What happens when SVU drops a fading Norman Mailer analog into a Ripped-from-the-Headlines family drama with his daughters pitted against his new wife, who the daughters think is sending dear ol' dad to an early grave by way of force-fed Viagra? Rectal probe electroejaculation and lewd talk of stiff, varnished eels, obviously.

We watched the impromptu finale of Season 21, which lost four episodes due to the COVID-19 pandemic in 2020. While that might not have mattered in most seasons of SVU, Season 21 was trying to do some things which definitely demanded resolution. Of course we talk about a whole range of ridiculous topics including early attempts at adding serialization to weekly procedurals, post-modern philosophy, and the Borg. Apologies for weird sound, particularly on Adam's track. He was having some software issues which hopefully have been resolved.

In a true whirling dervish of an episode that turns the audience around and around, we start at a "kick-ass loft party," careen into a sexual predator in an ambulance, and end up back where the B-plot started with Calvin courtesy of his mother filching jewelry from a different crime scene. "Rescue" (S12E10) takes us everywhere. Along the way, we touch on improbable sampling of large members, insane PowerPoint presentations, and the Duke faux sex thesis controversy. This one goes to some weird places.

Well, we've got ourselves another Mo-Mo incident in Times Square... Needlessly picking up right from the smoldering wreckage of Liv freeing herself from her captor William Lewis, we get a stark ripped-from-the-headlines episode delving into the infamous Ariel Castro case. Kidnapping victims are held in cages in the basement and raped for decades, and Liv's PTSD is still very real. This episode dwells in darkness.

Adam and Josh wrestle with a high-profile headline rip as Reasonable Doubt casts Bradley Whitford as the Woody Allen/Roman Polanski analog in an episode that doesn't do a particularly good job of establishing what its title might suggest it should: Reasonable Doubt. Rollins and Amaro don’t believe women, a faux celebrity couple act out the Woody/Mia divorce virtually note for note, and anti-Tibetan racism runs amok. In other words, SVU still SVUs. Adam looks into the Roman Polanski rape case and the victim and poses the ideal solution for what the US Government should do with the frozen real estate of Russian oligarchs, while Josh wonders whether this episode acts in tandem with the one that follows it in sequence to mete out some revenge on The West Wing. Y’know, Munchie stuff.

We at Munch My Benson like to go off on tangents, and the intellectual fuel provided by "American Tragedy" (S15E3) propelled us pretty far out there. We learn about old New York when it was still basically New Amsterdam; we break down Cybill Shepherd's accent as it wavers in and out of caricature; we delve into the Trayvon Martin and Paula Deen cases from whose headlines this episode was ripped; we learn about John Cougar Mellencamp's extended family; and, we definitely talk about whether or not it's socially acceptable to deck a bald man in the middle of the night on a lonely street corner. Enjoy!

This week, the Randomizer (thanks, Flett) blessed us with an unforgettable episode of Law & Order SVU ("Unorthodox" S9E13). It starts with an absolute bang and then careens madly between isolationist ultra-orthodox Jewish sects and porn addicted preteens. Of course, we Munchers go even further afield as we question the existence of an upper peninsula, rank our favorite ape films, and uncover the supernatural engine that powers Casey Novak's courtroom success. This is truly an episode worth savoring. Enjoy!

This week’s selection is Law & Order: SVU’s swipe at the anti-vax movement—“Granting Immunity” (S16E19)—which puts the vulnerable Baby Doe in the path of a measles outbreak spawned by the casual dismissal of science by rich dick Tribeca parents who clearly know more than epidemiologists and have conspired to circumvent New York’s mandated vaccinations for all students. This leads the Munchie Boys to investigate just what started this anti-vax MMR-causes-autism nonsense that’s since metastasized in much more widespread and nefarious ways. Don’t worry, there’s also plenty of fun to be had, including (but not limited to) the virtues of Susie Essman, the horrors of opening montage music, the hilarious inappropriateness of filmed teenage sex parties, and the watercooler TV-watching habits of the dedicated detectives of the Special Victims Unit. Is this the scariest episode of SVU in Munchstory? Only one way to find out.

What happens when a quaint little ripped-from-the-headlines Law and Order: SVU plot becomes a raging storm of insanity that sweeps the nation and leads a ragtag mob of jet ski dealers, realtors, and Neo-Nazi extremists to invade the United States Capitol? Well, the Munchie crew does their level best to answer this question and many many more as they watched "Real Fake News" (s18e17). Do you want to know what a teenaged Adam was watching at 1 in the morning on Austin cable access? Are you intrigued by the concept of a hot pot fusion restaurant that fully immerses you in a 4D psychedelic experience? Are you ready to mainline some pro-MSG propaganda and get fully Umamipilled? Everything they told you is a lie, unless, of course, they told you to fire up this hot Munch My Benson.

You know things get weird when Adam cops to snagging discarded prosthetic body parts from beside a dumpster, but that’s the journey that “Parts” (S6E22) takes the Munchie Boys on this week. A wildly discordant episode sends us careening from possible psychopathic killer dismembering his victims to the interesting world of the hasidim to body parts for sale to black market organ transplants, figuring out a way to shoehorn Marlee Matlin and Isiah Whitlock Jr. into the proceedings. Munch feels things. It delivers a bunch of cringe, and by the end, the severed head found in a Topaz with a throat full of seed is but a distant, resoundingly forgotten memory. Come for the insanity, stay for the deep dives on Haredi Judaism and a willed body mess that grew into a full-blown tempest.

Did you ever want to “go from pool girl to cool girl?” Then have we got the episode of SVU for you. “Melancholy Pursuit” (S17E8)—the first Doddsisode in the Munchy canon—is ripped from a headline you never heard of and has a plot you’ll strain to follow, but have no fear because Adam and Josh will unlock its secrets. Why does the cold open have the only recognizable guest star in a total throwaway bit part? Who’s to blame for the case of the disappearing semen? What is a Sergeant Dodds? Can you leave City Island? Is there a more oversexed occupation than city bus driver? My one of the potential perps be Pam-huffing buds with a Munch alum? The answers to those queries and so many more lie within the run of this episode.

In Part 2 of our deconstruction of the epic two-parter, "Lost Reputation/Above Suspicion" (s14e01), Josh and Adam get deep into the nitty gritty of the pressing questions that energize Munchheads the world over: Which French noir director had a better grasp of mise en scene, Jean-Pierre Melville or Henri-Georges Clouzot? Is consensual knife play more GGG than paying escorts to talk to pathetic old men? Is Dean Winters actually, after all these years, a good actor? Find out the answers to these important questions plus a breakdown of the massive amount of plot in this mega episode of Law & Order: SVU.

If you thought that Munch My Benson would approach the hour-and-a-half-long Season 14 premiere mega-sode "Lost Reputation/Above Suspicion" with a pithy plot reconstruction and a few succinct comments, you were sorely mistaken. This televised love song to Dann Florek provided so much material for Josh and Adam that it had to be broken up into roughly equal parts. This week's topics include GamerGate, a Meadow Soprano drinking game, obscure Haitian rums, tulpas, Henry Winkler, and, of course, an in-depth history of the wizened, hairline-challenged, not-quite-leading men of television. Prepare for a wild ride.

The cliffhanging Season 13 Finale “Rhodium Nights” is an episode that belongs in the pantheon of SVU entries, featuring what has to be the most memorable ending in the entire series. This wild ride takes us down a slew of odd paths, including discoveries of Rollins’s economic beliefs, explorations into load volume, lamenting meddlesome US foreign policy, and travel recommendations for border towns. There’s TONS to talk about in this one, which is a truly shocking installment of television.

With a melange of Ripped from the Headlines story points peppering the subject of this week’s installment, Season 5, Episode 8 “Abomination,” there is A TON for Adam and Josh to talk about, including Matthew Shepard, Lawrence v. Texas, the odious Westboro Baptist Church, the sham that is conversion therapy, and Oscar-nominated actor George Segal. But don’t worry, there’s plenty of talk about what really matters to you: hypotheses on the possibly sketchy operations of East Village gay bars, the evolution of acceptable language in television and film, how insanely problematic the movies of our youth are, in-depth analysis of characters’ eating habits, and the warped mindset created by the repeated ingestion of the general insanity of Law & Order: Special Victims Unit.

With a ripped-from-the-headlines story owing to none other than serial dosing rapist Bill Cosby, Adam and Josh covered the disgusting territory laid out in Episode 9 from Season 18, “Decline and Fall.” If you’re wanting to hear the most repugnant filth spewing forth from the septuagenarian warden from The Shawshank Redemption, being repeatedly forced to envision him engaging in coitus, while having Prezbo’s biography recontextualized by an episode of Law & Order: SVU, this is the episode for you.

Adam and Josh rolled the dice this week, and the dice gave them "Glasgowman's Wrath" (season 16, episode 6), which might be the only Halloween episode in the SVU catalogue. Who or what is a Glasgowman? Why is he wrathful? Is it GGG to act out a violent tawdry rape fantasy in a public space? How does any of this pertain to legendary plane crasher Sully Sullenberg? Take a (not 500 mile) walk with us as we breakdown this particularly bizarre example of the modern police procedural.

So this week the boys at Munch My Benson found out what happens when superheroes—yes, you read that correctly—infiltrate wild world of Law & Order: SVU: utter #$%&ing insanity. Yep, we watched S13E19 “Street Revenge,” and it’s probably safe to say that we haven’t watched a weirder one than this. On this journey through the absurd, we marvel at the brazen disregard for copyright law, the nonsensical and likely unsanitary world of brick chicken, and actors’ embellished CVs while exploring the New York outdoor basketball scene and the sad existence of real-life superheroes.

Scarred by a gruesome SVU case ripped from even more grisly headlines, Adam and Josh trudge through the murk of “Hunting Ground” (Season 13, Episode 15), which forces them to get familiar with the yet-to-be caught Long Island serial killer. While exploring the most devastating ep in Munchstory thus far, the topics of Amaro’s olfactory prowess, the chance that he’ll get a thirst for blood, the hazards of Longview, and the nuanced but tangled mess that was the Backpage are all covered. Come along for a journey through the darkness. We’ve got the flashlights.

This week, Adam and Josh tackle a bonafide Munchisode (Law & Order: SVU Season 1, Episode 20, "Remorse"), one where John Boy's feelings are on full display and directed at the victim, a local news anchor played by Jennifer Esposito. Wrestling with emotions and contending with delightfully tactless bomb squad techs, the ground between bizarre Czech-to-English guidebooks and the proper way to puke in a toilet that's not your own is covered.