Ben and Rob dive deep into Master & Commander: The Far Side of the World, directed by Peter Weir and starring Russell Crowe and Paul Bettany, and, of course, Russell Crowe (with even more Russell Crowe to come). They unpack why this film grabbed them so powerfully on first watch, why politics usually stay off the table for them, the incredible making-of craft behind the production, and the bizarre yet undeniable parallels between this tightly focused nautical adventure and today’s sprawling mega-franchises.

Why does this film hit so hard right from the start? How does such a contained story feel oddly aligned with modern blockbuster logic? What did the behind-the-scenes dedication achieve? And honestly… what does it all mean?!

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Ben and Rob enter The Void (2016), the cosmic horror fever dream from director Steven Kostanski and the Astron 6 collective. We talk about who Steven Kostanski really is, how he went from practical effects legend to full blown cult horror auteur, and why The Void became one of the most impressive low budget horror triumphs of the 2010s.

We break down how grief and trauma bond every character in The Void, how the film uses loss as its emotional architecture, and why the personal suffering at the centre of this story makes the cosmic elements even more terrifying. Is it a metaphor for grief consuming us? A commentary on the cycle of generational harm? Or is Steven Kostanski simply telling us that the universe does not care, so we have to care for each other?

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This week, Ben and Rob step into the perfectly staged world of The Truman Show (1998), Peter Weir’s masterful satire starring Jim Carrey at his nuanced best. From the meticulously constructed Seahaven to the hidden puppeteering of Truman’s life, this film gets the lads asking one big question: how much attention is the right amount for you?

The lads explore how Peter Weir, yet again, finds greatness in the people around him - from cast to crew - and drop some behind-the-scenes gems that will make you appreciate every frame. Meanwhile, Andrew Niccol’s script continues to astonish with its prescience and control over the surreal comedy-drama. They also dive into the bizarre cultural resonance, from Lady Diana parallels to the Truman Delusion, and deliver possibly the best ‘what does it all mean’ of the show yet.

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