47 avsnitt • Längd: 40 min • Månadsvis
Every two weeks, join Mark for an unnecessarily deep dive into the story structure of a beloved and interesting film to try and find out what it means and how it goes about meaning it.
The podcast Mark Overanalyses Film is created by Mark Hennigan. The podcast and the artwork on this page are embedded on this page using the public podcast feed (RSS).
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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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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Overanalysis is a boy's best friend as Mark tries to figure out what makes Psycho so terrifying, how many protagonists it actually has, and how an orphaned teenager managed to steal a corpse and weight a coffin without anyone noticing.
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Mark finds memory erasing disturbingly antithetical to overanalysing as he tries to figure out what makes Eternal Sunshine so special, why it's so much better than the original script, and if Patrick is the creepiest character in film.
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It's a hell of a thing, overanalysing Unforgiven, as Mark tries to figure out what makes the film the definitive revisionist Western, how it uses symbolism so powerfully, and if Bill might be nicer if people stopped constantly calling him 'little'.
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Mark is a good man, and thorough, as he tries to figure out what makes The Big Lebowski so transcendent, why the Dude's abiding is meaningful, and if anything of consequence actually happens in this story.
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Mark feels like Bambi on the ice as he tries to figure out what makes The Worst Person In The World feel so representative for a generation, whether Julie really changes or not, and if you can truly love someone who thinks they created an "iconic butthole".
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Mark's overanalysis is fully operational as he tries to figure out what makes Return of the Jedi such a great ending to the Star Wars trilogy, how Luke expresses an argument from both previous films, and what long-term impact believing C3PO to be a god might have on Ewok society.
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Mark wonders how many time loops he'd spend overanalysing Groundhog Day as he tries to figure out what makes the film such a touchstone, how the story exemplifies the reason for story structure, and what the hell Bill Murray has against blood sausage.
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Mark does not think Greg would be Europe's weirdest King as he continues to wonder what makes Succession so riveting, how the show is a classic example of fractal structure, and how this family keep finding new and exciting ways to be this terrible.
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Mark wants his own Greg as he wonders what makes Succession's first season so compelling, why the show's character architecture is so popular, and who the best worst person is.
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Mark isn't crying, you're crying as he tries to figure out why It's A Wonderful Life is the ultimate Christmas movie, how George's arc is uniquely designed to provide maximum catharsis, and when and how Mary bought a house in a small town without her "manager of the Building & Loan" husband knowing. Hot dog!
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Mark gets to live the rest of his life like a schnook as he tries to figure out what makes Goodfellas so intoxicating, how its structure is and is not unusual, and why there isn't a TV show where gangsters discuss paintings.
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Mark will always have overanalysis as he tries to figure out what makes Casablanca the definitive classic, why its final act twist feels so satisfying, and how any woman would be more interested in Rick than in the incredible Victor Laszlo.
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Mark does his mothereffing homework as he tries to figure out what makes Booksmart so heartwarming, why it has such a great example of a midpoint, and how anyone could ever miss being a teenager.
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Mark's overanalysis is unclouded by conscience, remorse, or delusions of morality as he tries to figure out what makes Alien so riveting, how it uses Ripley vs the alien to express its theme, and why no one realises that Jones the cat is the real monster.
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Mark's in the mood for overanalysis as he tries to figure out what makes In The Mood For Love so dreamlike, how it hides its structure in its style, and why so many guys just happen to suggest working together in hotel rooms.
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Mark reaches out with his feelings — mostly anger — as he tries to figure out what makes The Last Jedi so frustrating, how the climax ended up in the wrong place, and why a story about rebels tells us we should just do as we're told, dammit.
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Adventure. Excitement. Overanalysis. Mark craves these things as he tries to figure out what makes The Empire Strikes Back almost mystical, how the midpoint of the film defines the entire franchise, and why every local creature seems to hate the Jedi.
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Mark has city hands as he tries to figure out what makes Jaws the definitive summer blockbuster, why the ending feels so satisfying, and how the best plan the scientist could come up with is 'jab the shark with a stick'.
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Mark has overanalysed things you people wouldn't believe as he tries to figure out what makes Blade Runner so enigmatic, if Deckard could actually not be a replicant, and how anyone would confuse Rutger Hauer for a real human being.
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Mark knows a great romcom the way you know about a good melon as he tries to figure out what makes When Harry Met Sally so definitive, how a good romcom asks a different question to a bad romcom, and if a man and a woman can ever really be friends if they're both equally wrong about Casablanca.
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Seven is a fine film and worth overanalysing as Mark tries to figure out what sets this thriller apart, whose movie it is really, and why John Doe thinks his only sin is envying 1995's Brad Pitt.
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Mark just wants someone to tell him what to overanalyse as he tries to figure out what makes Fleabag so relatable, how the show uses its central device to express its protagonist's journey, and how the priest convinced himself the best way to not have sex with someone was to go to their house alone at night.
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Let Mark tell you, he ain't no band leader as he tries to figure out why The Godfather is The Godfather, how Vito and Michael's relationship as protagonists expresses the theme, and if anyone is worse at marriage proposals than Michael Corleone.
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Maybe Mark's spark could be watching Pixar films as he tries to figure out why Soul is so meaningful, how Joe's arc reminds him of ketchup, and if the meaning of life is pepperoni pizza.
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On a long enough timeline, Mark's understanding of Fight Club rises above zero as he tries to figure out why Tyler Durden is so iconic, how the film makes a different argument to its screenplay, and if it really is a romcom with added blunt force trauma.
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Mark will not sit here and tell you that marriage isn't an economic proposition as he tries to figure out why Little Women is so timeless, what Greta Gerwig's restructuring of the narrative does thematically, and if Friedrich is just Jo's imaginary boyfriend who lives in Canada.
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Mark has a bad feeling about this as he tries to figure out what makes Star Wars: A New Hope so special, how many trench runs are too many trench runs, and why Luke Skywalker would ever listen to C3PO.
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En liten tjänst av I'm With Friends. Finns även på engelska.