This week, Ben and Rob dive into Together (2025), a tangled, self-aware horror-drama that asks big questions about love, identity, and whether two people can ever really exist as individuals or if they’re doomed to dissolve into one another. It’s part relationship study, part metatextual puzzle, and part… something else entirely.

Is Together a sensitive exploration of codependency, or a two-hour therapy session disguised as cinema? What does Michael Shanks’ short film Rebooted have to say about his writing/directing style? Are we living in the golden age of horror or just the golden age of films that like to tell us they’re horror? The ongoing copyright infringement lawsuit: what does it mean? And does it hold any weight?

Most importantly: what does Together really mean? The lads wrestle with that question, trying to separate the profound from the insane. Is this even possible? Can these ideals co-exist separately in one space or do they just… merge into one?

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This week, Ben and Rob suffer through War of the Worlds (2025), a baffling “screen life” style disaster starring Ice Cube and directed by Rich Lee. It’s a modern retelling of the classic H.G. Wells War Of The Worlds; except instead of tension, thrills, or coherence, we get glitchy video calls, insane leaps of logic, and a lead performance that suggests Ice Cube might secretly be a sociopath.

Is War of the Worlds the first alien invasion film to be completely derailed by Zoom windows? Why should director Rich Lee escape this mess blameless, and how did Ice Cube get away with whatever it is he’s doing here? And the big one: is this the worst sci-fi movie of the decade? Or in the right context, the most fun you could ever have watching an advert for Amazon?

The lads pick apart the wreckage of War of the Worlds (2025), searching for meaning, entertainment, or even a single reason it exists. Spoiler: they don’t find one.

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Ben and Rob head deep into the woods with Black Bear (2020), Lawrence Michael Levine’s tense, layered meta-drama starring Aubrey Plaza, Christopher Abbott, and Sarah Gadon. It’s part relationship breakdown, part filmmaking fever dream and maybe part psychological horror told in a way that proves three might actually be the magic number.

What does the black bear itself really symbolise? How does the film’s final frame rewire everything you thought you understood? And is this Aubrey Plaza’s best performance, or just her most unpredictable?

The lads break down the shifting realities, meta-narratives, and emotional gut punches that make Black Bear a film you can’t stop thinking about, even when you’re not entirely sure you’ve solved it.

CONSUUUME to find out all this and much MUCH more!

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