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Taking a break from Fozziwig's Rubber Chicken Factory, Mark tries to figure out why The Muppet Christmas Carol is so heartwarming, how The film deal with the difficulties of adapting the original story, and why a muppet who can only communicate in high-pitched squeaks can make him emotional.
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It's no surprise Mark adores a film about someone overanalysing film as he tries to figure out what makes Aftersun so mesmerising, how the film runs on several slowly simmering tensions, and if he can get through this podcast without crying.
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The funny thing about overanalysing Pulp Fiction is the little differences as Mark tries to figure what makes the film so iconic, how it is a perfect example of 5 act structure, and why it drives him so, so crazy when perfectly well meaning people say that this film "breaks the rules".
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Overanalysis is a hard thing to come by these days as Mark returns to figure out what makes The Thing so paranoia-inducing, how MacReady is defined against the monster, and why Blair had Chat GPT in 1982.
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Where Mark is going, he needs overanalysis as he tries to figure what makes Back To The Future so (ahem) electrifying, what any story is truly 'about', and if the whole trilogy is secretly the best sequel to Star Wars ever made.
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Mark lets the overanalysis rip as he tries to figure out what makes the first season of The Bear so nerve-shredding, how it uses Sydney and Cousin Richie to express arguments within its protagonist, and if anyone else gets as excited by the term 'fractal structure' as he does.
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If there's any magic in this world, it's in the space between Mark and a great movie as he tries to figure out what makes Before Sunrise so romantic, how the film is a masterpiece of understated structure, and why nobody has described the brilliance of Richard Linklater better than Richard Linklater describing the brilliance of Eric Rohmer.
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Ladies and Gentlemen, if Mark says he's an overanalyser, you will agree as he tries to figure out what makes There Will Be Blood feel so monumental, why Roger Ebert was right to describe it as "imperfect", and if anyone ever asked about the guys they definitely knew Daniel murdered.
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Mark grabs the Wall-E power up as he tries to figure out what makes The Super Mario Bros feel so hollow and Wall-E so heartfelt, why it's so important for someone to learn something in a story, and if anyone can hear his ranting over the sound of The Super Mario Bros Movie printing money.
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Mark is what the French call "les incompetent" as he tries to figure out what makes Home Alone such a Christmas classic, why one sequence 76 minutes in so dominates our memories of the film, and how kids never notice how amazing Kevin's house is.
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Mark hopes to get 8000 layers of in-yun with this film as he tries to figure out what makes Past Lives so affecting, how it tells such a thematically weighted story through such a simple human one, and if this film could be any less interested in Canada.
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It's a good thing Mark isn't regional manager as he tries to figure out what makes Thelma & Louise such a cultural touchstone, how its 2nd act somehow makes a tragic ending feel so empowering, and what's so interesting about a young, shirtless Brad Pitt.
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Mark breaks out the L-word as he tries to figure out why Scott Pilgrim vs the World rocks, how its ending gets caught between two stools, and which screenwriter invented the term "sexalicious slow motion".
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Mark overanalyses — that is his nature — as he tries to figure out what makes The Silence of the Lambs so unsettling, how its structure and cinematography both express its theme, and why we all prefer a psychopathic cannibal over a guy with his own gold pen.
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Some men just want to watch films and overanalyse them as Mark tries to figure out what makes The Dark Knight so propulsive, why its use of theme is both a strength and a little wonky, and how Batman kidnapping a Hong Kong businessman wasn't a major international incident.
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Mark's mind is going, there's no question about it, as he tries to figure out what makes 2001: A Space Odyssey possibly the greatest film ever made, how it did and did not change the form, and if he associates with HAL a little too much.
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Mark's no suburban bridge-player, he's an overanalyser as he tries to figure out what makes His Girl Friday so exciting, how its two plots relate to each other, and what Albany ever did to deserve this.
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Mark feels like grabbing a couple of burgers and hitting the cemetery as he tries to figure out what makes The Royal Tenenbaums so cathartic, how it uses its novelistic framing device, and why nobody truly Wes Andersons like Wes Anderson.
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Mark might have lost his faith in capitalism as he wonders what makes the final season of Succession so cruel, how every season of the show follows a similar story shape, and how this could have all been avoided if Kendall just sat in the dark and drank some damn whiskey.
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If Mark doesn't get to overanalyse Succession he might die, so he tries to figure out why the finale of Succession feels so crushing, whether or not Kendall is still the show's protagonist, and who hasn't false memoried killing a waiter at their sister's wedding.
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