Verbal Diorama

Rogue One was the first anthology movie announced post the Disney takeover of Lucasfilm in 2012; the year after Star Wars Episode VII The Force Awakens had enticed and delighted audiences across the world. The rogue one, you might say...
Rogue One, born of the simple question "how did the Death Star plans end up with Princess Leia?" is probably most famous for its CGI recreations of Grand Moff Tarkin and Princess Leia, and its enduring of lengthy re-shoots to change the narrative of the third act and insert additional scenes.
Grand Moff Tarkin.... well that's another issue entirely. At least Carrie Fisher was alive to approve her younger likeness....
As a spin-off of the existing Skywalker Saga, Rogue One remains separate to the existing story enough to be talked about independently, but connected enough to matter in the timeline between Episode III: Revenge of the Sith and Episode IV: A New Hope.
It shows the true sacrifice of rebellion; the nameless soldiers who gave their lives for a greater cause are given names. It's a powerful reminder on the cost of war, because we never hear the names of these characters again.
Like all rebellions, it's built on hope.
Right now, we could all do with a little more of that
This episode was first published on: 11th June 2020
Mentioned in this episode:
From the Archive
There's no new episode this week, so I thought you might be interested in revisiting this slightly older, but no less brilliant episode. Just bear in mind, this episode is several years old, it may not sound quite as polished as newer episodes, and new information may have come to light in recent years with regards to the making of this movie (please see above for the original date of release)

Please enjoy this time capsule of an episode. Thanks for listening!

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Happy 250th birthday to the United States of America! 250 years ago, you became independent from us Brits. We're the King George III in this relationship, and we know it.
Alexander Hamilton. You know the name, but you probably didn't before the musical debuted in 2016. On 3rd July 2020, as America protested the murder of George Floyd, and locked itself indoors simultaneously, Disney+ dropped something that made the world look again at the ten-dollar founding father, his story, and the country he helped build.
As the United States turns 250, it seems a good opportunity to tell the full story behind the Hamilton phenomenon; from Lin-Manuel Miranda reading Ron Chernow's biography on a Mexican holiday and realising that he was not throwing away his shot to adapt it, to the Broadway explosion that made tickets worth more than a month's rent; from the non-stop creative engine of a show that rewrote what musical theatre could be, to the $75 million Disney deal that brought it to homes during the COVID-19 pandemic.
What does it mean that a show about America's founding myths, performed by the people that founding excluded, has become the defining cultural text of the American anniversary. A history of immigrants controlling the narrative, to a modern America where immigrants are persecuted. Who lives, who dies, who tells your story? In 2026, that question has never been more important.
History has its eyes on you, America.
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About Verbal Diorama
Ear Worthy 2024 Best Movie Podcast Winner | Golden Lobes 2025 Earworm Award Nominee | Ear Worthy 2025 Best Movie Podcast Nominee | Golden Lobes 2025 Earworm Award Nominee
Verbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em.
Theme Music: Verbal Diorama Theme Song
Music by Chloe Enticott - Compositions by Chloe
Lyrics by Chloe Enticott (and me!)
Production by Ellis Powell-Bevan of Ewenique Studio
Thank You to Our Patreon Supporters
Current Patrons: Simon, Laurel, Derek, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Stuart, Nicholas, Zo, Kev, Danny, Stu, Brett, Xenos, Sean, Ryno, Philip, Adam, Elaine, Aaron and Steve.
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In the spring of 1954, a Japanese fishing vessel called the Lucky Dragon No. 5 sailed into the fallout zone of an American hydrogen bomb test at Bikini Atoll. Its crew came home irradiated, and Japan, a nation still raw from Hiroshima and Nagasaki less than a decade earlier, found itself confronting nuclear terror all over again.
Within months, Toho producer Tomoyuki Tanaka, with a collapsed co-production and an empty budget to fill, conceived a monster movie. What emerged from that collision of commercial necessity and national grief was Gojira (aka Godzilla); a film in which director Ishirō Honda, effects genius Eiji Tsuburaya, and a nation's unspoken anguish combined to create something cinema had never quite seen before. The character of Godzilla has evolved over 70 years, embodying contemporary fears and anxieties in a uniquely artistic way.
Godzilla was never simply a creature feature. Honda had walked through the ruins of Hiroshima after the war. When his monster surfaced from the Pacific, awakened and mutated by nuclear testing, and reduced Tokyo to ash and radiation, Japanese audiences weren't watching spectacle. They were watching their own grief and trauma on screen. The hospital scenes, the Geiger counters, the dying children: all of it was modelled on the aftermath of atomic destruction. Even the film's resolution; Dr Serizawa destroying his world-ending weapon and himself along with it, posed a moral question about nuclear responsibility that no Western movie of the era came close to asking.
As long as countries continue to test and threat with nuclear weapons, as long as that threat persists, so does Godzilla, as a warning to humanity.
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Twitter: @verbaldiorama
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Email: verbaldiorama [at] gmail [dot] com
Website: verbaldiorama.com

About Verbal Diorama
Ear Worthy 2024 Best Movie Podcast Winner | Golden Lobes 2025 Earworm Award Nominee | Ear Worthy 2025 Best Movie Podcast Nominee | Golden Lobes 2025 Earworm Award Nominee
Verbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em.
Theme Music: Verbal Diorama Theme Song
Music by Chloe Enticott - Compositions by Chloe
Lyrics by Chloe Enticott (and me!)
Production by Ellis Powell-Bevan of Ewenique Studio
Thank You to Our Patreon Supporters
Current Patrons: Simon, Laurel, Derek, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Stuart, Nicholas, Zo, Kev, Danny, Stu, Brett, Xenos, Sean, Ryno, Philip, Adam, Elaine, Aaron and Steve.
Thank you for supporting Verbal Diorama.
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King Kong (1933) was the creation of Merian C. Cooper, one of Hollywood's most extraordinary and least remembered figures, and it arrived at a precise and loaded moment: during the Great Migration, a time of mass unemployment, and racial tensions on American streets. It was, depending on who was watching and from where, either the ultimate escapist spectacle or something far more pointed; and quite possibly both at once.
The film was a technical revolution built largely on improvisation. Willis H. O'Brien's stop-motion animation; an 18-inch rubber puppet, shot one agonising frame at a time on meticulously constructed miniature sets, was composited with live action through techniques his team largely invented during production, including miniature rear projection and the optical printer, a device that would remain a cornerstone of special effects filmmaking until the digital age.
It was also a pre-Code film, made before Hollywood's moral censorship apparatus fully clamped down, which meant Cooper could let Kong be genuinely violent and terrifying in ways the Production Code Administration mandated 1938 reissue would systematically strip away, scene by scene, with a censor's scissors.
What makes King Kong endlessly worth returning to is that it refuses to be fully settled. The racial subtext is real and documented; so is the fact that audiences have always, instinctively, rooted for the monster. The craft is breathtaking, but so is the discomfort.
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Twitter: @verbaldiorama
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Email: verbaldiorama [at] gmail [dot] com
Website: verbaldiorama.com

About Verbal Diorama
Ear Worthy 2024 Best Movie Podcast Winner | Golden Lobes 2025 Earworm Award Nominee | Ear Worthy 2025 Best Movie Podcast Nominee | Golden Lobes 2025 Earworm Award Nominee
Verbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em.
Theme Music: Verbal Diorama Theme Song
Music by Chloe Enticott - Compositions by Chloe
Lyrics by Chloe Enticott (and me!)
Production by Ellis Powell-Bevan of Ewenique Studio
Thank You to Our Patreon Supporters
Current Patrons: Simon, Laurel, Derek, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Stuart, Nicholas, Zo, Kev, Danny, Stu, Brett, Xenos, Sean, Ryno, Philip, Adam, Elaine, Aaron and Steve.
Thank you for supporting Verbal Diorama.
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Please consider supporting this podcast on Patreon
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Two decades in the making, The Meg showcases the sheer absurdity of a 75-foot prehistoric shark lurking in the ocean, and this Kaijune we acknowledge that bigger is just always better when it comes to monster movies.
Loosely adapted from the novel by Steve Alten, The Meg knows exactly what it is: a fun summer popcorn flick that doesn’t take itself too seriously, delivering PG-13 thrills as the titular Meg terrorises various humans. It emerged as a crowd-pleaser, grossing over half a billion dollars worldwide despite mixed reviews.
But there were many false starts for this movie since it was greenlit in the late 90s and the release of Deep Blue Sea in 1999 led to the movie being shelved - the only time Hollywood didn't want a twin films situation! It would languish in development hell, until a partnership with China's Gravity Pictures gave the movie much needed financing, as well as setting the movie off the coast of China.
The Meg cleverly invokes nostalgia for classic shark films like Jaws, while carving its own niche as a light-hearted, action-packed adventure that ultimately celebrates the ridiculousness of its premise. It's about the thrill of the chase, the bond of unlikely heroes, and the joy of watching a massive megalodon wreak havoc; just don’t think too hard about the science!
Support Verbal Diorama
Loved this episode? Here's how you can help:
⭐ Leave a 5-star review on your podcast app
💰 Join the Patreon for bonus content and early access
☕ Send a tip to support the show
📱 Share this episode with fellow film lovers
Get In Touch
I would love to hear your thoughts on The Meg
Twitter: @verbaldiorama
Instagram: @verbaldiorama
Facebook: @verbaldiorama
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Email: verbaldiorama [at] gmail [dot] com
Website: verbaldiorama.com

About Verbal Diorama
Ear Worthy 2024 Best Movie Podcast Winner | Golden Lobes 2025 Earworm Award Nominee | Ear Worthy 2025 Best Movie Podcast Nominee | Golden Lobes 2025 Earworm Award Nominee
Verbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em.
Theme Music: Verbal Diorama Theme Song
Music by Chloe Enticott - Compositions by Chloe
Lyrics by Chloe Enticott (and me!)
Production by Ellis Powell-Bevan of Ewenique Studio
Thank You to Our Patreon Supporters
Current Patrons: Simon, Laurel, Derek, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Stuart, Nicholas, Zo, Kev, Danny, Stu, Brett, Xenos, Sean, Ryno, Philip, Adam, Elaine, Aaron and Steve.
Thank you for supporting Verbal Diorama.
Mentioned in this episode:
Please consider supporting this podcast on Patreon
Patreon

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Podscribe - https://podscribe.com/privacy
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