This editorial contains spoilers for Source Code and Moon. If you haven’t seen the movies yet, go check it out first before diving in. When I watched Duncan Jones’s sophomore effort Source Code, I couldn’t help but think about how much it resembles, nearly beat for beat in its structure, his first film Moon. This is not necessarily a criticism of Source Code or Jones, as repeated thematic occupations and narrative revisitation can be the sign of the auteur, and I’ve enjoyed both his films. But the films are, admittedly, structurally identical in several ways. Both involve a lone protagonist who discovers something unexpected about their identity that changes their relationship to their given tasks (Sam Bell realizing he is a clone in Moon, Captain Colter Stevens’s “near-death” state in Source Code), and combat some form of repression against a bureaucratic organizational body (a private corporation in Moon, military scientists in Source Code) while being assisted by an empathetic, benevolent subordinate of that organization (GERTY the robot in Moon, Vera Famiga’s Captain Goodwin in Source Code). But it is rather appropriate that both of Jones’s films be so structurally similar, for the major themes connecting them, and the narratives by which those themes are exercised, are enveloped in the topic of the repetitive structures of everyday life.