Ben and Rob shrink themselves down to size this week to tackle a woman who did the opposite: 1958's Attack of the 50 Foot Woman, the black-and-white B-movie that proved you don't need a budget, you just need a giant papier-mâché hand and a grudge.

Starring Allison Hayes as Nancy Archer, a wealthy heiress who has a close encounter, gets a lot bigger, and decides it's finally time to deal with her cheating husband Harry and his mistress Honey, Attack of the 50 Foot Woman is fifty-plus feet of scorned-wife rage wrapped in some of the most gloriously unconvincing special effects of the decade.

Behind the scenes facts, the movie's "logic" (giant hand, tiny bar, you do the math), and the story of a director who liked the job so little he put a fake name on it. We'll cover who didn't make it out of this production alive, how a film this cheap and this weird somehow clawed its way to cult classic status, and exactly how those effects were pulled off with rear projection, oversized props, and a whole lot of nerve.

And finally... what does it really mean?!

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Ben and Rob shoot their webs all over 2007 to dissect the $258 million fever dream that is Sam Raimi's Spider Man 3, the movie that had four villains, a jazz club, an emo dance number, and somehow still wasn't the strangest thing Sam Raimi did that decade.

We trace the making of this notoriously overstuffed threequel, from studio pressure to cramming in Venom, to Topher Grace's freakish, some may say gimpy, get up, to the reshoots and the runtime battles.

Starring Tobey Maguire, Kirsten Dunst, James Franco, Topher Grace and Thomas Haden Church, Spider Man 3 follows Peter Parker as fame goes to his head, an alien goo goes to his hair, and Harry, Eddie and Flint Marko all queue up to ruin his week.

Behind-the-scenes facts, the movie's "logic" (we use that word generously), and the eternal question of how a man can walk down the street snapping his fingers and still be the scariest version of himself in the entire franchise. All facts fully, undoubtedly researched... mostly.

And finally... what does it really mean?!

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Ben and Rob fly first class back to 2006 to federally investigate a $33 million B-movie that somehow became one of the most anticipated films of the internet age, before a single trailer even dropped. This episode traces how Snakes on a Plane went from a modest 1992 spec script to a title so absurdly perfect that Samuel L. Jackson signed on for the name alone.

We dig into the film's tangled decade-long road to the screen, the fan campaigns and internet memes that forced New Line Cinema to re-re-name the film mid-production, and how a movie built almost entirely on hype became a genuine case study in viral marketing before "going viral" was even a phrase people used.

Plot hole's galore, Sam Jackson being Sam Jackson and the best thing to come out of WWII... All truth facts that arre fully, undoubtedly proven.... Probably.

Finally, we ask the bigger question: what does it really mean?! And can Rob finally get us cancelled?

SNAKES TOGETHER LONG!

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Ben and Rob swing into ‘Spider-Man 2’, Sam Raimi’s beloved 2004 superhero sequel that transformed a comic book blockbuster into one of the most emotionally enduring films of its genre. Starring Tobey Maguire, Alfred Molina, Kirsten Dunst, James Franco, Rosemary Harris and J.K. Simmons, Spider-Man 2 follows Peter Parker as he struggles to balance responsibility, romance and heroism, while facing the tragic rise of one of Marvel’s greatest villains.

Why does Doctor Octopus remain one of cinema's most enduring comic book villains, and what makes Alfred Molina the perfect actor to bring him to life? How close did Tobey Maguire come to losing the role? And is Spider-Man 2 secretly one giant metaphor for sexual performance anxiety?!

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Ben and Rob intercept the frequency in John Carpenter's They Live (1988), starring Roddy Piper as a man with nothing, Keith David as a man with just enough left to lose, and an entire ruling class of skull-faced aliens doing their most convincing work in business suits. What begins as the story of how a six-page pulp story from 1963, written by a man almost nobody has heard of, adapted into a comic nobody much read, ended up in the hands of a furious filmmaker who wanted to give the finger to a sitting president slowly develops into something considerably larger; a conversation about the collision of rage, resourcefulness, and sheer unlikely chemistry that produced one of the most politically precise films Hollywood has ever accidentally greenlit and whether a B-movie with a four-million-dollar budget and rubber alien masks is secretly one of the most important documents of the twentieth century.

And finally… what does it really mean?

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Ben and Rob sling their way back to 2002 and into the webbed world of Spider-Man, Sam Raimi's blockbuster that somehow managed to turn decades of comic book history, a nervous Tobey Maguire, and a maniacally committed Willem Dafoe into one of the defining superhero movies of the modern era. Along the way they untangle the long and surprisingly complicated journey that brought Marvel's most famous character to the big screen, explore the creative team that assembled around Raimi, and ask how a filmmaker best known for chainsaws, demons and severed hands ended up making one of the most sincere and influential comic book films ever released.

But that's only part of the story. Away from the set, Sam and his brother Ted Raimi have spent decades filling their movies with elaborate pranks, recurring cameos and a family atmosphere that borders on organised chaos. So what exactly were the Raimis getting up to when they weren't making movies? And why does Ted seem to appear everywhere? Plus, the pair take a dive into some of the wilder theories surrounding the film.

And finally, beneath all the upside-down kisses, Thanksgiving dinners and airborne pumpkin bombs, what is Spider-Man really about?

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Ben and Rob disappear into the monkey suit and hit the dusty New Mexico road with Sunlight (2024), the feature directing debut of Nina Conti, co-written with and co-starring Shenoah Allen, with Bill Wise and Melissa Chambers rounding out the cast. What begins as a tale built around a familiar prop from Conti's ventriloquism act slowly unfolds into something far more layered; a conversation about a desperate, near-mythical journey from stage gimmick to fully realised film, a writing process built almost entirely on improvisation and trust between two performers, and a story that somehow uses a sweaty, full-body monkey costume to say something about grief, trauma, and the long road back to facing reality.

How does an act this strange and specific make the leap from comedy stage to feature film? When a script is built on improvisation rather than a traditional draft, what gets lost and what gets gained, and how do two co-writers find a shared rhythm inside that chaos? Beneath the absurdity, what is Sunlight actually saying about mental health, about a man who has survived his own worst moment, and about a woman who would rather live inside a costume than face what happened to her?

And finally, when the mask comes off, literally or otherwise, what does Sunlight really mean?

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Ben and Rob strap themselves into the feedback loop and jack all the way in to The Lawnmower Man, directed by Brett Leonard and starring Pierce Brosnan, Jeff Fahey, Jenny Wright, and Mark Bringelson. What begins as a deceptively simple fable about a gentle simpleton turbocharged into a god by virtual reality and experimental drugs slowly mutates into something far weirder; a conversation about the most chaotic production history in early nineties Hollywood, the strange economy of Stephen King's name and exactly what it takes for him to legally disown your film, the accidental genius of low-rent CGI as a vessel for genuine existential dread, and whether a movie about a lawnmower man becoming an omnipotent digital deity has turned out to be less science fiction and more uncomfortable Tuesday.

What even is virtual reality as cinema understood it in 1992, and how does that fever dream vision compare to the surveillance-soaked, algorithm-shaped reality we actually ended up inside? How did this film pass through so many hands, studios, and creative crises that its very authorship became a legal battlefield? Is there something genuinely prophetic buried beneath the laughable polygon graphics and the mulleted hubris, or are we simply pattern-matching onto a movie that got lucky? Who is Jobe before the machines get hold of him, why does his innocence matter so much to the film's horror, and what is the movie actually saying about who gets experimented on and why? And why does a film this ridiculous, this campy, this thoroughly of its moment, still manage to leave something cold and unsettling lodged in the back of the mind long after the credits roll?

And finally… What does it all mean?

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