There's Something About Mary
Ted was a geek in high school, who was going to go to the prom with one of the most popular girls in school, Mary. The prom date never happened, because Ted had a very unusual accident. Thirteen years later he realizes he is still in love with Mary, so he hires a private investigator to track her down. That investigator discovers he too may be in love with Mary, so he gives Ted some false information to keep him away from her. But soon Ted finds himself back into Mary's life, as we watch one funny scene after another.
Despite a moderate budget of $23.0M, There's Something About Mary became a commercial juggernaut, earning $369.9M worldwide—a remarkable 1508% return.
17 wins & 17 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
There's Something About Mary (1998) exhibits deliberately positioned dramatic framework, characteristic of Peter Farrelly's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours. With an Arcplot score of 7.0, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes 1985 Rhode Island: High school nerd Ted Stroehmann watches his dream girl Mary Jensen from afar, unable to approach her. He's a typical awkward teenager with braces, living in his safe but unfulfilled ordinary world.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Mary miraculously asks Ted to be her prom date after he stands up for her brother Warren against bullies. Ted's impossible dream suddenly becomes reality, disrupting his status quo as a lonely outsider.. At 10% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 25 minutes marks the transition into Act II, occurring at 21% of the runtime. This shows the protagonist's commitment to Ted actively decides to hire private investigator Pat Healy to track down Mary in Miami. This is his choice to pursue his obsession after 13 years, leaving behind his safe life of wondering "what if."., moving from reaction to action.
At 58 minutes, the Midpoint arrives at 49% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat Ted and Mary reconnect and go on a genuine date. For the first time, Ted is being himself and things are going wonderfully - a false victory. The stakes raise as Ted realizes multiple men are deceiving Mary, and he must decide whether to expose them., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 89 minutes (74% through) represents the emotional nadir. Here, Mary discovers Ted hired Pat to stalk her. She feels betrayed and violated. Ted's dream dies as Mary angrily rejects him. The "whiff of death" is the death of Mary's trust and Ted's chance at redemption after 13 years., illustrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 95 minutes initiates the final act resolution at 79% of the runtime. Ted realizes that truly loving Mary means wanting her happiness over his own. He decides to find out who she really loves (architect Norman/Brett Favre) and help her be with that person, even if it means sacrificing his own chance., demonstrating the transformation achieved throughout the journey.
Emotional Journey
There's Something About Mary's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping There's Something About Mary against these established plot points, we can identify how Peter Farrelly utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish There's Something About Mary within the comedy genre.
Peter Farrelly's Structural Approach
Among the 5 Peter Farrelly films analyzed on Arcplot, the average structural score is 6.5, demonstrating varied approaches to story architecture. There's Something About Mary represents one of the director's most structurally precise works. For comparative analysis, explore the complete Peter Farrelly filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Peter Farrelly analyses, see Dumb and Dumber, Me, Myself & Irene and The Three Stooges.
Plot Points by Act
Act I
SetupStatus Quo
1985 Rhode Island: High school nerd Ted Stroehmann watches his dream girl Mary Jensen from afar, unable to approach her. He's a typical awkward teenager with braces, living in his safe but unfulfilled ordinary world.
Theme
Ted's friend Dom says, "You gotta take a shot. What's the worst that could happen?" This captures the film's theme: love requires risk, vulnerability, and the willingness to look foolish.
Worldbuilding
Establishes 1985 setting, Ted's character as lovable loser, Mary as unattainably perfect and kind-hearted (she defends her mentally disabled brother Warren). Shows the class divide and Ted's complete inexperience with women.
Disruption
Mary miraculously asks Ted to be her prom date after he stands up for her brother Warren against bullies. Ted's impossible dream suddenly becomes reality, disrupting his status quo as a lonely outsider.
Resistance
Ted prepares for the prom, getting advice from family. The anticipation builds until the infamous "zipper incident" in Mary's bathroom leaves Ted hospitalized and humiliated. They lose touch forever. Flash forward 13 years to present day - Ted is still haunted by "the one that got away."
Act II
ConfrontationFirst Threshold
Ted actively decides to hire private investigator Pat Healy to track down Mary in Miami. This is his choice to pursue his obsession after 13 years, leaving behind his safe life of wondering "what if."
Mirror World
Pat meets Mary and instantly becomes obsessed himself, deciding to sabotage Ted and pursue Mary instead. This introduces the film's subplot about deception versus authenticity in love - Pat represents the false self, while Ted represents genuine feeling.
Premise
The "fun and games" of the romantic comedy: Pat lies to Ted about Mary being fat and crazy to discourage him, while reinventing himself to match Mary's interests. Ted eventually goes to Miami anyway. Multiple suitors emerge (Tucker, Norman). Comedic set pieces include the dog attack, the hair gel scene, and various misunderstandings.
Midpoint
Ted and Mary reconnect and go on a genuine date. For the first time, Ted is being himself and things are going wonderfully - a false victory. The stakes raise as Ted realizes multiple men are deceiving Mary, and he must decide whether to expose them.
Opposition
Bad guys close in: Pat escalates his schemes, Tucker's lies are exposed, Mary's ex Brett Favre appears. Ted struggles with whether to tell Mary the truth about hiring a PI. His best friend Dom arrives. Tension builds as deceptions unravel and competition intensifies.
Collapse
Mary discovers Ted hired Pat to stalk her. She feels betrayed and violated. Ted's dream dies as Mary angrily rejects him. The "whiff of death" is the death of Mary's trust and Ted's chance at redemption after 13 years.
Crisis
Ted wallows in despair, believing he's lost Mary forever. He confronts the reality that his obsession may have been selfish. Dark night of the soul as he questions whether he truly loves her or just the idea of her.
Act III
ResolutionSecond Threshold
Ted realizes that truly loving Mary means wanting her happiness over his own. He decides to find out who she really loves (architect Norman/Brett Favre) and help her be with that person, even if it means sacrificing his own chance.
Synthesis
Ted exposes all the remaining liars (Norman is revealed to be another faker). The finale brings all suitors together at Mary's apartment in a comedic confrontation. Ted makes his final genuine confession without expecting anything in return, proving his growth from selfish obsession to selfless love.
Transformation
Mary chooses Ted - not because he played games or pretended to be someone else, but because he was authentic and willing to let her go. Ted has transformed from the desperate teenager to a man who understands that real love requires honesty and selflessness. They kiss as all the defeated suitors watch.