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It's just Mark, his overanalysis, and Rudy Vallée as he tries to figure out what makes Some Like It Hot such a timeless comedy, why the idea of syncopation gives it rare thematic harmony, and how Billy Wilder and IAL Diamond were so damn good.

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Mark's obsession with overanalysing films has gone some ways to the way his life has been as he tries to figure out what makes Mulholland Drive so mesmerizing, how the film does actually mostly make sense, and how many times he'd buy someone pretending to play the trumpet to a recording. (Answer: many, many times) 

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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 deals 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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