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Matt Belinkie and Peter Fenzel gather to kick off summer movie season the only way they know how: by completely failing to talk about the movies they planned to discuss and instead spending over an hour unpacking the mythological architecture of The Super Mario Galaxy Movie. Along the way they ask the questions no one asked them to ask: Why doesn’t Rosalina just go find Peach? What are the stars even for? And why did Bowser let his son build a universe-destroying gun without so much as a stern talking-to?

The hosts argue that the Mario movies aren’t really psychological dramas but mythological ones, stories where Peach’s lost star-sister and Bowser’s tragic indulgent-dad arc operate less like character beats and more like foundational symbols of the civilization that takes its children to the movies. Bowser, it turns out, may be the antithesis of Mario and Donkey Kong’s distant fathers from the first film. He’s so desperate to be liked by Bowser Jr. that he’d let the fabric of reality unravel rather than enforce a bedtime. He doesn’t help his kid grow up, he reverts to his villainous archetype.

From there, the conversation pinballs into the broader question of how Hollywood adapts things that were never designed to make sense. The 1993 Super Mario Bros. film is held up as the cautionary tale — a movie agonizing over how to justify two plumbers stomping on the heads of mutant goombas (although to be fair, a live action Mario movie was always an uphill battle). The hosts triangulate between three adaptation philosophies (the Grounded, the Sonic Hybrid, and the Full Embrace) and wonder where the upcoming live-action Legend of Zelda will land given that its audience wants more lore, not less.

Finally, the conversation drifts — as these things do — into a long reverie about Saturday morning cartoons, the scarcity of media in the pre-streaming era, Turbo Teen’s Cronenbergian transformation sequence, and the surprising revelation that GoBots actually came first. Plus: a preview of Dune: Part Three and whether Dune Messiah’s deliberately unsatisfying anti-climax can survive the jump to a summer blockbuster.

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