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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