Ben and Rob step into Labyrinth, Jim Henson's 1986 fantasy adventure that turned a puppeteer's most personal creative risk into a genre-defining cult classic. Directed by Jim Henson from a screenplay credited to Monty Python's Terry Jones, the film stars David Bowie as the Goblin King Jareth and a fourteen year old Jennifer Connelly as Sarah, a girl who has thirteen hours to solve an ever-shifting maze and rescue her baby brother from Jareth's clutches.

How did a limo ride home from a Dark Crystal screening turn into a story about goblins stealing babies, and why did the finished script pass through the hands of a Monty Python legend, a Fraggle Rock lyricist, and George Lucas before anyone was happy with it? What made David Bowie the obvious choice to play Jareth when Sting, Prince, and Michael Jackson were all in the running, and how much of the film's most memorable moments came down to pure, unscripted chemistry on set? Why did a film this ambitious flop so badly on release and what does it say that a story about a girl choosing to grow up came at the exact moment its director's own life was falling apart?

And finally… what does it really mean?!

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Ben and Rob head underground for Tremors, Ron Underwood's 1990 monster comedy that turned a killer-worm B-movie premise into one of the most beloved cult classics of the home-video era. Directed by Underwood in his feature debut, from a script by S.S. Wilson and Brent Maddock, the film stars Kevin Bacon, Fred Ward, Finn Carter, Michael Gross and Reba McEntire (in her acting debut) as the residents of an isolated Nevada town who discover something enormous is hunting them from beneath the dirt.

What did it actually take for two writers to get this thing made on their own terms, and where did an idea this strange even come from in the first place? What was going on in Kevin Bacon's career that made this the role he took and the one he'd spend years trying to distance himself from before changing his mind entirely? How much of what makes this monster still work comes down to old-fashioned, hands-on craft rather than anything flashy? And when the film itself keeps daring you to guess where these things came from, is that an open question worth taking seriously, or the whole point of the joke?

And finally… what does it really mean?!

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Ben and Rob strap into the neural interface for ‘The Cell’, Tarsem Singh’s hallucinatory 2000 psychological thriller that turned a serial killer plot into one of the most visually audacious studio films of its era. Directed by Tarsem (billed under his mononym for his feature debut), the film stars Jennifer Lopez, Vince Vaughn and Vincent D’Onofrio, and plunges a child psychologist into the comatose mind of a killer to save his latest victim before time runs out.

How did a music video director best known for R.E.M.’s “Losing My Religion” end up helming a big-budget studio thriller, and what did that background do to the way this film actually looks? What exactly is going on with the costume design, and how much of the film’s dream logic was built in the fitting room rather than the script? Why does a movie this committed to style over sense still hold up as a genuine visual achievement more than two decades later, and is “it doesn’t need to make sense” really a defence, or is that exactly the point?

And finally… what does it really mean?!

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