W2M Network

In the Blink of an Eye (2026), directed by Andrew Stanton and written by Colby Day, is a science fiction drama starring Kate McKinnon, Rashida Jones, and Daveed Diggs. Premiering at Sundance on January 26, 2026—where it won the Alfred P. Sloan Prize—it was released on Hulu February 27. The film weaves three timelines: a prehistoric family 47,000 years ago, a present-day scientist, and a future space mission to the Kepler system. Influenced by 2001, Magnolia, and Interstellar, the ambitious structure drew heavy criticism. Despite strong visuals, production design, and a Thomas Newman score, critics panned its execution, citing shallow characters, forced emotion, and unfocused storytelling. It holds an 18% on Rotten Tomatoes and a 37 on Metacritic, widely seen as a misfire that reaches for universality but fails to connect.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Megadeth exists because Dave Mustaine got fired from Metallica in 1983 and spent forty years proving a point. Faster, more technical, more aggressive, the early run—Killing Is My Business, Peace Sells, Rust in Peace—defined precision thrash and political edge. The band moves in cycles: Countdown and Youthanasia bring mainstream success, Risk abandons identity and fails, the 2000s reset with System Has Failed and Endgame restores credibility, then Super Collider drifts again. Dystopia and The Sick, The Dying… and the Dead! reestablish control. That pattern holds: when Megadeth commits to itself, it works.In 2026, they release Megadeth, album seventeen, produced by Mustaine and Rakestraw. No experimentation, no genre drift—tight, modern thrash. It debuts #1 (~70K units), with mixed-positive reviews citing consistency over innovation. Built as a final statement, supported by a farewell tour, it consolidates the catalog rather than expands it.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Bulworth is a 1998 American political satire black comedy film co-written, co-produced, directed by, and starring Warren Beatty. It co-stars Halle Berry, Oliver Platt, Don Cheadle, Paul Sorvino, Jack Warden, and Isaiah Washington. The film follows the title character, California Senator Jay Billington Bulworth (Beatty), as he runs for re-election while trying to avoid a hired assassin. The film received generally positive reviews and a nomination for the Academy Award for Best Original Screenplay yet narrowly failed to break even on a $30 million budget. However, Beatty was praised for tackling race, poverty, dysfunction in the health care system, and corporate control of the political agenda, with eminent legal scholar Patricia J. Williams noting the film examined "racism's intersection with America's deep, and growing, class divide."Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

The Super Mario Galaxy Movie (2026) is an animated adventure comedy sequel to The Super Mario Bros. Movie (2023), directed by Aaron Horvath and Michael Jelenic and written by Matthew Fogel. Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, and Keegan-Michael Key reprise their roles, joined by Benny Safdie, Donald Glover, Glen Powell, and Brie Larson. Produced by Illumination and Nintendo, the film follows Mario, Luigi, and their allies as they travel into space, meet Princess Rosalina, and battle Bowser and Bowser Jr.After the first film's success, Nintendo and Illumination fast-tracked a sequel, drawing inspiration from Super Mario Galaxy and other Nintendo properties like Star Fox. The film premiered in Kyoto on March 28, 2026, and released in the U.S. on April 1. Despite negative critical reviews, it was a major commercial success, earning $373 million worldwide on a $110 million budget and becoming one of the highest-grossing films of 2026.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight we examine a Kevin Kline Performance Trilogy—The Pirates of Penzance (1983), De-Lovely (2004), and A Prairie Home Companion (2006)—three films that showcase his command of musicality, wit, and character across eras. Pirates, adapted from the New York Shakespeare Festival production, was directed by Wilford Leach and preserves Gilbert & Sullivan's operetta for film, with Kline's Pirate King earning a Golden Globe nomination and cementing his theatrical pedigree. De-Lovely, directed by Irwin Winkler, casts Kline as Cole Porter in a stylized biopic featuring an ensemble of contemporary artists interpreting Porter's catalog, blending stage sensibility with cinematic structure. Finally, Robert Altman's A Prairie Home Companion captures Kline in a live-wire ensemble alongside Meryl Streep and Lily Tomlin, merging radio nostalgia with Altman's signature overlapping dialogue. Together, these films chart Kline's enduring legacy as a performer who bridges stage and screen, high art and populist entertainment.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Ready or Not 2: Here I Come is a 2026 American comedy horror film directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by Guy Busick and R. Christopher Murphy. It serves as a direct sequel to Ready or Not (2019), with Samara Weaving reprising her role as Grace MacCaullay. The film also stars Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, David Cronenberg, and Elijah Wood. Set immediately after the events of Ready or Not, it follows Grace as she must protect her estranged sister while being hunted by several elite families in a high-stakes ritual to claim a seat of ultimate power.Ready or Not 2: Here I Come premiered at the South by Southwest Film & TV Festival on March 13, 2026, and was released theatrically in the United States by Searchlight Pictures on March 20. The film received mixed-to-positive reviews[6] and has grossed $23 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Road to Perdition began as Max Allan Collins' stark, Depression-era graphic novel—a crime saga rooted in pulp, myth, and the cyclical nature of violence between fathers and sons. In 2002, Sam Mendes reinterpreted that material into a prestige film, stripping away some of the broader mob mythology to focus on mood, visual storytelling, and emotional inheritance, with Tom Hanks recasting Michael Sullivan as a quiet, tragic enforcer rather than a hard-edged archetype. Both versions follow a hitman and his son on a road of revenge after betrayal within an Irish crime family, but they diverge in tone, structure, and purpose. Today on Comic Stripped, we're examining how and why those changes were made—what was lost, what was gained, and how each version reflects its medium in telling a generational story about violence, identity, and whether anyone ever truly escapes the life they inherit.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight we're examining late-90s American cinema through a single corrosive lens—power as pathology—using Swimming with Sharks (1994), Suicide Kings (1997), and American Psycho (2000). George Huang's indie Hollywood satire, born from his own assistant experience, pairs Kevin Spacey and Frank Whaley in a low-budget Sundance breakout that exposed abuse as industry currency. Peter O'Fallon's Suicide Kings, riding the post-Pulp Fiction wave, assembles Christopher Walken, Denis Leary, and a crop of rising young actors in a contained, dialogue-driven crime piece that underperformed theatrically but grew on video. Mary Harron's American Psycho, adapted from Bret Easton Ellis, retooled after multiple development shifts, cast Christian Bale in a career-defining role, and turned modest box office into lasting cultural capital. Together, these films document a moment when masculinity, ambition, and capitalism collapsed into performance, leaving a legacy that still shapes how film portrays power, status, and identity.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

The hunt for the One Piece continues! David Wright joins Alexis Hejna from Honeysuckle Rose Creations as they look at Netflix's live-action adaptation of the popular manga from Eiichiro Oda.Day and night to our delightThe voyage never ends!Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Project Hail Mary is a 2026 American science fiction adventure film produced and directed by Phil Lord and Christopher Miller, and written by Drew Goddard, based on the 2021 novel by Andy Weir. It stars Ryan Gosling (who also produced the film), Sandra Hüller, James Ortiz, and Lionel Boyce. The film follows the story of Ryland Grace, a man who awakens on an interstellar spacecraft with no memory of how he came to be there.Project Hail Mary premiered in London on March 9, 2026, and was released in the United States by Amazon MGM Studios on March 20, 2026. The film received positive reviews and has grossed $141 million, becoming the ninth highest-grossing film of 2026.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Before he was a brand, Rob Zombie came up through White Zombie, where albums like La Sexorcisto (1992) and Astro-Creep: 2000 (1995) balanced groove, structure, and horror aesthetics into actual songs. That discipline carried into Hellbilly Deluxe (1998), but as the solo run continued—The Sinister Urge (2001), Educated Horses (2006), Hellbilly Deluxe 2 (2010), Venomous Rat Regeneration Vendor (2013), The Electric Warlock… (2016), and The Lunar Injection… (2021)—the balance shifted. More samples, looser structure, less editing. He didn't lose the idea—he lost the filter. The result is a catalog that drifts between fun, hooky chaos and half-formed collage.Now we get The Great Satan (2026), produced by Zeuss, marketed as a heavier return to form with familiar collaborators and a tighter runtime. Reviews split: some call it energized and back-to-basics, others say it's more of the same—loud, fast, and unfocused. It's not reinvention. It's recalibration. So the question tonight is simple: is this the version where the chaos finally locks into something great—or just another spill?Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

On this episode of Sessions, we take our Planet Hulk discussion and push it through the machine—turning a long-form comic breakdown into a tight, synth-driven song. We strip the story down to its core: a monster exiled by people who feared him, only to become something bigger, louder, and impossible to ignore. Along the way, we pull from our own takes—the irony of the Illuminati's failure, the wrestling logic of forcing an unstoppable force to suffer, and the tragedy of a character who never wanted the crown in the first place. From arena battles to found family to betrayal from within, we translate conversation into rhythm, theme into hook, and analysis into something you can actually hear. This isn't just a recap—it's adaptation.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Robert Winfree joins Alexis Hejna from Honeysuckle Rose Creations to discuss one of the newest, and most unique, horror films to come out of A24 films. Let's listen very...very... carefully.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Here comes the bride... and there goes the audience. Alexis Hejna from Honeysuckle Rose Creations, Kat Scott, and Robert Winfree take a look at a modern-day adaptation of 'Bride of Frankenstein', mixed with a dash of 'Bonnie & Clyde', a dollop of 'Metropolis', and a heaping handful of sheer boredom (plus a look at the 2026 Oscars and our team's predictions). Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

German director Roland Emmerich built his reputation on spectacle—massive visual effects, global destruction, and mythic storytelling about the collapse and rebirth of civilizations. On this episode we examine Emmerich's career through three defining films: The Patriot, The Day After Tomorrow, and 2012. The Patriot cast Mel Gibson and Heath Ledger in a Revolutionary War epic developed after the success of Emmerich's 1990s blockbusters, combining large-scale battle production with historical drama and earning strong box office and Oscar attention. The Day After Tomorrow, starring Dennis Quaid and Jake Gyllenhaal, turned climate catastrophe into one of the 2000s' biggest disaster spectacles, grossing over $500 million worldwide. Emmerich doubled down with 2012, featuring John Cusack, Chiwetel Ejiofor, and Woody Harrelson, a massive $200 million production inspired by Mayan calendar apocalypse fears that earned nearly $800 million globally. Together these films show how Emmerich refined the modern disaster blockbuster—combining cutting-edge effects, global stakes, and mythic storytelling into a cinematic brand that still shapes big-budget spectacle today.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Grab a pint of cider and ready your shield, we're headed back to Westeros! Join Alexis Hejna from Honeysuckle Rose Creations, along with Andrew Orozco, as they look at the latest outing from George RR Martin and HBOMax. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Hoppers (2026) is an animated science-fiction comedy from Pixar Animation Studios and Walt Disney Pictures. Directed by Daniel Chong and written by Jesse Andrews, the film features voice performances from Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, and Dave Franco. The story centers on Mabel Tanaka, an animal lover whose mind is transferred into a lifelike robotic beaver so she can communicate with wildlife and stop the destruction of their habitat—accidentally sparking an animal uprising in the process. Chong began developing the project at Pixar in late 2020, with the film officially announced in August 2024 after six years of development. The score was composed by Mark Mothersbaugh, and SZA wrote and performed the end-credits song “Save the Day.” Hoppers premiered at the El Capitan Theatre on February 23, 2026, screened at the New York International Children's Film Festival on February 28, and opened in U.S. theaters on March 6. The film received positive reviews and has earned about $88 million worldwide, making it one of the year's top-grossing releases.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Damn You Hollywood, we turn our attention to the biggest night in movies with our annual Oscars Best Picture Survey. We'll break down all of this year's Best Picture nominees, looking at their development, performances, themes, and the industry momentum that carried them to the Academy's biggest category. Along the way, we'll talk about the films and performances that were left on the outside looking in, highlight the biggest surprises and snubs, and examine how studio politics, awards campaigns, and box office narratives shape the race. Finally, we'll put our reputations on the line and make our predictions across every major category—from acting and directing to screenplay, technical awards, and of course Best Picture. Who has the momentum, who's the dark horse, and which film will ultimately take home Oscar gold? Tune in as we break down the race before Hollywood crowns its winners.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Scream 7 (2026) is the seventh installment in the long-running slasher franchise and a direct sequel to Scream VI (2023). Directed by Kevin Williamson, who co-wrote the screenplay with Guy Busick from a story by Busick and James Vanderbilt, the film sees Neve Campbell return as Sidney Prescott alongside Jasmin Savoy Brown, Mason Gooding, David Arquette, Matthew Lillard, and Courteney Cox. New cast members include Isabel May, Anna Camp, Mckenna Grace, and Joel McHale. The story centers on a new Ghostface killer targeting Sidney's daughter.Originally set to be directed by Matt Bettinelli-Olpin and Tyler Gillett's successor Christopher Landon, the film underwent major creative changes following the departures of Melissa Barrera and Jenna Ortega. Williamson ultimately stepped in as director. Filming ran from January to March 2025. Released February 27, 2026, by Paramount Pictures, the film drew negative reviews but delivered the franchise's biggest opening weekend.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Robert Townsend is a filmmaker, actor, and independent architect of late-20th-century Black cinema who proved you didn't have to wait for permission from Hollywood to tell your own story. Frustrated by typecasting, he financed and co-wrote Hollywood Shuffle (1987) on credit cards, building a sketch-structured satire that exposed casting as economic coercion. Featuring early appearances from comedians like Keenen Ivory Wayans, it became a blueprint for media self-critique. With The Five Heartbeats (1991), Townsend shifted to music melodrama, chronicling the rise and exploitation of an R&B group; though modest at the box office, it became a generational cult classic about contracts, ego, and ownership. Then came The Meteor Man (1993), one of the first Black-directed superhero films, centering community empowerment over lone-wolf dominance. Across genres, Townsend's legacy is infrastructural: independence, authorship, and the fight to control the image.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Denzel Washington's rise to cultural dominance can be traced through three defining performances that showcase his evolution as both actor and box-office draw. In Glory (1989), directed by Edward Zwick, Washington's portrayal of Trip earned him the Academy Award for Best Supporting Actor and introduced him as a performer of raw intensity and emotional gravity. The film grossed over $26 million domestically on a modest budget and became a prestige historical staple. Just one year later, in Spike Lee's Mo' Better Blues (1990), Washington headlined opposite Wesley Snipes, anchoring a jazz drama aimed at adult urban audiences; while its box office was modest, it reinforced his leading-man charisma within Black cinema. By the time John Q (2002) arrived, Washington was a certified star. The film opened at number one and grossed over $100 million worldwide, tapping into working-class anxieties around healthcare. Across genres—historical epic, auteur drama, populist thriller—Washington proved bankable, award-winning, and culturally resonant, cementing his legacy as one of Hollywood's most durable and influential leading men.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Sessions, Radulich in Broadcasting Network steps away from film analysis and into confession. “Living Is the Sentence” was born from our deep dive into moral accountability and consequence — not as abstract theory, but as lived reality. Inspired by our review discussion of BoJack Horseman, this stripped-down recording explores what happens when self-awareness doesn't equal change, when survival isn't mercy, and when redemption never arrives. Performed in a late-era American folk style — sparse, intimate, and unflinching — this session leans into gravity over spectacle. No satire. No irony. Just testimony. This is Sessions: one voice, one guitar, and the weight of living long enough to answer for it.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Psycho Killer is a 2026 horror-thriller film directed by Gavin Polone in his feature directorial debut, and written by Andrew Kevin Walker. The film stars Georgina Campbell, James Preston Rogers, and Malcolm McDowell. The story follows a police officer on her mission to take down a serial killer known as "the Satanic Slasher" after he murdered her state trooper husband.Psycho Killer was released theatrically in the United States by 20th Century Studios on February 20, 2026. The film received negative reviews from critics and grossed $250,000 in its first day against a budget of less than $10 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Released between 2023 and 2024, The Book of Clarence, The American Society of Magical Negroes, and They Cloned Tyrone reflect a new wave of Black genre satire aimed squarely at millennial and Gen Z audiences fluent in trope critique and systemic analysis. Jeymes Samuel's The Book of Clarence, starring LaKeith Stanfield, reimagines biblical epic through a hustler's lens, blending hip-hop aesthetics with religious spectacle, though it struggled at the box office despite its ambition. Kobi Libii's Magical Negroes, led by Justice Smith, emerged from Sundance development and skewered corporate assimilation culture, generating more online debate than ticket sales. Meanwhile, Juel Taylor's They Cloned Tyrone, starring John Boyega, Teyonah Parris, and Jamie Foxx, found success on Netflix, merging Blaxploitation homage with paranoid sci-fi. Collectively, these films signal a cultural pivot: Black cinema interrogating myth, stereotype, and systemic control from within the genre machine itself.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Season 2 of Sports Night finds Aaron Sorkin's cult newsroom dramedy hitting its creative stride. Airing in 1999–2000 on ABC, the sophomore season deepens the tension between idealism and network interference as Casey McCall (Peter Krause) and Dan Rydell (Josh Charles) fight to preserve the integrity of their late-night highlight show. Felicity Huffman's Dana Whitaker continues to anchor the chaos as executive producer, balancing corporate pressure from the network's new ownership with loyalty to her staff.Behind the scenes, Sorkin pushed harder into serialized storytelling, moving away from the early laugh-track experiment and leaning into walk-and-talk dialogue, romantic entanglements, and ethical dilemmas about ratings, loyalty, and creative control. The season sharpens its critique of media consolidation while giving emotional weight to character arcs—especially Dana's authority, Natalie's growth, and Jeremy's insecurity. Smart, fast, and surprisingly heartfelt, Season 2 cements Sports Night as the blueprint for Sorkin's later triumphs.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Feel up for a trip to Vegas? Hope you're ready to fight Legionnaires, Deathclaws, and Elvis Impersonators! Alexis Hejna from Honeysuckle Rose Creations leads a discussion with Andrew Orozco and Kat Scott about season 2 of the hit Amazon show adapted from the post-apocalyptic video game series. Grab an ice-cold Nuka Cola and enjoy!Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Crime 101 is a 2026 crime thriller film written and directed by Bart Layton, based on the 2020 novella of the same name by Don Winslow. It stars Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, Nick Nolte, and Halle Berry.The film premiered in London on January 28, 2026, and was released in the United States by Amazon MGM Studios and internationally by Sony Pictures Releasing International on February 13, 2026. It received positive reviews from critics and has currently grossed $29.8 million worldwide on a budget of $90 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Fra Diavlo's Recipes for the Damned started as a joke — what if we made a death metal record where the lyrics were just someone reading a recipe? We couldn't lift actual recipes for copyright reasons, so instead we wrote original lyrics structured like instructions and twisted them into brutality. That's how you get titles like “Gnocchi Guillotine,” “Boil the Priest,” “Mince the Heretic,” and “Sous-Vide Sacrifice.” Because the AI took “death metal” literally, it leaned into classic genre tropes — anti-religion imagery, ritual sacrifice, damnation — so the kitchen becomes a cathedral of fire. “Béarnaise Bloodletting,” “Pan-Sear Damnation,” “Al Dente Execution,” even “Last Course: Cannibal Crème Brûlée” — it's culinary language weaponized. It's absurd, theatrical, and self-aware. That first record is where Fra Diavlo stopped being a bit and became a fully formed concept: cooking as ritual, metal as satire, dinner as damnation.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

On this Triple Feature we're looking at three comic-adjacent films—projects either adapted from graphic novels or conceived in that visual language: Oblivion, Snowpiercer, and The Fountain—each exploring memory, identity, and survival inside closed systems.Oblivion, directed by Joseph Kosinski and based on his unpublished graphic novel, follows Jack Harper, a drone repair technician stationed on a post-apocalyptic Earth after a war with alien “Scavs.” As he services automated defense machines from a sleek sky tower, he begins recovering fragmented memories that contradict the official narrative. A crash survivor and a band of human rebels force him to confront the truth: he's a clone sustaining an AI-controlled occupation.Snowpiercer, directed by Bong Joon-ho and adapted from the French graphic novel Le Transperceneige, is set aboard a perpetually moving train carrying the last survivors of a climate catastrophe. The rigid class hierarchy places the poor in the tail and elites in the front. Curtis leads a violent revolt through each car, exposing the brutal mechanics of engineered inequality.The Fountain, directed by Darren Aronofsky, interweaves three timelines—16th-century conquistador, modern scientist, and far-future space traveler—linked by a man's obsession with conquering death and saving the woman he loves. The film blends mysticism and science fiction into a meditation on mortality and acceptance.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Triple Feature, we look at three early hip-hop films that helped translate a Bronx-born movement to mainstream America: Krush Groove (1985), Beat Street (1984), and Disorderlies (1987). Krush Groove, directed by Michael Schultz, dramatizes the rise of Def Jam and stars Blair Underwood, Sheila E., Run-DMC, LL Cool J, and the Fat Boys. Beat Street, directed by Stan Lathan and produced by Harry Belafonte, focuses on breakdancing, DJ culture, and graffiti art in the South Bronx, starring Rae Dawn Chong and Guy Davis. Disorderlies, also directed by Schultz and released by Warner Bros., features the Fat Boys alongside Ralph Bellamy in a broad studio comedy. Together, these films capture hip-hop's early crossover moment—music, dance, style, and personality moving from local scene to national platform.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

It's time to play the music, it's time to light the lights, it's time to meet Alexis Hejna and Mark Radulich as they look at the 2026 revival of The Muppet Show! Will this special become a back-door pilot for a new wave of sketches, songs, and Miss Piggy trying desperately to get more time on stage? Let's get things started!Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

This week's triple feature looks at three recent streaming-era crime and action films built around law enforcement and men with guns. We start with The Rip, a Netflix crime thriller directed by Joe Carnahan, reuniting Matt Damon and Ben Affleck in a tense, paranoia-driven story inspired by the real-life Miami-Dade police scandal involving Captain Chris Casiano. While fictionalized, the film draws directly from true-crime anxieties about corruption, loyalty, and institutional breakdown, using star power and an ensemble cast to anchor its procedural tension.From Amazon Prime Video, The Wrecking Crew pairs Jason Momoa and Dave Bautista in a high-energy buddy-action film directed by Angel Manuel Soto. Designed squarely for streaming audiences, the film leans into chemistry, spectacle, and broad genre beats, prioritizing accessibility and momentum over realism or moral complexity.We round out with Roofman, a Paramount+ crime drama directed by Derek Cianfrance and starring Channing Tatum, based on a documented real-life criminal case. More restrained and character-focused, the film explores crime through themes of consequence, redemption, and ambiguity, offering a tonal counterpoint to the other two entries.Together, these films give us a useful lens on how modern streaming platforms approach crime stories, masculinity, and resolution.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Triple Feature, we're covering three football movies from the late '80s and '90s that approach the sport from very different angles: Varsity Blues, The Program, and Necessary Roughness.Varsity Blues, directed by Brian Robbins and written by W. Peter Iliff, was released in 1999, stars James Van Der Beek, Jon Voight, Paul Walker, and Scott Caan, and made about $54 million on a roughly $16 million budget. It's the small-town Texas football movie — pressure, injuries, and a tyrant coach — that became a cult staple.The Program, released in 1993, was directed by David S. Ward and stars James Caan, Omar Epps, Craig Sheffer, Kristy Swanson, and Halle Berry. It aimed for a darker, more realistic look at college football, steroids, and exploitation, grossing around $23 million and becoming best known for its controversies rather than its box office.And Necessary Roughness, from 1991, directed by Stan Dragoti, stars Scott Bakula, Robert Loggia, Sinbad, and Kathy Ireland. It's the disgraced-team rebuild comedy, made for about $13 million and earning roughly $25 million, and it helped codify a formula Hollywood would reuse endlessly.Three movies, three tones, three decades of football storytelling — let's get into it.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

It's time for another quest! Join Alexis Hejna from Honeysuckle Rose Creations and Sean Comer as they look at the second season of the hit adaptation of Rick Riordan's young-adult series. Let's talk cyclopses, guinea pigs, and whether or not fighting in the Streaming Wars puts you on the same level as an Argonaut.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Send Help is a 2026 American survival horror film produced and directed by Sam Raimi and written by Mark Swift and Damian Shannon. The film stars Rachel McAdams and Dylan O'Brien as an employee and her boss, respectively, who become stranded on a deserted island after a plane crash and attempt to survive while tension rises between them. Edyll Ismail, Xavier Samuel, Chris Pang, and Dennis Haysbert also star.Send Help premiered at the TCL Chinese Theatre in Los Angeles, California on January 21, 2026, and was released in the United States by 20th Century Studios on January 30, 2026. The film received positive reviews from critics, and has grossed $28 million against a $40 million production budget.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight's triple feature tracks the unlikely mainstreaming of one of American cinema's most hostile voices: John Waters. Born in Baltimore in 1946, Waters grew up inside the postwar, Greatest Generation moral order he would spend his career attacking—suburban respectability, sexual repression, and enforced normalcy. These three films mark his evolution from punishment to precision.Polyester (1981) is Waters' first real stab at the mainstream, a vicious parody of 1950s suburban melodrama starring Divine. Complete with Odorama scratch-and-sniff cards, it's less entertainment than indictment—cruel, confrontational, and openly contemptuous of middle-class virtue.By Hairspray (1988), Waters shifts strategy. Set in early-'60s Baltimore and starring Ricki Lake, the film uses classical filmmaking and musical structure to smuggle Waters' politics—body acceptance, integration, anti-bigotry—into a broad audience. It's his Trojan horse.Cry-Baby (1990) completes the arc. Starring Johnny Depp and notably lacking Divine, it reframes 1950s greaser culture with historical accuracy, restoring the era's sexual panic and moral hysteria that nostalgia like Grease erased. More coherent, more humane, and more mature, it's Waters finally understanding rather than punishing his past.You don't have to like John Waters—but these films matter because they remember American culture correctly.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Sessions, Mark Radulich and Jesse Starcher revisit the TV Party Tonight review of Too Old to Die Young, Nicolas Winding Refn's polarizing Amazon Prime series co-written with Ed Brubaker. Joined in that original discussion by Robert Winfree, the review became a long, winding, often exasperated examination of a show defined by extreme pacing, prolonged silence, stylized violence, and an almost confrontational rejection of traditional television storytelling.In this episode of Sessions, Mark and Jesse look back at that conversation—not to re-litigate the show, but to transform it. Using AI tools like Suno and ChatGPT, they take the tone, themes, jokes, frustration, and philosophical detours from the original podcast and compress them into music. What emerges is a song shaped by endurance, absurdity, dark humor, and the strange experience of sitting with a work that refuses to meet its audience halfway.This is Sessions: old conversations, new forms, and art distilled through sound.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Mercy is a 2026 American science fiction action thriller film directed by Timur Bekmambetov, written by Marco van Belle, and produced by Charles Roven and Bekmambetov. The film stars Chris Pratt, Rebecca Ferguson, Kali Reis, Annabelle Wallis, Chris Sullivan, and Kylie Rogers.Mercy was released in the United States by Amazon MGM Studios on January 23, 2026. The film received negative reviews from critics.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Triple Feature, Mark Radulich and Chae Tate dig into three very different—but deeply connected—rock musicals: Rock of Ages, Tommy, and Jesus Christ Superstar. On the surface, these movies couldn't be more different: an ‘80s jukebox fantasy built around arena-rock nostalgia, a surreal and abrasive rock opera about trauma and worship, and a countercultural retelling of the Passion filtered through late-60s skepticism and sound. But together, they trace the evolution of rock as both rebellion and product.The conversation looks at how Tommy and Jesus Christ Superstar treat belief, authority, and charisma seriously—even uncomfortably—while Rock of Ages repackages rebellion into something glossy, ironic, and audience-affirming. Radulich and Tate explore how rock music moved from a confrontational force challenging institutions to a safe, self-aware nostalgia engine, and what gets lost when subversion becomes branding. It's a discussion about spectacle, sincerity, commercialization, and whether rock musicals can still say something dangerous—or if they're now just selling the feeling that they once did.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

We're heading into the Upside Down one last time to discuss the final season of the hit Netflix series, "Stranger Things". Grab your flare gun, your Peanut Butter Boppers, and join Alexis Hejna from Honeysuckle Rose Creations and Jesse Starcher to get ready for the ultimate showdown!Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

They say 'it' comes up every 27 years to feast on the fear of those in Derry, Maine. So let's take a trip back before the 2017 film, back to 1962, as we watch a new batch of kids try to survive Pennywise the Dancing Clown. Alexis Hejna from Honeysuckle Rose Creations joins Jesse Starcher and Benjamin Colon as they look at the HBO series that acts as a love letter to everything we love about Stephen King.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

28 Years Later: The Bone Temple is a 2026 post-apocalyptic horror film directed by Nia DaCosta and written by Alex Garland. It was shot back-to-back with its predecessor 28 Years Later (2025), and serves as the fourth installment overall in the 28 Days Later film series. The film stars Ralph Fiennes, Jack O'Connell, Alfie Williams, Erin Kellyman, and Chi Lewis-Parry.28 Years Later: The Bone Temple was released by Sony Pictures Releasing through its Columbia Pictures label in the United Kingdom on 13 January 2026, as part of a double bill with its predecessor, with the film being individually released the following day on 14 January. It was released in the United States on 16 January 2026, and received generally positive reviews from critics. The film has grossed $31.2 million worldwide, making it the second-highest-grossing film of 2026.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on On Trial, Mark Radulich and Jesse Starcher put two divorces in the dock: Danny DeVito's The War of the Roses (1989) vs. Jay Roach's pseudo-remake The Roses (2025). DeVito's film—adapted from Warren Adler's 1981 novel, scripted by Michael J. Leeson and produced by James L. Brooks and Arnon Milchan—reunites Romancing the Stone stars Michael Douglas and Kathleen Turner, with DeVito as the couple's lawyer. A pitch-black farce of marital escalation, it cost about $26M and grossed about $160M worldwide. Roach and writer Tony McNamara retool the premise for modern resentment: Benedict Cumberbatch and Olivia Colman, plus Allison Janney, Kate McKinnon, Andy Samberg, and Ncuti Gatwa, as careers invert and the gloves come off. Released Aug. 29, 2025, it opened around $6.3M domestically and has earned about $15.3M in the U.S./Canada on an estimated $35M budget. We break down what each version keeps, what it softens, and whether satire or therapy-era realism lands harder in 2026Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Bamboozled is a 2000 American satirical black comedy-drama film written and directed by Spike Lee about a modern televised minstrel show featuring black actors donning blackface makeup and the resulting violent fallout from the show's success. It features an ensemble cast including Damon Wayans, Jada Pinkett Smith, Savion Glover, Tommy Davidson, and Michael Rapaport.The film was given a limited release by New Line Cinema during the fall of 2000 and was released on DVD the following year. Critical reception was mixed,[3][4] and the film was unsuccessful financially, becoming a box office bomb. Despite its initial reception, Bamboozled later achieved cult film status for its satirical look at stereotypical depictions of black people in both historical and contemporary American film and television productions, and, in 2023, was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Sports Night is an American half-hour comedy-drama centered on a fictional cable sports news program of the same name. Season 1 premiered on ABC on September 22, 1998, following the creative staff as they navigate friendships, romantic entanglements, and ethical dilemmas while producing a nightly broadcast under constant network pressure. Created by Aaron Sorkin and produced by Imagine Television and Touchstone Television, the first season established the show's fast, dialogue-driven style and tension between journalistic integrity and ratings demands.The ensemble cast includes Robert Guillaume as managing editor Isaac Jaffe, Felicity Huffman as executive producer Dana Whitaker, Peter Krause as anchor Casey McCall, Josh Charles as co-anchor Dan Rydell, Sabrina Lloyd as senior associate producer Natalie Hurley, and Joshua Malina as associate producer Jeremy Goodwin. Recurring guest roles in season one featured William H. Macy as ratings consultant Sam Donovan and Brenda Strong as rival producer Sally Sasser.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

This week's Triple Feature explores obsession, mythmaking, and the stories we tell ourselves to survive meaning. In Bugonia, Yorgos Lanthimos pushes paranoia and control to absurd extremes, turning conspiracy thinking into a darkly comic examination of power, belief, and the human need for order. Marty Supreme reframes the sports biopic as myth, using a fictionalized portrait to explore masculinity, performance, and the cost of obsession rather than historical accuracy. And Hamnet strips narrative down to grief itself, focusing not on Shakespeare's legacy, but on the quiet emotional devastation that precedes it. Together, these films interrogate how identity is constructed — through delusion, ambition, or loss — and ask whether meaning is something we uncover, invent, or cling to when reality refuses to cooperate.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

White House Plumbers is an American satirical political drama television miniseries created and written by Alex Gregory and Peter Huyck and directed by David Mandel, based on the 2007 book Integrity by Egil Krogh and Matthew Krogh. The series stars Woody Harrelson, Justin Theroux, Domhnall Gleeson, Kiernan Shipka, and Lena Headey and it premiered on HBO on May 1, 2023.Watergate masterminds and President Richard Nixon's political operatives E. Howard Hunt and G. Gordon Liddy are part of the "White House Plumbers". Charged with plugging press leaks by any means necessary, they accidentally overturned the Presidency they were trying to protect.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight's Triple Feature looks at John Hughes from three angles, across three years, and three very different fantasies of adolescence. We begin with Weird Science, a fairy tale disguised as a teen sex comedy, where a mythical helper arrives not to grant wishes, but to correct insecurity and force growth. From there we move to Sixteen Candles, Hughes' most raw and uncomfortable film, where neglect, entitlement, and boomer blind spots collide in a story that often loses sight of its supposed protagonist. We close with Ferris Bueller's Day Off, Hughes' most polished and mature work of the trio—a mythic daydream about escape, rebellion, and consequence, where Ferris is the fantasy but Cameron carries the emotional weight. Together, these films chart Hughes' evolution as a writer, his complicated relationship with authority, and his shifting ideas about what it means to grow up. Whether you see Ferris as liberator, Lisa as guardian spirit, or Hughes himself as an unresolved boomer working through old wounds, this triple feature gives us plenty to unpack.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Wake Up Dead Man (marketed as Wake Up Dead Man: A Knives Out Mystery) is a 2025 American mystery film written and directed by Rian Johnson. It is the third film in the Knives Out series. It stars Daniel Craig, who reprises his role as master detective Benoit Blanc. The ensemble cast also includes Josh O'Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, and Thomas Haden Church.The film had its world premiere at the Toronto International Film Festival on September 6, 2025, and was released in select theaters on November 26, before streaming on Netflix on December 12. Like its predecessors, it received generally positive reviews, with most praise for the performances, in particular those of Craig and O'Connor.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Damn You Hollywood, we close the book on 2025 with our annual Year in Review — the good, the bad, and the animated. We count down our Top 10 films of the year, endure our Bottom 5 cinematic disasters, and spotlight the Best 5 Animated Films, where craft, imagination, and risk still seem to matter.Once the autopsy is complete, we turn our attention forward. What does 2026 look like on paper? Which projects feel like genuine events, which smell like studio obligation, and which are quietly flying under the radar? We sort through the release calendar, argue about hype versus substance, and lock in the films we'll be reviewing next year.Awards season positioning, franchise fatigue, original swings, animation's quiet resurgence — it's all on the table. One last look back, one clear-eyed look ahead, and absolutely no mercy for bad movies.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight's triple feature looks at a very specific corner of modern prestige filmmaking: Netflix as patron of adult drama, literary seriousness as cover, and awards viability as the quiet horizon. Jay Kelly, Train Dreams, and A House of Dynamite aren't united by genre or tone—they're united by intent.Train Dreams, adapted from Denis Johnson's novella, arrives pre-validated by literature, favoring memory, mood, and interiority over conventional narrative drive. Its restraint, casting choices, and visual language are calibrated for seriousness, festivals first and awards second. Jay Kelly occupies the character-study lane—films built around lived-in performances and social environments rather than plot mechanics, relying on actors who can suggest entire lives with minimal exposition. A House of Dynamite fits Netflix's newer pattern: ambiguity as a feature, not a bug—projects that provoke discussion without ideological hand-holding, often breaking through via critics' groups or screenplay recognition.The through-line is simple: Netflix is betting that seriousness still carries cultural capital. These films aren't chasing mass audiences—they're chasing legitimacy. Whether that turns into Oscar nominations isn't just about quality; it's a test of whether the awards ecosystem still recognizes quiet ambition in a noise-driven industry.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59