.

What's the most economic way to take down this giant creature? It's not like you're. You're starting with the atom bomb. Just hit him with bazooka.

I'm happy you said that. It really bothered me while I was watching this thing.

We're going to work up to it anyway. As the creature is bleeding, a virulent prehistoric contagion is released into the streets.

The military realizes that traditional explosives will only spray more infected blood, worsening the burgeoning plague. So they tell everyone to drink bleach dewormers until they figure this out.

I like how people just get real sleepy. They fall asleep and then the army man, is just like, hey, people are dead on their feet over here. It's like, that was a choice of words, man.

What were you doing?

These people are dead.

But I like that we got some stakes here. Like yeah, we put a hole in that thing's throat. We're gonna blow it to kingdom come now. Oh, now we can't.

Somehow we made things worse by injuring it.

We're gonna plague if we hit it harder. Damn it. I hate whenever that happens.

How do I kill these dinos?

So to kill the beast and neutralize the bacteria simultaneously, the team decides they must fire a radioactive isotope directly into the beast's open neck wound.

I love that we've once again resorted to science mumbo jumbo. It's the only isotope of its kind this side of Oak Ridge.

Is that good? Is that bad? I don't know. Is Oak Ridge far? If we fuck this up, could we go to Oak Ridge? Get this. Is this what?

Apparently Oak Ridge, Tennessee is the location of the machines built to make enriched uranium during the Manhattan Project. Well, all right, so I guess it makes sense. All right. The creature makes its final stand. Where else? Coney island thing just wanted a hot dog.

Dino come out to play.

He's looming over the wooden tracks of the Cyclone roller coaster, just causing general mayhem.

I like how he's trapped. He's using a little dinosaurs, like punching about, trying to get out of there.

Yeah.

And it's. It's not that. It's really just Ray Harryhausen just flexing.

Absolutely flexing.

That's all it is. Like we're talking about it. Doesn't know justice. Just know you're missing out on something fantastic.

Yeah.

So if you listen of these fucking idiots, try to do main accents. You're stupid for listening to this. What's wrong with you? Go watch this.

Much more productive ways to spend your time, like watching the movie.

Oh, man. What. What is all this? What are we even doing here?

What. What is this?

Is this the part where we lock ourselves, like, under the stairs in a room together and Mr. Beast gives us money? Is this how all this works?

I hope at some point somebody gives me money.

So Corporal Stone and Nesbit, they literally ride the roller coaster to the top of the hill to get a closer shot of this dinosaur to actively breaking this roller coaster.

I was so bummed because I thought they were gonna do like a drive by while the roller coaster was running, but they stopped it at the top. And that was like. You could tell this is pre. Fast and Furious days.

They didn't jump out of a building. No one mentioned family or DVD players. Stone is going to successfully shoot this thing in the neck.

In the wound, the dinosaur just slowly dies or quickly dies. For this dinosaur, I'm not quite sure.

I don't know. He's thrashing in agony, knocking over the roller coaster, igniting a huge fire, and then just kind of falls over. And then the movie ends.

It just ends. The dinosaurs laying there on the beach, dead, with a burning roller coaster in the background. The end.

The end. Oh, you want those threads to be tight. They are not. They are. They're loose threads just hanging out.

The audacity of this.

The audacity. I would say this is a very formulaic Kaiju movie.

Except. Except?

Except it's the fucking first one.

This created the creature feature and the Kaiju and the giant monster. It's the first one.

It's the first creature awakened or mutated by an atomic bomb. I mean, this is a whole genre that sprang from this movie.

The audacity. It has to be at least a 10. At least.

I 100% agree.

Possibly an 11. I'm really flirting with it. And it probably should be an 11.

I'm okay with going an 11 because I think this thing's going to suffer later.

Yeah, leave it at 10 right now. Okay. Dirty 10.

Really? Dirty 10. Dirty 10 for the audacity. Because God damn, I'm like fighting this.

Thing right now in my head. This is going to be a tough one.

This is going to be hard because I like it, damn it. And it's important.

Do I love it, damn it? I don't know if I love it, damn it.

I don't know if I love it, damn it. But there's going to be some stuff we got to work through on this one for sure. Next category is heart.

Once again, I would say it's through the roof.

Yeah. Yeah.

You have Eugene Laurier, who is at this point a famed set designer and art director getting to do his feature film debut and is going to go balls to the wall. He's kind of like going into the territory of King Kong and Lost World and finding something new out of it.

And then just doing the absolute genius move of hiring Ray fucking Harryhausen.

Yeah. People were hungry for giant animals in New York.

So Bruce is Jack Dietz Halchester. They said we could do a big movie of something. We don't have money to do it, but surely it'll be great, right?

It will be great. And don't call me Shirley.

The guy, Eugene Laurier, to do it. He hires Ray fucking Harryhausen, who wants to do this one solo because he had learned from Willis o', Brien, the guy who did King Kong.

Right.

And then Ray Harryhausen. Is he the heart of it all? He has to be.

I think he is, because I think without him, this doesn't do what it does.

I think we're going to have to tie the next three things together.

I think you're right. Because they all three go hand in hand.

We have the heart. We have the technical incompetence. We have the low budget ingenuity. And they have to go all together because of Ray fucking Harryhausen.

We're going to keep saying the name. You keep knowing it.

Yeah.

This is his first solo movie. They shot this movie in 12 days.

That's absolutely insane.

Ray Harryhausen then goes back to do the special effects and all the visual effects of this movie alone in a rented storefront in Hollywood.

That's crazy.

He realized it doesn't have the budget to come up with matte paintings like you normally would. You would paint the glass, leave space, and then shoot between the glass to make it look like it's absolutely gigantic. Right. It costs a lot of money.

It costs a lot of time.

So he comes up with a completely brand new way of doing special effects that he calls the Reality Sandwich, which is better known now as Dynamic Dynam.

It's brilliant the way he does this.

It's painstaking and tedious the way he does this.

Absolutely.

It's things like this that remind you this is a craft.

Yes. Especially. Yeah. This day and age. It is so difficult to do what Ray Harryhausen did for this movie.

Basically what they would do is they would split the screen in front of the camera lens with a piece of glass in front of the projection that was painted to black out a portion of the film. That way it would only develop on part of the film.

And then after they finished photographing, developing the one portion, they rewind the exposed film, black out the other half, and then photograph the effects so they all appear like they're happening within one scene. And it's just a really impressive workaround for that. That era.

I loved watching your just gymnastics of. How do I explain this very visual thing.

Yeah. Media. Yeah.

I'm going to break it down into chunks to try to make it easier to understand because dynamic is just so cool. And, yeah, the way that he developed this over time.

Movies don't exist the way that we have them today without Ray Harryhausen and especially without Dynamation.

Yeah, yeah. This revolutionized special effects.

Imagine you have a giant dinosaur that you want to watch just walking through the streets in New York City. You film the street in New York City. You take what you filmed and you rear project it onto a screen.

And in front of that screen, you have your dinosaur. So you can just kind of boop, boop, boop, boo, walk him in front of the New York City skyline, whatever it is on the streets. Great. It looks awesome.

But it doesn't because it's rear projected. Just means you're going to see the whole dinosaur and it's going to look like a doll walking in front of just a screen that you project doesn't work.

You have to have the depth to it. So what he did was he had the piece of glass. He put the piece of glass in front of the dinosaur.

And then he painstakingly, with a grease pencil would draw a line exactly where the tops of the buildings were that he needed to black out. And you would black that space out so it wouldn't expose. He would go about doing all of his animations with the dinosaur.

While moving the background image. While moving the front painted glass to keep it not exposed. And then he would have to go back and reverse the film and run the projection again.

To capture the foreground part of it on the already exposed film that he just did the animation dinosaur on. The stakes are through the fucking roof.

Absolutely insane.

It's so complicated. But it's why the dinosaur walked behind buildings and why everything is nice and smooth.

Because they put it through like a sepia tone type filter thing too, to blend it together.

Yeah.

He did this for six months alone.

I'd go crazy.

He advanced a medium in a storefront in Hollywood.

Yeah.

Like he advanced art by doing this.

He invented a new version of doing special effects. Of compositing things on film.

And he made it cost efficient.

Yeah.

Believe it or not, it costs so much less because you have to build all these miniatures. You didn't have to do all this matte painting. It was so much cheaper. This is a $200,000 movie.

Allegedly. It's somewhere between that and 285,000. But still low budget.

That's not a lot of money, right? Harryhausen said he fucked up. He only asked $15,000. And then he worked for six months alone.

Whoops.

The reality sandwich. It is a brand new technique that revolutionized filmmaking. Ray Harryhausen gets a 10 for Hart. Yeah, he has to.

It's absolutely a 10 for Hart. Unfortunately, that means it's going to be very low for technical incompetence.

There's nearly no incompetence in this movie. It is so smartly made, very well made and. Yeah, sorry, one one.

Yeah.

Directorial debut for Eugene Laurier. Laurie, man, that guy.

Yeah, Laurier.

And voided at show.

There were some choices.

Low budget, ingenuity. It's got to be an 11. I'm flirting with saying higher. And I know I'm not allowed.

No, no 11. I agree. Low budget ingenuity. This thing, in the face of low budget, pulled off a magic trick which leads us to genre exploitation.

How do you exploit a genre as.

You're inventing it, you wait 16 months.

You sure do.

The long and short of it. And you know what? I'm gonna wait a little bit on that one.

Okay.

But for genre. Exploitation invented the genre, and then the genre got exploited.

Yes. And it's a very, very tropey genre.

But the thing is, if you don't know that's invented it, you would just think it's another.

That's true.

I'm gonna go. I'll go with hate.

I. I agree with an 8.

Don't ask why I like it, damn it.

Don't I like it, damn it. It's. They created a genre that was ripe for exploitation, and that's worth something.

Exactly.

Next up, we have the Holy Trinity. Blood, boobs, and booms.

1950S. If you got boobs, you're dealing with something special.

Yeah, you are. Yeah, we got our. Dealing with something special. We got our booms. We got. We got the boom used to booms. We got an A boom.

Do we get blood at all?

We got a little bit of blood. We got dinosaur blood that was infected with disease.

That's kind of cool, isn't it? That's something.

It's a little. You know, I kind of want to go right down the middle of this. I want to do like a five, I think, like, big number for the big boom and a little bit.

For a little bit of blood.

I'm okay with it.

Technically, we could probably go higher, but technically we could. There was blood. There were lots of booms. Probably bring it up to like, a six or seven.

How about we go with a six and we say we rounded down.

Okay. I love it. Memorable characters.

Two out of three.

Two out of three.

That's like the lower. We didn't go to seven.

Right. We're playing with the numbers. We're getting. We're getting loose with the Trinity. It's fine.

Exactly.

Otherwise, it's too predictable. Memorable characters.

I'm only gonna remember this dinosaur. That's it.

That's all I'm gonna remember, too. And kudos to Harryhausen because the scenes with the dinosaur are amazing. You get so excited when it's on screen.

And when he's not on screen, you're like, when are we gonna see the dinosaur again?

Yes, you are. Keep talking your science mumbo jumbo. That's all they're doing.

Just show me the dino.

I'm gonna go five down the middle.

Five down the middle because.

Yeah, good dinosaur. It's great.

Dinosaur quotes is the next category. I'm gonna tell you right Now, I don't remember a damn thing that was said in this movie.

The only line I remember this entire movie is. And I'm not even gonna say it verbatim, it was something alongs of, I make my coffee so strong it could compete in the Olympics.

Oh, yeah.

And I said, what the does that mean?

What does that mean?

That is it. It stuck with me because it was like a weird, flirty scene out of nowhere.

They do the normal thing of, like, there's a woman in this movie, so she has to be the love interest, but then they never. And they hint at it the whole time, but there's no payoff. I think you're getting sweet on this guy, aren't you? We'll see. No, we won't.

Quotes. Yeah, there's nothing here. One, because I had a coffee line is so weird. Stuck with me.

There was something that the. The sharpshooter at the end, too. Corporal Stone said that. That.

Oh, he says if. If I could shoot it, I. Or if I could aim it, I could shoot it. Or something like that.

Yeah, if. If you can load it, I can shoot it.

Yeah, it was real.

Something like that.

Macho.

Yeah. It's like, all right, guy, we get it. You've been in the movie for two minutes. Calm yourself.

You got his time. He earned it.

Yeah.

Good on you, buddy.

Entertainment value. Yeah. Yeah. That's how I felt.

When the dinosaurs on screen, you're blown away. And then there's the rest of it.

We're having fun with the dinos on screen the rest of the time. It's very by the numbers, very predictable. It's like, okay, they're not gonna believe him. Okay, they're gonna give. He's gonna convince them.

All right. Now they gotta figure out how to beat the dinosaur.

I'm going to go with a three.

Wow.

I think this is one of the least entertaining movies we've watched so far, where there were moments where it felt like a chore to get through, but also there was the anticipation of Give me that dinosaur.

There was a lot of give me that dinosaur anticipation. I see your three. I'm going to raise it to a four. If the dinosaur gives us five for memorable characters, gets a four for entertainment value.

Fair enough.

And our final category is cult ability 11. Really?

Yeah. This is not a midnight movie that I would go to watch, but I feel like when you start your own cult, that's important too.

That is important. We haven't mentioned, but we should. Godzilla.

So Tomoyuki Tanaka saw this movie and Said, hey, that's a really good story. Japan, you may have heard, just went through an atomic incident.

And I think I can create a story kind of like this where I use the sympathies of what the Japanese people are going through right now and really capture this atomic age and try to understand the country, each other, what they're going through. And Godzilla's board.

Yeah.

And the rest is literally history. I mean, Godzilla comes directly because Tomoyuki Tanaka saw this movie and said, I can do this and translate it to Japan really easily.

And, boy, did it translate just a lot. Just. It's just one of the biggest IPs in the history of time. And it's based on this. Ray Harryhausen Rhetosaurus.

This movie made a lot of money,.

A ton of money for its alleged $200,000 budget. It made $5 million worldwide, at least.

Huge hit, massive.

Unfortunately, it really pigeon Eugene Laurier into just doing Kaiju movies for the rest of his short directing career.

He quit directing because he's like, I don't want to be in this.

I want to be this sci fi, giant monster guy.

He's like Oscar nominated, too, and everything, like, for production design and whatnot. Yeah, fascinating career for that guy.

It's super interesting. Like, everything about this movie is geared toward the visuals. And you can tell because the story suffers.

The dialogue isn't great, but it looks so good.

It does look so good. And it's. You know what? Completely forgot to mention Ray Bradbury. Ray Bradbury, Story vi. And it kind of had to be by.

Because they brought him in to read the story because he was starting to get really hot as a writer. And he said, hey, this looks really familiar. And then they went, oh, shit, it's your story.

Hey, I feel like I wrote this a few years ago for the Saturday Evening Post.

And then they ended up paying and just said, story, here. We're going to ride your coattails. Why wouldn't we? We're going to change the movie to the name of your story. We're fully outraged.

Bradbury bought the rights for it because they accidentally plagiarized it. And then they were like, okay, yeah, you're a writer now. This is. You did it.

Absolutely brilliant.

So good. And then they sold the whole thing to Warner brothers for like $400,000. Warner Brothers redid the music, released it, and it. Yeah, it did. Buku Bucks.

This right here is just like what Hollywood is, is like something got made because something innovative happened. And then it just got used.

Yeah. And then they're like we're going to beat this to death. We will stop beating this horse when it stops spitting out money. To quote Bo Burnham.

And it still has not.

No, it's still. It's still going.

Cult ability. I have to go in 11. It's through the roof. It started its own cold. This thing is its own Kool Aid.

It's its own beast, if you will. From 20,000 fathoms.

That's too deep, by the way.

That is too deep.

You can't go down 20,000 fathoms.

Well, apparently it's only like six leagues, so.

This is so stupid. This is what we get for letting sailors measure things using knots on a rope.

Just use feet.

Whose foot.

No, meters. Use meters. Let's be real. The metric system is advanced. It's far superior.

This is a very pro metric system podcast.

It's all tens. It just makes sense, guys.

So when my New Orleans Saints are going down the field and they get a first down, does that mean they got 36ft?

What? Hold on now. So you tell me that a football field's a hundred yards. So 360ft and plus the end zones.

And I don't want it to go unmentioned that this movie still has a place kind of today. Because there is a single frame homage to it in Cloverfield.

It sure is. Yeah.

Because it's pretty much saying, thank you, Daddy Kaiju.

Also, the. The redis source shows up in so many other movies after this.

It does. It's a ton. This is a very, very, very famous movie. Monsters. The first.

It's a very famous fake dinosaur.

And Ray Harryhausen. My goodness.

This thing has. This thing has shown up in Batman comics like it is everywhere.

Yeah. Like this is one mind blowing ones. Just like. I had no idea. Geez.

Yeah, yeah. No clue what we were getting into with this one. I'm so glad that we did it though.

The final score that we ended up with the beast from 20,000 fathoms. 67. Which is a metric hundred.

So I weirdly think too high.

Yeah, I think so too.

And it scored the same as Master the universe. Makes sense of that.

Make it make sense.

I can't anymore. And I'm okay with that.

No, it's science at this point. Science mumbo jumbo.

That really is the running theme, isn't it?

That about wraps us up for the beast from 20,000 fathoms. I gotta know what we're talking about in two weeks time.

Well, I'm so happy that you asked because I'm just gonna plug in what we talked about so far to our AI friend and. Oh, boy. Bryan.

Oh, no. What do we have?

Yeah.

Well, for our next episode going back to the 80s, so real good chance of boobs. That Holy Trinity's going to hopefully get some. Have we got a perfect one yet?

We have not. Closest we came was Pink Flamingos.

Maybe it's not that holy of a trinity.

Just waiting on the right movie to hit all the marks.

Okay.

Directed by Frank Hennenlotter.

I have no idea what this is.

So it oversaw the restoration of the original 16 millimeter camera negative. 16 Millimeter. That's what we're dealing with.

All right, now we all know what we're getting ourselves into in two weeks time when we talk about Basket Case.

Until then, be sure to freak. Yo.

He's a young man who seeks vengeance on the doctors and nurses who performed an unwanted surgery that separated him from his deformed conjoined twin brother Belial, whom Dwayne hides in a large wicker basket.

What?

I don't know, man. This is gonna get crazy.

That's insane. Holy. That'll be fun. Until then, Rate Review Subscribe Share get us out in front of more ears.

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We're screening these movies a couple of days before we record the episodes so you can watch them with us and figure out what's going to happen, what we're going to be talking about.

Let's start at 10pm Totally reasonable time.

Totally reasonable.

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It absolutely is. Bryan, do you have anything else?

That is it for me.

Fantastic. Thank you guys so much for listening. Thanks for hanging out with us. We're going to see you in two weeks time when we talk about Basket Case.

But until then, imagine a dinosaur, this little T. Rex army just waving at you as you're just about to go on your merry way. And all you hear is him yelling out, good.