A new National Gallery exhibition devoted to George Stubbs will centre a monumental painting of a rearing horse, Scrub, a bay horse belonging to the Marquess of Rockingham (about 1762). Previously seen in public only once and the only life-size horse portrait by Stubbs still in a private collection, the painting will go on display 12 March-31 May 2026 in the H J Hyams Room. Admission is free.
The exhibition places Scrub in dialogue with Whistlejacket (about 1762), Stubbs’s celebrated masterpiece in the National Gallery’s collection, on view nearby. Painted in the same year for the same patron, the two works are among the first large-scale British portraits of horses shown without riders. They reflect Stubbs’s radical rethinking of equine painting in the eighteenth century, largely informed by his rigorous anatomical studies and close observation of individual animals.
The exhibition brings attention to the depth of Stubbs’s engagement with the horse as a subject. Together, these works underline how Stubbs combined scientific precision with artistic intent, reshaping the genre of animal painting in Britain.
Digital design is changing and evolving at a rapid rate. With artificial intelligence, personalized interfaces and user-centric design, and looking at design, as a whole, from new, shifting perspectives.
Vineet Kapil, a product designer renowned for his pivotal work on Snapchat’s chat features, has had an unconventional journey from a self-taught tech tinkerer in New Delhi to a key player at one of the world’s largest social platforms, Snapchat, in California. His insights shed light on the changing landscape of product design, the disruptive potential of artificial intelligence, and the nuances of building products for a Gen Z audience.
According to a recent report from 99firms, Gen Z has the highest daily screen time of all generations, averaging from 7 to 9 hours of screen time a day. Roughly 55% use smartphones for over 5 hours a day, with usage driven by social media and entertainment. Gen Z is also twice as likely to shop on mobile, with 90% having social media accounts. Key platforms include YouTube (93%), Instagram (76%), and TikTok (59%), with 89% using dual screens.
Yet, Kapil’s own design philosophy is rooted in the opposite of what is expected from him as a Gen Z designer. “One of my design philosophies stems from the fact that I dislike looking at screens,” he said. “What screen could ever rival the sky, the trees, or the presence of those we love?”
As he explains: “Perhaps technology is at its best when it serves life quietly, with humility and care.”
This taps into his own design approach. “What if good design softened interruption, favored clarity over captivation, and stayed curious about when to step aside?” asks Kapil. “Could success be measured not by how long we are held, but by how respectfully we are returned to what already matters?”
Kapil’s fascination with technology began not in a classroom, but in the customization of mobile devices, tinkering with technology around the house. His professional path began to crystallize when a university in his hometown of New Delhi launched an Interaction Design degree shortly after his high school graduation. Recognizing a natural extension of his hobbies, Kapil pursued the program, eventually building a portfolio through freelance work on platforms like Reddit to overcome the limited internship opportunities available at the time.
Innovation at the Intersection of Audio and Meditation
Before his tenure at Snapchat, Kapil honed his skills at several high-growth startups. As the sole product designer at Leaf Studios, an audio consumer electronics brand, he tackled the complex challenge of AI sound personalization. Kapil led the redesign of the core product experience, focusing on a “barrier-free user flow” for a patent-backed app, operating on a lean cadence that required shipping design-led updates daily.
Later, as a design consultant for Atom—then the top-rated meditation app on the Play Store—Kapil focused on elevating the user experience. He conducted global usability tests, held ux interviews, while refining product taxonomy. Recognizing a need for cohesion, he initiated a Design System to bring consistency and speed to the team’s cross-platform processes.
The Role of AI and Design Philosophy
Chatting about the current trajectory of the industry, Kapil highlighted the transformative power of artificial intelligence. “It’s giving product designers the power to directly tinker with code, which feels very liberating to me,” he noted, pointing toward a future where the barrier between design and development continues to blur.
Kapil’s philosophy on design consultancy emphasizes clarity amidst complexity. “The best thing a design consultant can do is make the invisible obvious,” he explained. “That means spotting the assumptions everyone else has stopped questioning, uncovering the grey area of what users are actually doing rather than what they say, turning that insight into a clear, decisive and aligned direction.”
A Transformative Chapter at Snap
Kapil’s career reached a pivotal moment when he reached out to Snapchat regarding a graduation project. To his surprise, he was invited to interview for a full-time role. The interview process was rigorous, involving multiple rounds that assessed his design thinking through “messy” Figma files and assignments.
The process culminated in a meeting with Evan Spiegel, Snap Inc.’s CEO and co-founder. Kapil described Spiegel as “friendly, kind, and inspiring,” an interaction that solidified his desire to join the company.
At Snapchat, Kapil drove the design for the chat feature, a core experience facilitating billions of daily interactions among users. He cites the experience of learning from Spiegel and some of the industry’s best designers as the most rewarding aspect of the role.
Reflecting on his interactions with corporate leadership, Kapil offered advice to young designers: “They are the ones who usually care the most about the product in a company, so it’s nice to take a moment to absorb their vision well.”
Kapil’s contributions to the platform’s chat functionality continue to influence how millions of users communicate daily. His journey from a tech-savvy child in New Delhi to a prominent product designer serves as a testament to the power of curiosity, resilience, and the relentless pursuit of user-centric innovation.
Some key aspects from growing up in a joint household has helped him in the tech world. “Working on a big tech team often feels like being part of a multi-generational family: diverse personalities, overlapping responsibilities, and shared goals. The same ability to listen, care, and anticipate to connect and collaborate better.”
Art often steps in where time refuses to pause. That impulse runs through Echoes of Summer, Anna Iarchuk’s exhibition at Friendly Grounds in London, shown from 10 November to 10 December 2025. The exhibition positions itself as an attempt to treat summer not as a nostalgic image but as a fleeting psychological state shaped by attention and memory. This approach is convincing because the works resist closure. They do not try to hold on to summer but stay close to the act of noticing it as it passes.
Having recently moved to London, Iarchuk seems to have entered the city through its parks. Paths, trees, and passing figures recur throughout the exhibition, yet they are never fixed to specific locations. Her collages combine painted surfaces, hand-cut paper, and digital elements, a vocabulary familiar in contemporary painting. This combination could easily become decorative, yet here it largely avoids that risk. The restraint of the compositions keeps the works grounded in observation rather than visual effect.
Many of the works began as outdoor paintings made during the artist’s first months in the city. That origin remains visible, not as spontaneity for its own sake, but as a method of working. These are not studies moving toward a finished statement. They feel like returns to an initial encounter. Sketches made on site are later transformed into layered collages that still carry traces of changing light, weather, and time spent looking. Rather than romanticising plein air practice, the exhibition explores observation as a slow and uncertain process.
This approach is particularly clear in the Under the Trees series. Small scenes such as a child on a bicycle, a bend in a path, or the outline of a ruined church are handled with a light touch. Unlike many contemporary collage practices that use fragmentation to comment on urban or social conditions, Iarchuk’s work avoids overt narrative. Instead, it operates on a quieter, almost diaristic level. This restraint is a risk, but it is also where the exhibition finds its strength.
The Summer Flowers monotypes slow the pace further. Their small scale and unpredictability suit the subject, turning each image into a brief encounter rather than a depiction. At times, this lightness comes close to dissolving into pure mood, and some works risk fading too quickly. However, the consistency of the visual language prevents that fragility from becoming weakness.
The exhibition grew from a curatorial idea by Irina Andreeva, and her role is evident in more than atmosphere alone. The placement of works, the rhythm of spacing, and the way light falls across the surfaces are carefully considered. Rather than imposing a rigid conceptual framework, a choice that could have flattened the subtlety of the work, Andreeva allows the exhibition to unfold gradually. Brighter colours appear first, followed by softer greens and quieter tones. This progression supports the exhibition’s focus on perception and duration rather than statement.
Echoes of Summer does not rely on scale or spectacle. Its importance lies in precision and consistency. The exhibition holds together because it understands its own vulnerability and accepts it as part of its language. In doing so, it makes a quiet but convincing case for observation as a meaningful artistic position.
Have you ever forgotten about a thing you cared about–left in the corner, out of sight–until one day you realize it’s already changed? Not broken. Just… not the same anymore. Well, little you didn’t know that’s exactly what can happen to your BBW sex doll when she’s forgotten, neglected, or stored the wrong way.
We get it–you’ve been busy. Maybe you’ve found a new favorite. Or maybe you told yourself, “I’ll deal with it later.” Whatever the reason, improper storage can lead to stains, pressure marks, material damage, and a much shorter lifespan–and honestly, that’s the last thing any owner wants.
Lucky for you, we’re here to rescue your doll, and of course… your peace of mind. Below, we’ll walk you through the best places to store your BBW (big beautiful women) sex doll, how to do it safely, and the most common rookie mistakes that can quietly ruin her over time, so you can avoid them before it’s too late.
5 Common Spaces and Storage Ideas to Keep a BBW Sex Doll
There are plenty of storage options for your realistic sex doll with huge breasts, but because of its full, curvy body (yes, the realistic feel of its big ass, big boobs, plump breasts, curvy hips, and thick thighs… ohhh my!), you need to be careful.
Enough daydreaming! You have a mission, but first, check out these storage ideas to keep your doll safe and in good shape.
1. Sex doll storage case
Special locked travel cases are one of the best options for BBW dolls. Many come with handles and wheels, which makes moving a heavy doll much easier. If you are on a tight budget, a large lockable plastic storage box or a sturdy suitcase with a padlock can also work well and help keep the doll out of sight.
2. Locked wardrobe or cabinet
Since closets or portable wardrobes are small, dark, and have a door, it can be a great place to store the doll. Some owners hang the doll upright using a metal hook in the neck to keep the doll’s shape and stop the back and butt from getting flat on the floor. If you live in a humid area, placing a small dehumidifier in the closet can help stop mold and mildew.
3. Under-bed storage
Putting the doll under the bed is easier to reach if you use it often. This is okay for short-term storage, but not for a long time. If the doll stays flat on a hard surface for weeks or months, its curves can slowly flatten, and its shape can be damaged.
4. Storage bench
Another smart way to hide a doll is by using a locked footrest or ottoman. It looks like normal furniture, so it blends in with the room. Since it can be locked and looks decorative, most guests will not guess what is inside.
5. Spare room or storage room
Garages, attics, and basements are common choices for long-term storage, especially if you own more than one doll. In these spaces, it is best to place the doll inside a water-resistant container and keep it off the floor on a shelf or table to avoid water or moisture.
How to Store a BBW Sex Doll: The Best Way
Unlike skinny sex dolls, BBW ones are bigger and heavier (in good ways), which can make moving, cleaning, or storing them a bit tricky. And since most of these dolls are made from TPE material, they are porous and heat-sensitive, which only means they need careful handling and the right storage conditions.
The best place to store them is somewhere cool, dry, and dark, since direct sunlight or temperatures above 50°C can damage them. Also, using a special storage case intended for sex dolls is the best way to keep them safe.
If you take care of them, these dolls can last 2 to 10 years. But besides the storage case, you will also need some cleaning tools, especially if you have used your BBW love doll before storing it.
Here’s what you need:
Antibacterial soap
Renewal powder or cornstarch
Vaginal irrigator or washer
Dustproof bag
Storage case
The steps to follow:
1. Clean the doll before storing
Make it a habit to clean your doll before storing, especially the mouth, vagina, and anus, to keep bacteria at bay. Stick to lukewarm or cold water and a mild antibacterial soap, and avoid anything over 50°C or products with strong fragrances or dyes, which can damage the material.
For internal channels, a vaginal irrigator works best to rinse away all fluids and soap. Once clean, air dry completely and dust the whole body with renewal powder or cornstarch to keep the skin soft, smooth, and free from tackiness.
2. Prepare the storage case
The best way to store your doll is in its original polystyrene mold or a sturdy, lockable travel case with handles and wheels. Keep the storage space cool, dry, and dark. If you’re using a basement or garage, place the case on a shelf or table to protect the doll from moisture or flooding.
3. Protect sensitive areas
Always remove the wig before cleaning and wash it SEPARATELY with regular shampoo and conditioner. While cleaning, avoid getting the eyes or eyelashes wet, and take care not to soak the neck or head joints, so you can protect the metal skeleton from rusting. Also, make sure no hard objects press against the skin during cleaning, as this can leave permanent marks.
4. Secure in neutral position
After use, return your doll to a relaxed, neutral position: arms at the sides, legs together. Whenever possible, store her vertically (hanging or standing in a supportive box) to prevent the weight from flattening her curves, especially along the back and buttocks.
5. Cover with a dustproof bag
Slide your doll into a synthetic dust bag or a clean white cotton pillowcase before putting her in storage. This extra layer shields the skin from dust, lint, and sunlight, which can cause uneven discoloration. For silicone dolls (even sex toys), a breathable fabric bag helps reduce odor retention.
6. Store it in the case
Before sealing her away, make sure your doll is completely air-dried, and never use a hair dryer, which can melt the material. Remove batteries from any electronic components to prevent leaks or corrosion. Last but not least, lock the case to keep your doll safe from prying eyes or unwanted access. You’re done!
6 Common Rookie Mistakes When Storing a BBW Sex Doll
We all slip up sometimes, but mistakes when storing a BBW or fat sex doll can be expensive–and heartbreaking. To avoid this dilemma, here’s a short list of common rookie errors to watch out for:
Leaving your doll in direct sunlight can fade her skin, distort her facial features, and damage the TPE over time.
Using a hair dryer or heater to speed up drying can melt or permanently warp the TPE material.
Keeping the doll’s limbs raised or open even briefly can cause tears or cracks in sensitive areas like the armpits and groin.
Storing a heavy BBW doll flat on a hard surface for weeks can flatten the natural curves of her back and buttocks.
Failing to fully dry internal areas can lead to mold, fungi, and unpleasant odors.
Leaving dark or tight clothing on the doll during storage can cause dye stains and lasting indentations on the skin.
The Final Note
There’s really no excuse for not storing your BBW or chubby sex doll properly. Sure, it’s up to you, but taking care of her means keeping that lifelike feel and gorgeous curves intact. This is especially true for TPE dolls (even made from high quality materials): unlike silicone, they’re softer, more realistic, and yes… a bit delicate. Handle storage wrong, and you risk damage that’s hard to fix.
This is also your way to preserve the things you love most: the fat asses, the wide hips, the huge boobs akin to a real woman, the realistic experience, and every detail that made you fall for her in the first place. Remember the day she arrived at your doorstep? Perfect, flawless, and utterly captivating. Now it’s your job to keep her that way… for the long haul.
FAQs
Here are some common questions asked by many:
How often should I clean the doll if I haven’t used it?
Even if you don’t use your doll regularly, it’s important to keep her dust-free and give her a proper cleaning at least once a month to keep the material in good shape. For TPE dolls, reapplying renewal or talcum powder every two to four weeks will help protect the skin and prevent it from getting sticky.
Is it safe to store the fat sex doll under my bed?
Stashing your doll under the bed is fine for short-term or daily use, but it’s not ideal for long-term storage. BBW dolls are heavy, and leaving them flat on a hard floor for weeks or months can flatten the back and buttocks, which potentially ruin her natural curves and realistic posture.
What are the best options for long-term storage?
The safest way to store your doll long-term is to put her back in the original polystyrene mold she came in. Other good options include hanging her vertically in a closet using a sturdy steel neck hook to keep her shape, or storing her in a locked travel case with wheels, which makes moving heavier dolls much easier. Wherever you choose to keep her, make sure she’s in a synthetic dust bag to protect against sunlight, moisture, and dust.
Why must I store the doll in a “neutral” position?
Always return your doll to a neutral position to prevent the TPE material from tearing or cracking. A neutral position means her arms are at her sides and her legs are together.
Can I store my doll while it is dressed?
Yes, you can dress your doll for storage, but be very careful. Dark fabrics can permanently stain her skin through “ink migration,” and tight clothes can leave lasting marks or indentations on the soft TPE. If you do put her in clothes, make sure they’re loose and have been washed a few times to get rid of any extra dye.
Cardi Gallery will take part in the inaugural edition of Art Basel Qatar with the presentation of a landmark installation by Jannis Kounellis, realised in collaboration with the Kounellis Estate. The work, Senza titolo (2003), marks a rare appearance on the market for an installation previously shown exclusively in institutional contexts.
Originally conceived for the cloister of the Monastery of San Lazzaro degli Armeni in Venice, Senza titolo is a large-scale installation made up of vertically suspended weighing scales holding delicate groupings of Venetian glassware. The scale, a recurring element in Kounellis’ practice since the late 1960s, operates here as both object and metaphor, pointing to systems of trade, movement and cultural exchange across the Mediterranean. Arranged in a mobile-like formation, the work subverts the scale’s conventional function, privileging instability over precision. Rather than advancing a fixed narrative, the installation stages a field of associations in which historical reference symbolic meaning are deliberately unresolved.
The work will be shown at Art Basel Qatar in Doha, taking place 5-7 February 2026.
Jesca Hoop has announced a new album, Long Wave Home, which will be released on May 1 via Last Laugh/Republic of Music. It’s led by the single ‘Designer Citizen’, which comes paired with a video directed by James Slater. Check it out and find the album cover and tracklist below.
Opening up about her new album, which follows 2022’s Order of Romance, Hoop shared:
When I was faced with the challenge of writing and recording a new album, I had the choice to stay where I was comfortable, under the sage guidance of a producer or to step out into the dark and produce it myself. It became clear that if I was going to grow in the craft, I needed to become my own lighthouse. So I made the commitment to take on the Producer role. There were a lot of sleepless nights.
Writing Long Wave Home, though no less daunting, became a refuge for me—a place to explore interpersonal connections and the rise and fall of emotions that come with relationships. Writing an album can be very agitating, but it’s a discomfort I am comfortable with. What a gift it is to spend my time examining my inner world, my relationships, and from it make music.
My life took an unexpected turn in 2025. Many people exited my life… like a bus pulling into the station. Some of these relationships were of great importance, so I had much to wrestle with in these verses. Disconnect, or the illusion thereof, was also fodder for songs—amid the chaos and confusion we are creating in this world, I feel a responsibility to record what I see transpiring among us: what is being done… by whom and to whom.
The song titled ‘Caravan’ articulates the risks of investing in or relying upon intimate relationships. The title track, ‘Long Wave Home’, addresses a certain estrangement that I believe we are all feeling, as technologies isolate each of us and make connections feel ever more distant. ‘Playground’ is a protest song advocating for the children of Gaza.
Recording this album was a road trip and a forage—me and a hard drive in a camper van, pulling into studios up and down England, gathering material. I enlisted engineers Leo Abrahams (at The Shed in London); Jim and Rob Homes (at Empire Sound on the Isle of Wight); Jim Barr (at J&J Studio in Bristol); and Tim Thomas (at Blueprint in Manchester). I brought in Jesse D Vernon to arrange brass and tuned percussion. I brought in Sebastian Rochford on drums, Jon Thorne on bass, and Sam Amidon to play a cast of stringed instruments. Over three weeks, I roved my way through these sessions, gathering performances. I slept under viaducts and ancient oak trees, and I woke to dewy, glistening pastures. I found the best cafés, and I swam in the sea. The sessions felt like discoveries—surprise after surprise—as the musicians and engineers coloured the tunes, each in their own way. With a full hard drive and heart, I returned to Manchester—to Tim Thomas—where we laid out the sessions like bolts of raw material and constructed the album.
Long Wave Home is not just a renewal of my commitment to the craft of writing and record-making—it’s a vote of confidence and an investment in myself as an artist and authority over my vocation and life’s path.
Long Wave Home Cover Artwork:
Long Wave Home Tracklist:
1. Adam
2. Now The Ash
3. Designer Citizen
4. Big Storm
5. Love Is Salvation
6. Caravan
7. Playground
8. Signal To Noise
9. Viv Over Drink
10. Long Wave Home
This year’s collection, “The Divine Androgyne” didn’t start with a sketch, but with a mislabel. In the aftermath of a fire that changed the course of both Gupta’s life and that of his partner, poet Navkirat Sodhi, last year, Gupta returned to the runway with a collection named “Across The Flame”, and straight into the familiar script of roles. Sodhi was called “his wife” by the media. A familiar reflex that says more about our need for tidy definitions than about the people being described.
For 2026, Gupta’s point of departure may have been last year, but the destination was far older. The Divine Androgyne draws from Indian spiritual philosophy, Advaita, to be precise, a school of thought rooted in non-duality. Separation here is an illusion, masculine and feminine, self and other, body and spirit, collapse into one. In couture terms, bodies are neither revealed nor concealed, but reshaped through Gupta’s sculptural language.
The opening look was a black dress with sculpted volumes behind the waist and up, worn by a model whose face we could only see by half, from the front of the waist and up, a glowing silhouette paid homage to The Big Bang. “Time exists only for those too caught up to create,” was a line from the poem that opened the show alongside the dress, but Sodhi was not the only one in the room playing with the concept of time. As the show went on, we saw Gupta’s designs carry watch components as metallic sequins. Web-like thread techniques translating energy into form, living, body-mapped networks connecting twin silhouettes, or flames. Red, white, gold, jasmine, brocade, and sari-inspired weaving turned couture into a cross-cultural bridal statement. This runway had it all. Even Sodhi stepped on it again, in a look that allowed her injuries to show, embodying resilience, healing, and shared ascent.
The Divine Androgyne was more of a manifesto than a collection. Gupta’s sculptural silhouettes, web-like threads, and gravity-defying forms turned bodies into living architecture. And through it all, the creatives themselves stood at the center, proof that creation and identity are never fixed, they flow and rise together.
Some people find that stimulant-based products increase restlessness rather than improving focus. Real progress requires a calmer mind and better control over distractions. Avantera Elevate is positioned as a daily supplement with a fully disclosed formula designed to support focus and stress regulation. This 2026 review explores whether its blend of adaptogens and gut-brain support offers a structured approach to supporting focus and mental organization through daily use.
What Is Avantera Elevate?
Avantera Elevate is a premium nootropic supplement designed to support long-term brain health and daily cognitive performance. Elevate is formulated to support calm focus through a blend of botanical extracts and non-aggressive energy sources. It is positioned for adults who prefer focused support without relying on strong stimulants.
Avantera Elevate Formula Breakdown
Elevate stands out for its label clarity. Every ingredient is listed openly. There are no proprietary blends. That alone removes much of the guesswork common in this category.
Exact Ingredients
Avantera Elevate contains the following active ingredients:
Bacopa Monnieri
L-Theanine (Suntheanine)
CDP-Choline (Citicoline)
Lion’s Mane mushroom extract
Rhodiola Rosea root extract
Turmeric root extract standardized for curcumin
Ginger root extract
Black pepper extract (BioPerine)
Green tea extract
All ingredients are listed directly on the label.
How These Ingredients Relate to ADHD-Type Focus Issues
The ingredients are selected to support attention, stress balance, and mental clarity without overstimulation.
Bacopa Monnieri
Bacopa is commonly included in cognitive supplements that focus on memory and information processing. It provides cumulative support. It’s not an instant fix; its benefits build over time as you stay consistent.
CDP-Choline
Attention regulation depends heavily on acetylcholine signaling. CDP-Choline supports this pathway. For ADHD-type users, this can matter for task initiation and staying engaged without feeling mentally scattered.
L-Theanine
Overstimulation is a real issue for many people with ADHD. L-Theanine promotes calm focus. It helps reduce mental tension without dulling alertness. This makes it useful for people who feel wired but unfocused.
Rhodiola Rosea
Stress often worsens ADHD symptoms. Rhodiola helps regulate stress response. This can support focus indirectly by reducing the mental fatigue that leads to distraction and shutdown.
Lion’s Mane Mushroom
Lion’s Mane is included for long-term brain support rather than immediate effects. It is commonly used for cognitive clarity and neural support, which aligns with sustained attention needs.
Supporting Ingredients
Turmeric and ginger support inflammation and digestion, which can indirectly affect brain function. Black pepper extract improves absorption. Green tea extract provides mild alertness without aggressive stimulation.
Key Benefits for ADHD-Related Focus
Elevate uses adaptogens like Rhodiola to support stress balance and emotional steadiness, which can influence focus during demanding days
Sustained Attention
Elevate is not designed to force focus. Instead, it supports staying with a task once started. This is a common pain point for adults with ADHD.
Reduced Mental Noise
Ingredients like L-Theanine and Rhodiola help calm background mental chatter. This can make it easier to prioritize tasks instead of bouncing between them.
Better Stress Control
Stress often triggers distraction and avoidance. Elevate’s adaptogenic ingredients support emotional regulation, helping maintain productivity under pressure.
Long-Term Cognitive Support
This is not a stimulant stack. Benefits develop over time. That aligns better with ADHD-related executive function support than quick energy products.
Pros and Cons
Pros
Fully transparent ingredient list
Designed for calm, sustained focus rather than stimulation
Suitable for daily use and routine building
Clean label with allergen-conscious formulation
Cons
Results require consistency and patience
Not intended for users seeking fast stimulant effects
Pricing and Value Analysis
At roughly $1.78 per serving, Avantera Elevate is a premium investment. The value depends on how much importance a user places on ingredient transparency and routine-based use.
Option
Estimated Cost
Value Focus
Avantera Elevate (Single)
$64.95 / jar
High-quality, transparent dosing.
Subscribe & Save
23% Off – $49.95 / jar
Best long-term ROI.
Third-Party Testing and Safety
Avantera Elevate is produced in GMP-compliant facilities in the United States. The formula uses ingredients with published research and undergoes third-party quality testing.
The capsules are vegan-friendly and free from common allergens. This matters for long-term daily use, especially for users with sensitivities.
How to Use Avantera Elevate for ADHD-Type Support
To get the best results, consistency is more important than anything else. Here is the simplest way to add Elevate to your daily routine:
The Morning Routine: Take 2 capsules within an hour of waking up. This helps the ingredients work with your body’s natural morning energy levels.
With or Without Food: You can take it on an empty stomach for faster results. Try munching on a cookie or drinking milk if you have acidity issues.
Watch the Caffeine: Do not take Elevate with coffee, as it already contains natural caffeine
Note: While you’ll feel the energy quickly, the best focus benefits for ADHD usually appear after 2-3 weeks of daily use.
User Reviews and ADHD-Relevant Feedback
User feedback often mentions improved task engagement, better mental organization, and fewer focus crashes during the day. Many reviewers highlight the absence of jittery energy, which is a common complaint among ADHD-sensitive users.
Feedback tends to be strongest among users who commit to daily use and do not expect immediate stimulation.
A user on Reddit said: I’ve tried dozens of nootropics, and this is the first one where I don’t feel ‘wired.’ It just feels like someone turned down the volume on the background noise in my head.” ADHD women, 2026
Is Avantera Elevate Worth It for ADHD-Related Focus?
Avantera Elevate works as a support product. It does not treat ADHD, and it does not replace medication or therapy. What it offers is a clear formula meant to support focus, stress control, and brain health over time.
Elevate may be considered by users who prefer a non-stimulant approach and are open to evaluating results over time. It is not a good fit for anyone looking for quick energy or instant results.
FAQ
How long does Elevate take to work?
Some users report early changes, while others evaluate results after several weeks of daily use.
Can Elevate be taken every day?
Yes. The formula is designed for daily use to help build and maintain consistent cognitive benefits over time.
Does Elevate contain stimulants?
It contains a small amount of natural caffeine from green tea, balanced with L-theanine to prevent jitters or crashes.
Is it suitable for stimulant-sensitive users?
Many sensitive users prefer Elevate because it provides a calm focus rather than the intense spike of traditional energy products.
Can Elevate replace ADHD medication?
No. Elevate is a nutritional supplement for wellness support and is not a replacement for medical treatments or prescriptions.
Is Elevate vegan and allergen-friendly?
Yes. The capsules are vegan and free of common allergens such as soy, dairy, nuts, gluten, and artificial sweeteners.
Australia’s literary scene in 2025 was a dynamic blend of gripping thrillers, evocative literary fiction, and ambitious debut novels. From commercial bestsellers that dominated bookshelves to critically acclaimed works recognized by prestigious awards, Australian authors captured the imaginations of readers both domestically and internationally. This year saw established authors continuing to deliver engaging narratives while newcomers made their mark with bold, innovative storytelling.
An important aspect of Australia’s literary success in 2025 was the role of local book printing. Many publishers relied on book printing in Australia to ensure timely releases, high-quality production, and wider distribution to bookstores and libraries across the country. This not only supported the domestic publishing industry but also allowed authors to connect more directly with Australian readers, strengthening the local literary ecosystem.
Bestselling Fiction
Among the most widely read books in 2025, Liane Moriarty’s Here One Moment stood out as a runaway commercial success. Known for her skill in crafting suspenseful narratives with complex characters, Moriarty delivered a psychological thriller centered on a woman who possesses an uncanny ability to foresee the deaths of airline passengers. The novel explores themes of fate, grief, and human connection, resonating strongly with readers and earning spots atop bestseller lists across Australia.
Another standout in the commercial fiction sphere was Michael Robotham’s The White Crow. Robotham, a celebrated author in the thriller genre, captivated audiences with his intricate plotting and deep character development. The book’s blend of suspense and psychological insight made it a favorite among readers seeking a tense, engaging narrative.
Jane Caro’s Lyrebird also garnered significant attention. Caro, widely recognized for her engaging writing style and socially conscious themes, explored human relationships and identity in a manner that both entertained and provoked thought. Similarly, Charlotte McConaghy’s Wild Dark Shore captured readers’ imaginations with its lyrical prose and exploration of environmental and personal themes, solidifying its place among the year’s most popular reads.
Critically Acclaimed Works
While commercial success highlighted a portion of Australia’s literary output, 2025 also saw notable recognition for works of literary merit. Siang Lu’s Ghost Cities, though published in 2024, received the 2025 Miles Franklin Literary Award, one of Australia’s most prestigious literary honors. The novel’s satirical, experimental narrative examined identity, culture, and urban life, positioning it as a defining literary work associated with the year.
Debut novels made a significant impact as well. Vijay Khurana’s The Passenger Seat was praised for its inventive storytelling and character-driven narrative, earning spots on multiple critics’ best-of lists. Patrick Marlborough’s Nock Loose also attracted attention for its bold approach to storytelling, featuring vivid characters and an unpredictable plot that challenged traditional narrative structures.
Omar Musa’s Fierceland was another critically lauded work, blending lyricism with a family saga and environmental themes. Musa’s novel exemplified the diversity and ambition of Australian literature in 2025, offering readers both depth and innovation.
Genre Highlights
In the fantasy genre, James Islington’s The Strength of the Few continued his popular Hierarchy series. The novel attracted a devoted readership eager for complex world-building and intricate plots, cementing Islington’s position as a leading figure in Australian speculative fiction.
Crime and thriller genres remained particularly strong. Besides Robotham’s The White Crow, Dervla McTiernan’s novel of suspense reached wide acclaim, blending mystery with psychological insight. The success of these works underscores the sustained appetite among Australian readers for gripping, well-constructed narratives that combine tension with rich character development.
Themes and Trends
Several recurring themes emerged across the most popular books of 2025. Exploration of identity, both personal and cultural, was prominent in works such as Ghost Cities and Fierceland. Environmental awareness and the impact of human action on nature were central to novels like Wild Dark Shore and elements of Musa’s writing. Psychological depth and the consequences of human choices were evident in Moriarty’s and Robotham’s thrillers.
Moreover, debut authors made significant strides, indicating a healthy and evolving literary ecosystem in Australia. These emerging voices brought fresh perspectives and innovative storytelling techniques, enriching the broader cultural conversation and challenging established literary norms.
Impact and Reception
The reception of these works, both critically and commercially, reflects a vibrant and diverse literary landscape. Bestseller lists highlighted the popularity of accessible yet compelling fiction, while literary awards recognized innovation, depth, and cultural significance. The interplay between commercial appeal and critical recognition suggests that Australian readers in 2025 valued both entertainment and literary quality.
Publishing trends also indicated a strong engagement with Australian culture and identity, while international audiences increasingly took notice of these works. This dual appeal helped elevate the profile of Australian authors and fostered a global conversation about the country’s literature.
Notable Mentions
Several other books received recognition for their quality and impact. Melissa Watts’ Elegy, Southwest, Alyx Gorman’s All Women Want, and Lucy Nelson’s Wait Here were among the works highlighted in critics’ best-of lists. These novels contributed to the year’s rich tapestry of Australian literature, demonstrating the diversity of voices and styles thriving in 2025.
Closing Thoughts
The year 2025 was a remarkable one for Australian literature. It was characterized by a balance between commercial bestsellers and critically acclaimed works, with both established and debut authors contributing to a vibrant literary ecosystem. From psychological thrillers and crime novels to literary explorations of identity, family, and the environment, the breadth of storytelling reflected the complexity and richness of Australian culture.
In summary, the most popular Australian books of 2025 showcased the country’s literary talent at its best. Authors like Liane Moriarty, Michael Robotham, Charlotte McConaghy, and Siang Lu captured widespread attention, while emerging voices like Vijay Khurana and Patrick Marlborough brought fresh perspectives. Together, these works reflect a year of innovation, creativity, and engagement, solidifying 2025 as a memorable chapter in Australia’s literary history.
Author’s note: I wish to thank Ed Godziszewski, Erik Homenick, John DeSentis, and Matt Burkett for sharing information and/or perspective for this article.
In their seminal 1959 study The Japanese Film: Art and Industry, historians Joseph L. Anderson and Donald Richie offer a two-page commentary on the Japanese monster movie, at the time a “more recent development” in a national cinema stretching back to the late nineteenth century. As the authors recount, the genre erupted onto the scene with Ishiro Honda’s Godzilla (1954), “a film which the Japanese critics, though criticizing the picture’s exploitation of the atom-bomb scare, praised for an ‘intellectual content usually lacking in foreign pictures of the same genre.’”1 Honda’s movie ranked among the year’s major domestic hits, selling 9.6 million tickets2 and grossing ¥183 million.3 “The Japanese success of the picture,” write Anderson and Richie, “was such that a year later Toho [the studio behind it] brought out [Motoyoshi Oda’s Godzilla Raids Again], a quickie which […] spent much less time and ingenuity in the destruction of miniature sets. In the same year the Abominable Snowman […] made an appearance in [Half Human, also produced by Toho and directed by Honda].”4
Godzilla Raids Again wasn’t well-regarded within studio walls; special effects cameraman Sadamasa Arikawa felt “[s]omething was missing” and recalled fellow staffers “talking about the first movie” at a company preview.5 Nevertheless, it proved a worthy financial successor, becoming the year’s fourth biggest Toho release6 with an attendance of 8.34 million.7 And while box office stats for Half Human remain seemingly unavailable, Toho recognized there was still a market for Japanese monsters—especially when Godzilla migrated to the United States in the form of a 1956 re-edit called Godzilla, King of the Monsters! and grossed over $700,000.8 The year that Americans were being introduced to Godzilla, the studio unleashed—in Anderson and Richie’s words—“another prehistoric monster” via Honda’s Rodan and this time presented urban destruction in color.9
Japanese color photography was another recent development. While filmmakers in the Land of the Rising Sun had dallied with hand-painted frames and Kinemacolor (a technique of British origin that projected black-and-white footage through rapidly alternating tinted filters) since the early twentieth century,10 the studios were slow in developing authentic color celluloid. And when it did appear, it was regarded as an expensive gimmick. Fuji Photo Film Co., Ltd. unveiled its Fujicolor process in 1946, and it was initially used on newsreels, recorded stage performances, and select passages from features. (The earlier mentioned Motoyoshi Oda directed 1946’s Eleven Girl Students, which used Fujicolor in its opening title sequence.)11 Even when Shochiku invested $125,000 into making Japan’s first full-color movie—the Keisuke Kinoshita comedy Carmen Comes Home (1951)12—the results weren’t widely seen. Historian Hisashi Okajima writes in the October 2003 issue of Journal of Film Preservation that Shochiku’s front office wasn’t “confident of providing their chained film theaters […] with the prints to be produced from this new process,” and so Kinoshita shot two versions of his movie—one in color, the other in black-and-white—and only struck eleven prints of the former.13 Expenses likely factored into this decision, as well: processing Fujicolor cost twenty-five cents per foot versus the three cents required for black-and-white.14
All of this changed—in no small part—due to Japan’s snowballing interest in foreign exhibition. Despite Fujicolor’s status as an efficient film stock, it had drawbacks (“slightly heavy pink and orange tones”)15 as did similar processes like Sakuracolor, and exemplified a technical lag behind the West. Another major company, Daiei, thus imported Eastmancolor from the United States and used it on Teinosuke Kinugasa’s period drama Gate of Hell (1953).16 That picture subsequently went overseas, where it won prizes at film festivals and the American Academy Awards and earned considerable praise for what the New York Times labeled “color of a richness and harmony that matches that of any film we’ve ever seen.”17 Toho evidently took notice, for they used the same brand of stock the following year on Hiroshi Inagaki’s Samurai I: Musashi Miyamoto, which at $500,000 cost ten times the average Japanese feature18 and was similarly showered with praise overseas. The international appeal of Japanese color film might’ve factored into Daiei’s decision to use it on special effects for Koji Shima’s apocalyptic drama Warning from Space, released in January 1956. Toho followed suit with Shiro Toyoda’s Madame White Snake five months later before turning their attention to Rodan.
Having already created dinosaurian monsters and the manlike beast of Half Human, Honda convened with producer Tomoyuki Tanaka and special effects director Eiji Tsuburaya to determine what creature they’d turn loose next. Once the team tentatively settled on an animal resembling the birdlike reptile archaeopteryx,19 Tanaka approached author Ken Kuronuma to write a treatment. Kuronuma was well-known at the time for translating American mysteries and for his contributions to the Japanese edition of Amazing Stories magazine.20 He was also a name familiar to Toho, having been considered to write Godzilla’s foundational story before the studio contracted prolific science fiction author Shigeru Kayama.21
Tasked with a story about a flying monster, Kuronuma took inspiration from an incident in 1948 America. Thomas Mantell was a decorated war veteran employed by the Kentucky Air National Guard when he and three other pilots were ordered to investigate an unidentified flying object near the farming community of Maysville. Mantell separated from his squadron to get a better view, and the wreckage of his aircraft was subsequently found scattered across a half mile of farm terrain. Although the official report stated he’d lost consciousness due to ascending without oxygen equipment,22 the presence of a UFO understandably imbued his death with mystery. Kuronuma remembered this when writing his Rodan treatment,23 and the finished movie contains a marvelous scene wherein a Japanese pilot spots a mysterious object traveling at supersonic speed and is killed in the pursuit.
Fighter planes and trespassing aerial objects weren’t an unheard-of mix in Japan. Between 1952 and ‘53, up to thirty incidents of foreign planes violating Japanese airspace were reported in the country’s northernmost island of Hokkaido. The planes were of Russian origin, and on more than one occasion, American jets scrambled from nearby bases to give chase.24 Occasionally, Japanese jets were also called into action, such as in early 1953, when a squad took off with “shooting orders” in the aftermath of an American B29 being downed near Nemuro.25 All of this might’ve been on scenarists Takeo Murata and Takeshi Kimura’s minds when they converted Kuronuma’s treatment into a screenplay: military authorities in the film suggest a “foreign secret weapon” is responsible for their pilot’s death, and the first draft featured an Okinawa-set encounter between Rodan and American jets.26 While the latter scene didn’t survive script revisions, the finished movie contains several prolonged dogfights with the monster being chased across Kyushu by Japanese fighters. The model of jet used in these scenes (the F-86F Sabre) even has a connection to the age—specifically, the year—of Rodan’s making. The Japan Air Self-Defense Force had managed Sabres since the early ‘50s, but it was in 1956 that Mitsubishi factories began manufacturing one hundred and eighty models of American jet. First on the production list was the aforementioned F-86F.27
Also of historical note are the weapons that help seal Rodan’s fate. After planes prove insufficient, the monster’s volcanic lair is shelled by rockets colloquially known as Honest Johns. Contrary to what we see in the film, the Self-Defense Force didn’t have this missile in its arsenal,28 but it was nonetheless present on Japanese soil thanks to the American military—and was furthermore the cause of some controversy. First developed in 1950 and capable of carrying an explosive tip at speeds of Mach 2.3,29 the Honest John arrived at U.S. bases in Japan five years later and that August underwent its first local test. Right away, it provoked backlash, in part due to being launched near the venerated Mount Fuji, but mostly because of its association with atomic warfare.30 Even though the warhead used that day was filled with concrete,31 the Honest John was America’s first surface-to-surface missile system with nuclear capability.32 This, combined with the fact that the U.S. had 280mm cannons with atomic potential in Okinawa,33 led some to fear that Japan—the only nation to suffer atomic bombings, just a decade earlier!—was being used to stockpile American superweapons. When a second test was announced for November 1955 and Hokkaido Governor Toshibumi Tanaka failed to get it canceled, seventy university students protested by positioning themselves in front of the rocket’s launcher.34
Amusingly, the presence of Occidental machines in the film didn’t go unnoticed when Rodan reached the United States in 1957. “Some credit should really go to the weapons designers for the U.S. Army and Air Force,” wrote one syndicated reviewer. “It is not until the latest American weapons such as ‘Honest John’ missiles and air-to-air rockets […] are used against Rodan that the ungainly invader is destroyed.”35
As indicated, part of what makes Rodan retroactively fascinating is how the movie reflects or alludes to contemporaneous phenomena. The first-act drama revolves around a Kyushu mining community and the terror it experiences when large prehistoric insects emerge from the local colliery. A scientist played by Akihiko Hirata theorizes the creatures hatched from eggs that’d been dormant underground since the Mesozoic. To suggest how they could’ve gestated after so many millennia, he reminds his fellow man of a then-recent discovery. In 1951, paleobotanist Ichiro Oga uncovered ancient lotus seeds from an area near the Hamamigawa River; radiocarbon dating determined the seeds to be roughly two thousand years old, and yet, Oga was able to successfully germinate them the following summer.36 The reminder from Hirata’s character—together with topics brought up in the screenplay, such as global warming and environmental changes stimulated by atomic tests—yielded a possible explanation for how and why the movie’s prehistoric monsters came to life.
Japanese coal was first discovered in Kyushu around the turn of the nineteenth century and, following the arrival of modern machinery in 1868, it became the heart of a major national commerce. The government started tracking production in 1874, and by 1919, the annual excavated tonnage had increased from 200,000 to 31 million. Japan’s military expansionism in the early twentieth century led to an all-time high of 56.3 million tons in 1940 before plummeting to 22 million at the end of World War II. The industry never fully recovered (a plan made in 1957 to increase production to 72 million tons by 1975 yielded a mere 19 million), though two foreign conflicts, the Korean War (1950-1953) and the 1956 multinational battle over the Suez Canal, briefly revived it.37 With all this history came intense periods of unrest that biographers Steve Ryfle and Ed Godziszewski argue in their book Ishiro Honda: A Life in Film, from Godzilla to Kurosawa is reflected in early-movie conflict among the miners.
In April 1952, more than 400,000 colliery workers went on strike, protesting an anti-communism bill that, it was speculated, could be weaponized against labor unions.38 Another strike occurred that July across eight collieries as 170,000 pursued better summer bonuses.39 But the most noteworthy dispute began in October, when 250,000 demonstrated for a 12% wage increase and were joined by unionists from the electric power industry.40 The impact was such that Japan’s daily coal production lowered by 100,000 tons,41 factories closed,42 and the nation suffered a power shortage and was forced to ration manufactured gas.43 One of the many collieries to experience labor unrest became a model for the setting in Rodan: the movie’s fictitious coal mine was based on the Mitsui Miike colliery in western Kyushu, which became the site of a 25,000-person demonstration in 1953 (in this case against recent layoffs). Ryfle and Godziszewski note this in their book and likewise interpret first-act infighting as a reflection of “real-life tensions between labor and management.” The authors furthermore state that a cave-in that traps the picture’s young hero “foreshadows a deadly accident that would occur at the Miike mine in 1963.”44
Although the action in Murata and Kimura’s first draft revolved around a single monster,45 the finished movie gives Rodan a mate that is foreshadowed via dialogue and comes suddenly to its partner’s aid during a raid on the city of Fukuoka. The first creature perches on the ground and is surrounded by tanks and missile launchers. After withstanding a barrage of projectiles, it flaps its enormous wings to generate powerful gusts and expels a concentrated blast of air from its mouth. Rodan’s mate subsequently appears, soaring over the military at supersonic speed and amplifying the damage. The action is extraordinary, and just as Godzilla famously modeled images of devastation after wartorn Japan, so too did the team behind Rodan reference real-life disaster: a crewman’s memories of the 1934 Muroto typhoon inspired shots of roofs being stripped of their tiles by wind.46 Director Honda remembered feeling “the technology of the miniatures department reached its peak” with this scene.47 “You can just feel the creators’ passion in the details. In special effects films like this, it’s all about destruction, how beautifully it all crumbles.”48
Approximately 60% of Rodan’s budget* went toward the special effects, which were lensed for the most part during overnight summer shoots. (Working nocturnally allowed the crew to escape seasonal heat that would’ve compounded the temperature generated by studio lights.)49 Rodan—depicted as a pterosaur rather than the feathered dinosaur that begat the concept—was realized via numerous props and marionettes, though certain scenes required a costume worn by stuntman Haruo Nakajima. Nakajima had played Godzilla in both of its appearances thus far and, like on those shoots, would be put through perilous situations. One scene called for Rodan, having been downed in the Hario Strait, to launch from the water and destroy Japan’s recently built Saikai Bridge. Nakajima donned the costume and was carried over the miniature set by piano wires—when the pulley suspending him suddenly broke! Still clad in the suit, he plummeted into the strait and was fortunately spared injury thanks to the water and the suit’s huge, spacious wings, which absorbed most of the impact.50
As mentioned above, the Saikai was a new addition to Japanese architecture, having been erected in 1955, and at the time was the largest arch bridge in Asia and the third largest in the world. It also spanned a passage of water known for its whirlpools51 (and part of me suspects the staff picked this location because a shot of spinning currents lent visual suspense to Rodan’s re-emergence). For its on-camera destruction, some of Tsuburaya’s wire operators maneuvered Rodan above a 1/20 replica of the Saikai while others tugged on cables hooked to the miniature.52 When timed perfectly, the impression was that of the infrastructure being snapped in half by Rodan’s supersonic flight—and was marvelously captured in three camera angles.
Composer Akira Ifukube had been one of the major artistic forces on Godzilla, responsible for not only the iconic score but also sound effects for the monster’s roar and footsteps.53 While he’d been absent for Godzilla Raids Again and Half Human (both scored by Masaru Sato), he made a triumphant return to science fiction with Rodan, delivering a moody masterwork that ranks among his finest genre efforts. The score was written for a full orchestra and two pianos, and incorporated specific playing techniques to achieve musical “sounds.” Ifukube’s main title, for instance, begins with a “crash” on the piano generated by the player slamming their forearms on the lowest white and black keys, and later moments are punctuated by smaller “crashes” created using one’s palm. Also innovative was a musical rumble that underscores a mid-movie earthquake. In his book Age of the Gods: A History of the Japanese Fantasy Film, Guy Mariner Tucker claims this cue was achieved by dropping coins of varying sizes onto the strings of a piano.54 But according to Ifukube biographer Erik Homenick and conductor John DeSentis, examination of the sheet music disproves this. In actuality, the musicians created the track by running a stick of rubber along the strings of one piano and a wooden stick along those of the other. The combined notes were accompanied by those of a timpani to produce an unpleasant, unworldly effect.55
Homenick, author of a forthcoming book on Ifukube and his Godzilla music, likewise notes that special performance techniques were dictated for the wind instruments. The Rodan manuscript contains the German word “Flatterzunge” at key points to signify where piccolos and trumpets were to be performed with tongue-fluttering. This involved the player rolling their tongue while blowing into their instrument, thus creating a “flapping” musical effect. Homenick told the author of this essay that he speculates Ifukube incorporated the flutter to musically “represent that Rodan is a winged monster.”
In what’s of no surprise to anyone familiar with the composer under discussion, Rodan occasionally cannibalizes Ifukube’s past work. Among the recycled material is the track “Get Rodan,” which derives from his film scoring debut Snow Trail (1947). What began as a lively piece accompanying an opening credits montage is reworked and repurposed for an extended air chase between Rodan and the F-86Fs. (The theme was recycled yet again for a similar situation in Kazuki Omori’s 1991 Godzilla vs. King Ghidorah.) Also present is a reworking of the composer’s 1948 ballet Salome, here played during attacks on Sasebo and Fukuoka.56
Rodan opened in Japan on December 26, 1956 and grossed ¥143 million, ultimately ranking twenty-fourth among Japanese pictures made that year. Kinema Junpo critic Masahiro Ara expressed reservations with the film, feeling it lacked social bite, but praised the horror aspects and Isamu Ashida’s color photography. “The overall color hue in Forbidden Planet [released in Japan three months earlier] is cheerful … whereas [Rodan’s] strong use of blues and blacks lends the impression that the creators are trying to give off a more gruesome feel.”57 Eiji Tsuburaya won a Japan Technical Award for his effects,58 and Honda discovered others shared his astonishment with the miniature work: “[P]eople who saw the last scene where tanks and missiles attacked Rodan in the crater thought that we had rented that equipment from the army.”59
In April 1957,60 the American trade press announced that King Brothers Productions was bringing Rodan to the international market.** Co-founder Herman King spoke enthusiastically about the “real ‘quality’ product” he’d acquired, stating it was the recipient of “several prizes at the South East Asia festival for special effects, production and photography. […] We purchased it and can show it anywhere except in the Orient and Spain.” But first, the movie needed revisions. “After we had the picture, there was a tremendous amount of work to be done. It had a couple of slow spots, and we cut it from 87 minutes down to 72.” Sixteen weeks went into assembling an alternate version61 that likewise dubbed dialogue into English and augmented Honda and Tsuburaya’s scenes with stock footage and a prologue emphasizing the culpability of atomic tests. Science fiction novelist and The Time Machine (1960) scribe David Duncan authored the dubbing script, which would be performed by a small cast—including Keye Luke and a young George Takei—hired through Oriental Casting Service.62
The King Brothers cut premiered in forty Texas theaters on November 7, 1957, augmented by a $120,000 radio and television campaign courtesy of Teleradio’s Terry Turner. So successful were the screenings that Turner’s advertising budget tripled ahead of Rodan’s Los Angeles debut the following week. By the month’s end, the movie ranked among the nation’s top six box office earners,62 and Variety reported a more than $1 million profit by April 1959.63 Especially pleased was Tomoyuki Tanaka, who boasted to the U.S. press that the movie made more money abroad than any other Japanese feature at that time.64Rodan even garnered praise from Occidental critics, some of whom recognized in it one of the Japanese monster movie’s foundational characteristics. Helen Bower of the Detroit Free Press wrote, “As the country which felt the impact of the first atomic bomb, Japan may understandably be more acutely conscious than other countries of the perils of the atomic age. This awareness is implicit in the screenplay’s thesis that effects of atomic and hydrogen blasts may have penetrated to the depths of the earth with fantastic result [sic].” She also wrote positively of Tsuburaya’s work: “The very creation of the Rodan, from its hatching to its death, is a special effects achievement that has not been bettered by Hollywood.”65
Other reviewers saluted an appeal to the American subconscious in the age of the Cold War, the space race, and continued UFO sightings: “[e]specially timely in view of the dog-bearing Sputnik and the strange flying object seen in West Texas…”66 However, some lamented what they perceived as Japanese pandering to the western market. John Bustin of the Austin-American Statesman deemed Rodan a “tired old story” for “impressionable kiddies […] [I]t seems quite a waste of time to retell it—and certainly a waste of effort to go all the way to Japan to unearth it.”67 Canadian journalist Walter O’Hearn saluted the ingenuity behind the miniature sets but complained, “It shows none of the Japanese fascination with beautiful color or stately drama: it is another example of that cunning people manufacturing western toys for export.”68
For Ishiro Honda, Rodan was a personal favorite and the movie “that put me on my path.”69 The latter statement likely refers to him becoming Toho’s go-to science fiction director for the remainder of the 1950s and much of the ‘60s, during which he’d supervise Rodan’s return in 1964’s Ghidorah the Three-headed Monster. The character made subsequent appearances in two more Honda pictures (1965’s Godzilla vs. Monster Zero and 1968’s Destroy All Monsters), as well as multiple movies from both Japan and the United States. Ifukube’s score has likewise enjoyed extended life. A performance of the score was recorded circa 2014 for a CD series celebrating the composer’s centennial. And in 2019, monster movie fans crowdfunded the concert Kaiju Crescendo: An Evening of Japanese Monster Music, which was held that summer in Chicago. A suite from Rodan was performed that night under conductor John DeSentis, who spoke to Our Culture Magazine about the music and the challenges of performing it.
“Rodan is one of the great scores of Ifukube’s entire career. Much like Godzilla, it contains many elements of horror, evident in his classic style from the Toho Mark. It also afforded him the opportunity to continue experimenting with complex meters or time signatures.” For Kaiju Crescendo, DeSentis worked from Ifukube’s manuscript and described conducting selections as “no easy task. Particularly difficult was the piece ‘Rodan Flies to Sasebo.’ The time signatures for this piece are alternating measures of 4/8 (four eighth notes per measure) and 11/16 (eleven sixteenth notes per measure). The 11/16 was particularly challenging, as I’d personally never conducted a meter such as that. We had a bit of a time getting it together during rehearsal, but it was actually our bassoon player (and curator of fine craft beer) Jonathon Leik who helped me to figure out the best way to hit the downbeats on that one. A little more rehearsing and we were able to be ready by showtime.”
As far as the original movie is concerned, one can understand Honda’s enthusiasm. What begins as something of a Japanese take on Gordon Douglas’s giant ant thriller Them! (1953) cleverly segues into a grand-scale action picture, with the initial threat (giant insects) replaced by something much worse. But there’s also a touch of poetry to the whole affair. Rodan opens on a calm and peaceful shot of Mount Aso and ends on a special effects miniature of the same volcano spewing molten rock. One of the flying creatures collapses in the lava, and its mate joins it in death. The human cast looks on in sorrow, and Akira Ifukube applies a melancholy musical send-off to the monsters (which DeSentis labels “second only to Ifukube’s music for Godzilla’s death in 1995’s Godzilla vs. Destoroyah as far as that type of cue goes”) as they cry in pain. These final images epitomize Honda’s famous adage that “monsters are tragic beings […] born too tall, too strong, too heavy.”70 For all the mayhem they cause, the Rodans are, in a way, greater victims than the people they’ve killed. They were built for a prehistoric world that no longer exists and are guilty only of trying to survive in a time not meant for them. The director’s son Ryuji decades later recalled, “I was only a kid then, but I cried over it. I still feel pain with that scene. I cannot help having sympathy for Rodan and accusing the humans who killed them. I believe the scene contains a lot of things that my father really wanted to tell.”71
* In researching this essay, I encountered conflicting numbers as to how much Rodan cost to make. The 1983 book The Complete History of Toho Special Effects Movies, which producer Tomoyuki Tanaka supervised, lists the budget at ¥200 million. An April 1959 Variety report, however, claims the movie cost $277,777. (Per the 1956 exchange rate of ¥360 to every $1, this translates to just under ¥100 million.) While I cannot confirm, the latter figure seems more likely, as Toho would’ve made a profit off a ¥143 million gross. At ¥200 million, the studio would’ve lost nearly ¥60 million in Japan, and one would think such a letdown would’ve been discussed by the film’s creators.
Incidentally, Herman King, when asked at a press luncheon to list the budget of the movie he’d acquired, “did a little mental arithmetic […] and came up with the figure of 1,600,000, but he was a trifle vague about just what currency the figure referred to.” As the language of this reporting suggests, this is a number to be taken with a massive grain of salt.
** I also encountered conflicting numbers as to how much King Brothers Productions paid to license Rodan. The Los Angeles Times on September 20, 1957 reported, “King Bros. is spending $400,000 on exploitation.” The above-mentioned April 1959 report from Variety, however, claims the fee was $100,000.
References:
Anderson, Joseph L. and Donald Richie. The Japanese Film: Art and Industry (Expanded Edition). Princeton: Princeton University Press, 1982, p. 262
