Podcast appearances and mentions of mark radulich

Everyone to the kitchen for one last time! Mark Radulich joins Alexis Hejna from Honeysuckle Rose Creations to look at the final season of the award-winning FX series, "The Bear. Prep the brussel sprouts, don't forget the raspberries, and remember, every second counts.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 review the live-action remake of Moana. Released by Walt Disney Studios Motion Pictures on July 10, 2026, the film adapts Disney's acclaimed 2016 animated hit and marks the first live-action entry in the franchise. Directed by Thomas Kail in his feature film debut from a screenplay by Jared Bush and Dana Ledoux Miller, the film stars Catherine Laga'aia as Moana alongside Dwayne Johnson, who reprises his role as Maui while also serving as a producer. Returning as Tamatoa is Jemaine Clement, with Rena Owen, John Tui, and Frankie Adams rounding out the cast. Disney first began exploring the remake in 2019 before officially announcing it in 2023 as part of its continued live-action strategy during the company's centennial celebration. Produced on a reported $200–250 million budget and filmed in both Hawaii and Atlanta, the project also carries personal significance for Johnson, who has described Maui and the story's Polynesian heritage as a tribute to his culture and his late grandfather, High Chief Peter Maivia.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 the Metal Hammer of Doom we are reviewing Tarja - *Frisson Noir*, the long-awaited return to full-fledged symphonic metal from the former Nightwish vocalist. After spending the better part of seven years exploring orchestral projects, Christmas albums, live recordings, and collaborations, Tarja returns with what she has described as the heaviest album of her solo career. Featuring guest appearances from Marko Hietala, Dani Filth, Apocalyptica, and even Red Hot Chili Peppers drummer Chad Smith, *Frisson Noir* aims to blend crushing guitars, cinematic orchestration, and Tarja's unmistakable operatic voice into an ambitious modern metal statement. Having followed Tarja's solo career for years—from *The Shadow Self* through *From Spirits and Ghosts* and *Dark Christmas*—we revisit one of symphonic metal's most distinctive artists to find out whether this latest effort finally delivers on the promise of pairing her extraordinary vocal talents with songwriting and production worthy of them. Does *Frisson Noir* represent a triumphant return to form, or is it another beautiful performance searching for stronger material? We discuss all that and more on this edition of the Metal Hammer of Doom.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 TV Party Tonight we are reviewing K Street, Steven Soderbergh's ambitious 2003 HBO experiment that blurred the line between fiction and reality long before audiences were ready for it. Set inside a bipartisan Washington lobbying firm, K Street combines fictional characters with real political operatives, including James Carville, Mary Matalin, Howard Dean, Chuck Schumer, and dozens of other familiar faces, all reacting to the political news of the week through largely improvised dialogue. We'll discuss how Soderbergh's guerrilla filmmaking style created one of television's most unusual political dramas, why the conversations between actors and real politicians feel so radically different, and how the series has transformed from an overlooked curiosity into a fascinating time capsule of pre-social media Washington. Is K Street a failed drama, an experimental documentary, or one of the most unique political television series ever produced? Join us as we revisit one of HBO's boldest and strangest forgotten series.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 review Minions & Monsters (2026), the latest entry in Illumination's billion-dollar franchise and the seventh film overall in the Despicable Me series. Directed by Pierre Coffin and written by Coffin and Brian Lynch, the film features the familiar Minions alongside a voice cast that includes Trey Parker, Allison Janney, Christoph Waltz, Jesse Eisenberg, Jeff Bridges, Zoey Deutch, Bobby Moynihan, and Phil LaMarr. Set in 1927—more than four decades before the events of the first Minions film—the story follows Kevin, Stuart, Bob, and the gang as they head to Old Hollywood with dreams of making their own monster movie. Since the first Minions surprised us with an unexpectedly thoughtful story about purpose, belonging, and finding something larger than oneself to serve, and The Rise of Gru shifted toward a lighter coming-of-age adventure, the question becomes whether this latest prequel recaptures the philosophical weight of the original or settles for slapstick and spectacle. We'll break down the story, animation, performances, themes, and where Minions & Monsters ranks within Illumination's remarkably successful franchise.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, we sail back to 2022—a year when my personal life was coming apart, my creative world was under siege, and a simple review of The Northman became something much bigger. What started as a movie podcast evolved into a three-hour conversation about friendship, creativity, courage, and what happens when living communities slowly become institutions."We Were Northmen" isn't really about Vikings. It's about brotherhood. It's about the halls we build together and how they don't always fall to outside enemies. Sometimes they're hollowed out from within by fear, bureaucracy, and the relentless desire to make everything safer, quieter, and easier to control. Inspired by the speed and ferocity of melodic extreme metal and the sweeping grandeur of Nordic folk traditions, this song transforms one chapter of my podcasting history into a saga of longships, burning kingdoms, ravens, and weary warriors who remember a time when the fire burned brighter.Some stories deserve to be told as essays. Others deserve to be sung over thunderous drums with hammers in hand. Tonight, we remember who we were.We Were Northmen.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 

6 humans find themselves trapped in a digital world with no clear way to escape. What secrets lay hidden in the Digital Circus, and will they ever get back to the real world? Find out as we take a look at the webseries that took the world by storm. Alexis Hejna from Honeysuckle Rose Creations and Jesse Starcher discuss the adventures, the abstractions, and just what made this series from Glitch Productions stand out.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 

Supergirl is a 2026 superhero film based on the DC Comics character, directed by Craig Gillespie from a screenplay by Ana Nogueira. Produced by DC Studios' James Gunn and Peter Safran, it is the second theatrical entry in the new DC Universe (DCU). Milly Alcock stars as Kara Zor-El alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, and Jason Momoa. Adapted from Tom King and Bilquis Evely's acclaimed Supergirl: Woman of Tomorrow, the film follows Kara on a galaxy-spanning quest for vengeance that ultimately forces her to confront grief, justice, and her own identity. A standalone Supergirl project had been in development during the DC Extended Universe era after Sasha Calle's debut in The Flash (2023), but Gunn and Safran rebooted the concept following their appointment as co-heads of DC Studios in 2022. Filmed in England and Scotland during early 2025, Supergirl premiered in Brooklyn on June 22, 2026, opened nationwide on June 26 as part of DCU Chapter One: Gods and Monsters, received mixed reviews from critics, and has grossed approximately $63 million worldwide to date.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 more Marvel Fanfare! Ed and Evan have joined me for another fun issue, we get a fun story centered around the Jade Giant himself, The Hulk! Not one but two villains, and a circus as well! The Hulk shows us how to eat hot dogs, plus a back up story featuring some fantastic art! As usual, if you'd like to leave any feedback for the show, you can do so through email at Magazinesandmonsters@gmail.com or to me on Twitter @Billyd_licious on Instagram @magazinesandmonsters, on BlueSky @docstrange or on the show's FB page (just search Magazines and Monsters). Evan can be found on twitter @evan_bevins and at his fun blog asterisk51.blogspot.com! And on the Source Material podcast with Jesse Starcher and with Mark Radulich on his network as well! You can find Ed on most social media sites @tealproductions and currently on the Superman Supershow and Comic Book Supershow, cohosting with Steeven Orr. Ed also has a huge back catalog of podcasts such as…The Mighty Thorcast, Ronin Rabbit, Newsprint Commando, Lords of Order (Dr Fate), among others! Thanks for listening!

This week on Damn You Hollywood, we're heading back to the toy box one more time with Toy Story 5. Directed by Pixar veteran Andrew Stanton, the latest installment reunites Woody, Buzz, Jessie, and the gang for a new adventure centered around Bonnie's growing attachment to a tablet named Lilypad. Set two years after Toy Story 4, the film explores the increasingly familiar tension between traditional play and modern technology, asking what role toys have in a world dominated by screens.Returning voice cast members Tom Hanks, Tim Allen, and Joan Cusack are joined by newcomers Greta Lee, Conan O'Brien, Craig Robinson, Shelby Rabara, Scarlett Spears, and Mykal-Michelle Harris. With Randy Newman back to compose the score and Pixar once again bringing its trademark visual polish, Toy Story 5 arrives carrying the weight of one of animation's most beloved franchises.But after the seemingly definitive endings of both Toy Story 3 and Toy Story 4, does this sequel justify its existence? Is there still something meaningful left to say about identity, purpose, childhood, and growing up? Or is this another example of Disney's increasingly aggressive reliance on familiar brands and established intellectual property? Join us as we discuss the latest chapter in Pixar's flagship franchise, its themes, its place within the larger series, and whether the toys still have one more story worth telling.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 TV Party Tonight, we wrap up our retrospective on Aaron Sorkin's The Newsroom with a look at Seasons 2 and 3, where the series shifts from an idealistic defense of journalism to a critique of its failures. Season 2 centers on the Genoa scandal, a disastrous report alleging the U.S. military used sarin gas in Afghanistan. Inspired by CNN's real-life Operation Tailwind controversy, the storyline explores confirmation bias, source reliability, and the dangers of reporters becoming too invested in a narrative they want to be true. We discuss whether the season's conspiracy-driven plot ultimately undermines its message and why Maggie's Africa storyline remains one of the show's most emotionally powerful arcs.Season 3 turns its attention to the Boston Marathon bombing, citizen journalism, whistleblowers, and government secrecy. As Neal Sampat becomes entangled in a Snowden-era leak and Will McAvoy faces jail rather than betray a source, The Newsroom asks whether journalistic principles can survive in an age of social media, corporate ownership, and political pressure.Join us on our journey to Memphis.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 

Steven Spielberg returns to one of the defining obsessions of his career with Disclosure Day, a science-fiction thriller inspired by modern UFO disclosure debates and decades of speculation about extraterrestrial life. Written by longtime Spielberg collaborator David Koepp from a story Spielberg reportedly carried with him for years, the film stars Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo in a story about government secrecy, hidden truths, and humanity's first official reckoning with the reality of alien contact.Released on June 12, 2026, Disclosure Day has been praised by critics for its ambition, performances, and Spielberg's trademark sense of wonder, while generating a far more divided reaction among audiences. Is the confirmation that aliens exist still the earth-shattering revelation it once was, or has popular culture spent the last eighty years preparing us for that moment? In this episode, we discuss whether Spielberg's latest film is a hopeful meditation on truth and humanity's place in the universe, or a story built around a revelation that no longer carries the dramatic weight it did in the era of Close Encounters of the Third Kind. Join us as we break down the film, its themes, its cultural relevance, and whether Disclosure Day arrived at exactly the wrong moment in history.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 Pride Month, Damn You Hollywood examines three acclaimed queer films from very different worlds: Dallas Buyers Club (2013), Cassandro (2023), and Solo (2023). We explore how each project came together, from the long development of Craig Borten and Melisa Wallack's Oscar-winning AIDS drama, to Roger Ross Williams' adaptation of the real-life lucha libre legend Cassandro, to Sophie Dupuis' intimate Canadian drama set in Montreal's drag scene. We'll discuss the casting of Matthew McConaughey, Jared Leto, Gael García Bernal, Théodore Pellerin and Félix Maritaud, the directing choices that shaped each film, and how production realities influenced the stories that ultimately reached the screen.Beyond the behind-the-scenes history, we'll examine the critical and commercial reception of all three films. Why did Dallas Buyers Club become an awards-season powerhouse despite modest box office expectations? Why was Cassandro celebrated by critics yet largely bypassed by mainstream audiences? Why did Solo earn festival acclaim while remaining relatively unknown outside cinephile circles? We'll also tackle the controversies and criticisms surrounding each film, including historical accuracy, representation debates, narrative choices, and the challenges of bringing LGBTQ stories to wider audiences. Join us as we look beyond Pride Month labels and evaluate these films as works of cinema, business ventures, and cultural artifacts.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 

Spider-Noir is an American neo-noir superhero series developed by Oren Uziel for MGM+ and Prime Video. Based on Marvel Comics featuring the character Spider-Man Noir, the series follows an aging private investigator and superhero in 1930s New York City who grapples with his past. Uziel and Steve Lightfoot serve as the showrunners of the series, which is produced by Sony Pictures Television in association with Amazon MGM Studios. It is set in an alternate universe within the Sony's Spider-Man Universe (SSU) franchise. Nicolas Cage stars as Ben Reilly / The Spider in his first lead role in a television series, with Lamorne Morris, Li Jun Li, Karen Rodriguez, Abraham Popoola, Jack Huston, and Brendan Gleeson also starring.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 review Masters of the Universe! Based on Mattel's iconic franchise, this 2026 fantasy adventure marks the long-awaited return of He-Man to the big screen, nearly forty years after the cult-classic 1987 film. Directed by Travis Knight and starring Nicholas Galitzine as Prince Adam/He-Man, the film follows Adam's journey back to Eternia, where he must embrace his destiny, wield the Power Sword, and defend his world from the sinister Skeletor, played by Jared Leto. Featuring a cast that includes Camila Mendes, Alison Brie, Morena Baccarin, Kristen Wiig, and Idris Elba, the film blends sword-and-sorcery action, science-fiction spectacle, and classic 1980s nostalgia. After a troubled development process that bounced between studios for over a decade, Masters of the Universe finally arrives in theaters. Did Amazon MGM successfully bring Eternia to life, or should this franchise have remained in Castle Grayskull? Join us as we break it all down on Damn You Hollywood!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 the Long Road to Ruin, we look back at Grease and Grease 2! One of the most successful movie musicals ever made spawned one of Hollywood's most infamous sequels, and we're breaking down how it happened. We examine Grease as both a beloved coming-of-age romance and a 1970s nostalgia machine, exploring how a rough-edged stage musical evolved into a polished cinematic fantasy of 1950s adolescence. Then we shift gears into Grease 2, a sequel that kept the leather jackets, motorcycles, Pink Ladies, and T-Birds but seemingly lost the magic that made the original a cultural phenomenon. Was Grease 2 truly the disaster its reputation suggests, or was it simply misunderstood? Join us as we discuss the music, performances, production history, themes of identity and belonging, the economics of sequels, and why one film became a timeless classic while the other became a cautionary tale of franchise filmmaking. Grab your leather jacket and join us at Rydell High!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 TV Party Tonight, we're reviewing Season 5 of The Boys, the fifth and final chapter of Eric Kripke's satirical superhero saga based on the comic by Garth Ennis and Darick Robertson. Produced by Amazon MGM Studios and Sony Pictures Television, the season brings back Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Karen Fukuhara, Chace Crawford, Laz Alonso, and the rest of the core cast, with Daveed Diggs joining the ensemble. As Homelander tightens his grip on America and seeks the original Compound V formula that could make him effectively immortal, Billy Butcher and The Boys unite for one final mission, armed with a virus capable of wiping out every Supe on Earth. Premiering on Prime Video in April 2026 and concluding in May, the season earned generally favorable reviews for its action, performances, social commentary, humor, and emotional payoff, though some critics cited pacing issues and a lack of focus. Tonight, we'll see if the finale sticks the landing.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 

Few actors have embodied obsession, corruption, guilt, and authority quite like Harvey Keitel. In this Triple Feature actor focus, we examine three defining performances across three decades of filmmaking: The Duellists (1977), Bad Lieutenant (1992), and Cop Land (1997). From Ridley Scott's visually stunning debut feature, where Keitel plays a Napoleonic officer consumed by honor and vengeance, to Abel Ferrara's infamous portrait of addiction, moral collapse, and redemption in Bad Lieutenant, to James Mangold's examination of loyalty, corruption, and institutional decay in Cop Land, these films showcase the remarkable range and intensity that made Keitel one of the essential actors of the New Hollywood generation. Along the way, we'll discuss masculinity, power, violence, faith, police culture, and the evolution of American cinema from the 1970s through the 1990s. Join Mark Radulich and company as they explore three unforgettable films connected by one of the most compelling screen presences of the last fifty years.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're reviewing Star Wars: The Mandalorian and Grogu, the first theatrical Star Wars film since The Rise of Skywalker and the cinematic continuation of the hit Disney+ series. Directed by Jon Favreau and co-written with Dave Filoni and Noah Kloor, the film follows Din Djarin and Grogu as they work with the New Republic to rescue Rotta the Hutt while uncovering new Imperial threats in the fractured post-Empire galaxy. Pedro Pascal returns alongside Sigourney Weaver, Jeremy Allen White, and Jonny Coyne, with Ludwig Göransson once again handling the score. Originally conceived as The Mandalorian Season 4 before the Hollywood strikes and Lucasfilm's pivot back toward theatrical releases, the film represents Disney's attempt to transform streaming-era Star Wars back into event cinema. Mixed critical reactions have praised Pascal and Göransson while questioning whether the series' episodic DNA fully translates to the big screen.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 the Metal Hammer of Doom, Mark Radulich and Jesse Starcher review Empty Hands, the latest album from Poppy. Once dismissed as an internet-art curiosity built on surreal YouTube performance pieces and synthetic pop aesthetics, Poppy has evolved into one of the more fascinating figures in modern heavy music. Empty Hands pushes deeper into industrial metal, metalcore, glitch electronics, and emotionally raw songwriting, blending crushing riffs and breakdowns with hyper-polished hooks and digital-age anxiety. Produced by Jordan Fish (formerly of Bring Me the Horizon), the album explores identity collapse, emotional exhaustion, fame, alienation, and the cost of living inside algorithmic culture. Is this Poppy's strongest statement yet, or another example of modern genre mashups substituting style for substance? We break down the music, themes, performances, and where Empty Hands fits in the evolving landscape of contemporary metal.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 

Sessions returns to one of the strongest conversations in the Radulich in Broadcasting Network archive: the Jupiter's Legacy review with Robert Winfree. What begins as a discussion of a Netflix superhero series becomes a sharper debate about power, restraint, morality, and the terrifying question at the center of the whole thing: if people don't agree with what those in power are doing, who could stop them? The show frames that conflict through Sheldon and Walter, two men arguing over whether power should be limited by principle or used to reshape the world. From there, the conversation expands into modern anxiety about oligarchs, sealed files, private justice, public decay, and systems that no longer seem answerable to anyone. The result is “WHO COULD STOP US?”, an industrial rock track built like propaganda music for a collapsing empire: mechanical, confrontational, danceable, and paranoid in all the right ways. This is what Sessions is for—not recap, but extraction. Find the argument. Turn it into a song.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 diving into three 2026 streaming-era genre swings: Mike & Nick & Nick & Alice, Pretty Lethal, and Thrash. On paper, each one has the kind of premise that sells itself before the movie even starts: gangsters, romance, crime, and time travel; ballerinas forced into violent survival mode; and a hurricane-flooded coastal town where sharks are suddenly part of the disaster plan. But that is also the problem. These are not old-fashioned star vehicles or theatrical events. They are premise-first movies built for the thumbnail age, where the logline has to do most of the work. So the question tonight is not simply whether these movies are good or bad. It's whether the modern streaming B-movie still has personality, danger, and invention — or whether it has become a content slot wearing the skin of exploitation cinema. Are these sharp little genre machines, disposable algorithm bait, or proof that dumb fun still has a pulse? Gangsters, ballerinas, hurricane sharks — the algorithm wants blood.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 

Justified: City Primeval is an American neo-Western crime drama television miniseries developed by showrunners Dave Andron and Michael Dinner. The series continues the story from Justified taking inspiration from the Elmore Leonard novel City Primeval: High Noon in Detroit and short story "Fire in the Hole". Timothy Olyphant returns to star as Deputy U.S. Marshal Raylan Givens, with Paul Calderón also reprising his role as Detective Raymond Cruz from the 1998 crime comedy film Out of Sight, a film adaptation of Leonard's 1996 novel of the same name. A world premiere was held on June 1, 2023, at the 12th ATX Television Festival, and the series premiered on FX on July 18, 2023, with back-to-back episodes. It received generally positive 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 

On this episode of Damn You Hollywood, Robert Winfree, Jason Teasley and Mark Radulich review Mortal Kombat II (2026), the long-awaited sequel to the 2021 reboot based on the legendary video game franchise created by Ed Boon and John Tobias. Directed by Simon McQuoid and written by Jeremy Slater, the film brings back Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks, Lewis Tan, Joe Taslim and Hiroyuki Sanada, while adding Karl Urban as fan-favorite Johnny Cage alongside Adeline Rudolph as Kitana, Martyn Ford as Shao Kahn and Tati Gabrielle as Jade. This time the actual Mortal Kombat tournament takes center stage as Raiden's Earthrealm warriors battle Outworld for the fate of humanity. Does the sequel finally deliver the crowd-pleasing martial arts spectacle fans wanted, or is it just another CGI-heavy nostalgia machine? We break it all down.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 Comic Stripped we head to Antarctica to compare Greg Rucka and Steve Lieber's acclaimed indie noir graphic novel Whiteout with the 2009 film adaptation starring Kate Beckinsale. Originally published by Oni Press, Whiteout helped define the late-90s crime-comic boom with its blend of procedural mystery, environmental horror, and psychological isolation. But when Warner Bros. brought the story to theaters, the material was reshaped into a glossy late-2000s action thriller. We examine what was gained, what was lost, and why Hollywood often sands down strange, atmospheric stories into familiar formulas. From Carrie Stetko as a grounded, damaged professional to Antarctica itself functioning as a character, we break down adaptation choices, industry economics, noir storytelling, and whether Whiteout was simply ahead of its time.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 TV Party Tonight, Jesse and Mark revisit Season One of HBO's The Newsroom, Aaron Sorkin's cable news drama that premiered June 24, 2012. Starring Jeff Daniels as anchor Will McAvoy, the series follows the staff of fictional network ACN as they attempt to produce serious journalism inside a system driven by ratings, corporate pressure, and personal dysfunction. Featuring Emily Mortimer, Olivia Munn, Sam Waterston, Dev Patel, Alison Pill, John Gallagher Jr., and Thomas Sadoski, the show blends newsroom chaos with Sorkin's signature rapid-fire dialogue and moral grandstanding. Critics praised the performances—Daniels won an Emmy—and the ambition of the series, while others criticized its smug tone, hindsight politics, and lecture-heavy writing. More than a decade later, The Newsroom remains a fascinating time capsule of the early 2010s media landscape and the growing battle between journalism, entertainment, and outrage culture.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 

Three very different 2026 releases, one shared question: what does modern genre filmmaking actually produce anymore? Amazon's The Bluff, directed by Frank E. Flowers and produced by the Russo Brothers, was built as a global star vehicle for Priyanka Chopra—an efficient pirate revenge story designed for streaming scale. Netflix countered with War Machine, Patrick Hughes' $80M military sci-fi spectacle starring Alan Ritchson, originally intended for theaters but ultimately optimized for worldwide engagement, pulling Predator-style structure into algorithm-friendly action. And then there's Good Luck, Have Fun, Don't Die—Gore Verbinski's first film in nearly a decade, a long-gestating, director-driven sci-fi comedy led by Sam Rockwell, released theatrically and drawing attention as a rare original swing in a franchise-heavy market. Together, these films sparked conversation not just about content, but about process—three models of development, distribution, and authorship colliding in real time.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 

Three takes on lava-driven disaster, each reflecting its moment in Hollywood. In 1997, Dante's Peak (directed by Roger Donaldson, starring Pierce Brosnan and Linda Hamilton) leaned on scientific realism and modest character drama, earning solid box office returns and a reputation as the more grounded of the twin volcano films. That same year, Volcano (Mick Jackson, with Tommy Lee Jones and Anne Heche) went bigger and more chaotic, dropping lava into Los Angeles for a spectacle-first hit that performed well commercially and remains a cable staple. By 2003, The Core (Jon Amiel, starring Aaron Eckhart, Hilary Swank, and Stanley Tucci) pushed the concept to its extreme—less lava, more planetary meltdown—failing at the box office but gaining cult status for its ambition. Together, they chart lava's evolution from scientific threat to cinematic excess.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 

Apex (2026) is a survival action thriller directed by Baltasar Kormákur and written by Jeremy Robbins, starring Charlize Theron, Taron Egerton, and Eric Bana. Released on Netflix on April 24, 2026, the film follows a rock climber pushed to her limits in the wilderness—only to find herself hunted by a man who turns survival into sport. What begins as isolation and endurance quickly becomes a brutal cat-and-mouse chase.Netflix acquired the project in 2024, with production led by Ian Bryce and Chernin Entertainment. Theron not only stars but produces alongside Dawn Olmstead, AJ Dix, and Beth Kono, with Kormákur also producing through RVK Productions. Egerton joined the cast in late 2024, followed by Bana in early 2025, rounding out a tight, performance-driven thriller built on tension, terrain, and pure survival instinct.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 

For this edition of Sessions, we're taking one of the most honest conversations we've ever had on the Radulich in Broadcasting Network and turning it into something heavier, louder, and harder to ignore.Coming out of our discussion on The Boys Season 3, what started as a breakdown of superheroes and spectacle quickly became something else entirely—a raw examination of masculinity, responsibility, and the quiet rules men are expected to live by. Not the version you see on social media. The real one. The one that says: get up, go to work, handle your business, no matter how you feel.“That's What Men Do” isn't a parody. It's not a gimmick. It's a direct translation of that moment—of frustration, of conviction, of lived experience—into a blue-collar Southern rock/metal anthem. Built from the language we actually used on that show, this track leans into repetition, pressure, and identity, capturing the idea that strength is expected, but rarely explained.Musically, we're sitting somewhere between the dusty, grounded storytelling of Cracker and the aggressive, groove-heavy punch of Hellyeah—keeping one foot in alt-country grit and the other in controlled chaos.This is Sessions: where conversation becomes composition.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 

There's no Brendan Fraser or Boris Karloff, just a sarcophagus and some pure unstoppable terror from the director of 'Evil Dead Rise'. Alexis Hejna from Honeysuckle Rose Creations joins Robert Winfree to take a look at what will surely go down as one of the most intense horror 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 on The IndySiders we're talking WrestleMania 42: two nights in Vegas that felt like two entirely different shows stitched together. Night 1 leans into overproduction—ads everywhere, celebrity spots, short matches, and finishes that feel more like content than competition—while Night 2 pivots back toward actual wrestling, letting matches breathe with clearer stakes and stronger pacing. The whiplash is the story: one night feels like a corporate media product designed to monetize attention, the other like a traditional WrestleMania trying to deliver payoff. What you end up with isn't just a split card, but a split identity—WWE caught between being a brand showcase and a wrestling company, and not always able to reconcile the two.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 

Irreversible, Baise-moi, and Trouble Every Day dives into the New French Extremity—films that reject comfort and weaponize the body. Gaspar Noé's Irreversible (2002), starring Monica Bellucci and Vincent Cassel, uses reverse chronology, long takes, and disorienting camerawork to turn violence into an inescapable experience; its Cannes premiere sparked walkouts and lasting debate over form and ethics. Baise-moi (2000), directed by Virginie Despentes and Coralie Trinh Thi and starring Raffaëla Anderson and Karen Bach, blends punk rage with exploitation aesthetics, igniting censorship battles over its explicit sex and violence while challenging gender power dynamics. Claire Denis' Trouble Every Day (2001), with Béatrice Dalle and Vincent Gallo, reframes desire as pathology through slow, arthouse horror. Once reviled, now studied, these films remain confrontational landmarks.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 

Happy! is a black comedy action series based on Grant Morrison and Darick Robertson's four-issue graphic novel, with Brian Taylor directing most of its early run. It premiered on Syfy in December 2017 to strong reviews (81% on Rotten Tomatoes, 65 on Metacritic) and paired Christopher Meloni's self-destructive hitman Nick Sax with Patton Oswalt's relentlessly optimistic imaginary unicorn. Season 1 works because it's tight—an ultra-violent Christmas redemption story grounded in trauma, fatherhood, and the intrusion of hope. Renewed quickly, Season 2 expanded into bigger mythology and louder chaos, but lost the precision that made the premise hit. The result is a show built like a miniseries stretched into escalation. Cancelled in June 2019 just after Season 2 aired, Happy! ends not with resolution, but with a concept that outgrew its own design.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 

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 

This episode of GenX Wasteland dives into the unique collision of pop culture overload and the lingering effects of latchkey childhoods that defined a generation raised with independence, isolation, and endless 80s/90s media as both escape and emotional outlet. I can't think of anyone better for this grunge odyssey than Mark Radulich. We explore how constant consumption of movies, music, and reboots can fuel burnout while simultaneously reopening old wounds from an era of minimal parental oversight and maximum self-reliance. Through raw Gen X perspective, the conversation unpacks resilience, nostalgia, and why today's endless streaming cycle hits different for those who grew up with MTV scarcity and mixtape therapy. More on Mark: https://linktr.ee/markkind76 Get The Occult Elvis: https://amzn.to/4jnTjE4 Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Gnostic Tarot Readings: https://thegodabovegod.com/gnostic-tarot-reading/ The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288 Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.