Podcasts about Triple Feature

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 

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 

Today I am joined by Jaz Vianey, and we are talking about three animated versions of The Hunchback of Notre Dame! None of which are Disney, and this isn't even half of the animated versions out there...Follow Jaz Online!Instagram: https://www.instagram.com/animationdreamerThreads: https://www.threads.com/@animationdreamerLetterboxd: https://letterboxd.com/jazvianeyTikTok: https://www.tiktok.com/@jazvianeyI Heart Animation - Episode 252For links to my latest episodes, all my podcasts, and other social media, check out my Link Tree! ⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/jonjnorth⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For bonus episodes, extended episodes, and more, sign up for my Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/jonjnorth⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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 

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 

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 

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 

Posting this recording from a few weeks ago where I disucss 3 Mario Bava films. Black Sabbath, Rabid Dogs aka Kidnapped, and Shock.

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 

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 

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 

This week we are diving into the third dimension alongside Wit from the Another '80s Podcast as we chat about Exhumed Films' 3D Spectacular event held LIVE at the Colonial Theatre. That's right, it's a jampacked TRIPLE FEATURE with Metalstorm: The Destruction of Jared-Syn, Spacehunter: Adventures in the Forbidden Zone, and Starchaser: The Legend of Orin, all presented in their original 35mm format and all in 3D. Will the fellas survive the intergalactic trip through the stroboscopic gimmick or will their eyes be blasted into space dust as they focus on a rock that looks REALLY CLOSE. Tune in to find out!

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 

Episode 104 is here pals! It's "Match of the Week" 'Triple-Header'  time w/ our friend of the show from across the pond, Richard of Video Plant - chattin' three absolutely fantastic, chock-full-of-heart matches in each of their own ways! A lovely chat is had all about the matches (& my illustrations of said matches) of the following. Go Shiozaki vs Akitoshi Saito from Saito's 2024 swan-song run in Pro Wrestling NOAH, a true Lucha classic in Hijo Del Santo vs Blue Panther taking place in 2001 CMLL Japan & one of the greatest tag matches I have ever seen in the 'Indie-Sleaze-Dream-Team' of Hayabusa & Jinsei Shinzaki vs The Holy Demon Army of Toshiaki Kawada & Akira Taue in late 90s All Japan!In my 'World of Chris-Things' intro monologue I talk our upcoming Cult Lucha Screening of 'Santo vs. The Mummies of Guanajuato' THIS SUNDAY NIGHT at Netherworld, an absolutely lovely Lucha Fantastica 'Love Battle' event this past weekend in Melbourne & an extra-special rant about the gentrification of CMLL. Oh boy!Thank you so much for joining me Richard! I had the best time!! Everyone be sure to be following Richard's @Video.Plant for all of the coolest cult cinema & VHS collecting goodness.Enjoy!!Check out the Chris Things Match of the Week illustrations in question here: M.O.T.W. 112: Go Shiozaki vs. Akitoshi SaitoM.O.T.W. 113: Hijo Del Santo vs. Blue PantherM.O.T.W. 114: Hayabusa & Jinsei Shinzaki vs. The Holy Demon Army of Toshiaki Kawada & Akira TaueChrisThings.com.au is the place for original art, prints, calendars & much more!Follow us on Instagram: @ChrisThings, @Video.Plant @SocialSuplexFollow us on Twitter: @ChrisThings, @SocialSuplexLike us on Facebook: https://www.facebook.com/SocialSuplex/Join our Discord: https://discord.gg/QUaJfaCVisit our website for news, columns, and podcasts: https://socialsuplex.com/Join the Social Suplex community Facebook Group: The Wrestling (Squared) CircleWrestling-Art with Chris Things is the Pro-Wrestling Art niche Podcast of the Social Suplex Podcast Network. Support the Social Podcast Network by leaving a rating and review on Apple Podcasts.Support this podcast at — https://redcircle.com/social-suplex-podcast-network/donationsAdvertising Inquiries: Contact Chris TodayPrivacy & Opt-Out: https://redcircle.com/privacySupport this podcast at — https://redcircle.com/social-suplex-podcast-network/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode 104 is here pals! It's "Match of the Week" 'Triple-Header'  time w/ our friend of the show from across the pond, Richard of Video Plant - chattin' three absolutely fantastic, chock-full-of-heart matches in each of their own ways! A lovely chat is had all about the matches (& my illustrations of said matches) of the following. Go Shiozaki vs Akitoshi Saito from Saito's 2024 swan-song run in Pro Wrestling NOAH, a true Lucha classic in Hijo Del Santo vs Blue Panther taking place in 2001 CMLL Japan & one of the greatest tag matches I have ever seen in the 'Indie-Sleaze-Dream-Team' of Hayabusa & Jinsei Shinzaki vs The Holy Demon Army of Toshiaki Kawada & Akira Taue in late 90s All Japan!In my 'World of Chris-Things' intro monologue I talk our upcoming Cult Lucha Screening of 'Santo vs. The Mummies of Guanajuato' THIS SUNDAY NIGHT at Netherworld, an absolutely lovely Lucha Fantastica 'Love Battle' event this past weekend in Melbourne & an extra-special rant about the gentrification of CMLL. Oh boy!Thank you so much for joining me Richard! I had the best time!! Everyone be sure to be following Richard's @Video.Plant for all of the coolest cult cinema & VHS collecting goodness.Enjoy!!Check out the Chris Things Match of the Week illustrations in question here: M.O.T.W. 112: Go Shiozaki vs. Akitoshi SaitoM.O.T.W. 113: Hijo Del Santo vs. Blue PantherM.O.T.W. 114: Hayabusa & Jinsei Shinzaki vs. The Holy Demon Army of Toshiaki Kawada & Akira TaueChrisThings.com.au is the place for original art, prints, calendars & much more!Follow us on Instagram: @ChrisThings, @Video.Plant @SocialSuplexFollow us on Twitter: @ChrisThings, @SocialSuplexLike us on Facebook: https://www.facebook.com/SocialSuplex/Join our Discord: https://discord.gg/QUaJfaCVisit our website for news, columns, and podcasts: https://socialsuplex.com/Join the Social Suplex community Facebook Group: The Wrestling (Squared) CircleWrestling-Art with Chris Things is the Pro-Wrestling Art niche Podcast of the Social Suplex Podcast Network. Support the Social Podcast Network by leaving a rating and review on Apple Podcasts.Support this podcast at — https://redcircle.com/social-suplex-podcast-network/donationsAdvertising Inquiries: Contact Chris TodayPrivacy & Opt-Out: https://redcircle.com/privacySupport this podcast at — https://redcircle.com/wrestling-art-with-chris-things/donations

Friday means 5-Star Movie Reviews with Andy Peth, and this week delivers a bold triple feature that spans dystopian AI, zombie horror, and anime-inspired revenge. Andy opens with Good Luck, Have Fun, Don't Die, a bizarre, near-future warning about artificial intelligence run amok. While Andy praises Sam Rockwell's brilliant, manic performance and stunning CGI payoff, he doesn't hold back on calling out its flaws. Next up is Cold Storage, where a space fungus turns humans into zombies. Andy highlights solid pacing, fun gross-out effects, and a reliable action turn from Liam Neeson, but Andy can't give it 5 stars. Find out why. The hour wraps with Scarlet, a visually striking anime reimagining of Hamlet featuring a warrior princess caught between vengeance and forgiveness. Andy applauds the epic scale, villain, and emotional weight, but criticizes its heavy-handed pacifist messaging and talky middle. This film will spark debates long after the credits have rolled. The result? Which one, if any are worth your time? Andy breaks it all down. Movie Review Timestamps * 13:35 — Good Luck, Have Fun, Don't Die * 25:56 — Cold Storage * 37:36 — Scarlet HOUR 2 Hour 2 opens with sharp energy as John, Andy, and Richard dive into what went wrong with a Super Bowl that felt more flat than fierce. Was it elite defense—or just an uncompetitive mismatch? And can one brutal game permanently rattle a young quarterback? From there, the conversation pivots into pop culture, Super Bowl commercials, and the bigger question: why does Hollywood feel so uninspired right now? Where did the great romantic comedies go? Why do movies feel longer, heavier, and less fun? Andy argues that weak writing, preachy messaging, and the disappearance of true comedy are draining entertainment of its joy. Then the mood flips. The crew launches into a Valentine's-themed love-song segment packed with movie memories, nostalgia, listener calls, and playful banter. Which songs still hit emotionally? Which movies defined romance for an entire generation? And can classic storytelling—whether in music or film—still connect when modern Hollywood seems to miss the mark? It's funny, opinionated, nostalgic, and unexpectedly revealing. One hour, big questions—about sports, culture, creativity, and what we've lost along the way.

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 

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 

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 

You know that moment when the room doesn't change, exactly… but you do? A joke lands a little sideways, a silence settles in, and your brain starts doing that ridiculous math where staying feels safer than leaving—even when every part of you is quietly screaming, “Go.” That's the engine of this month's Sitting in the Dark, as Pete Wright sits down with Tommy Metz III, Chelsea Stardust, and Kynan Dias to unpack “Overstayed”: three films built around the fear of the open door you don't walk through.They start with Karyn Kusama's The Invitation, a dinner party that weaponizes politeness, history, and that stubborn desire to not be the first person to say what everyone's thinking. From there, they pivot to David Bruckner's The Night House, where the trap isn't social pressure—it's grief, isolation, and a house that seems to rearrange itself into meaning when you're not looking. And then there's Damien McCarthy's Caveat, a movie that takes the idea of being “stuck” and makes it aggressively literal, daring you to decide whether you're watching realism… or a fable with teeth.Along the way, the conversation keeps circling one question: what is it in us that wants answers more than safety? It's a theme that feels uncomfortably familiar—and the kind of horror that lingers because it doesn't ask what you'd do in a haunted house. It asks what you'd do at a party, in a marriage, in a moment where the cost of being wrong feels higher than the cost of staying.Featured FilmsTonight's Triple Feature:1 - Apple TV | Amazon | Letterboxd2 - Apple TV | Amazon | Letterboxd3 - Apple TV | Amazon | Letterboxd

On January 18,  2026, the entire Colony Drop crew headed to our local movie theater for Gundam Premiere Night - a night which promised not one film, not a double feature, but an ultra rare TRIPLE FEATURE of Gundam films.  With popcorn in hand, we watched all three offerings: MSG Iron Blooded Orphans Urdr-Hunt: Path of the Little Challenger, MSG Iron Blooded Orphans Wedge of Interposition, and Gundam Wing: Endless Waltz.  Since Endless Waltz is a classic and no one in their right mind could dislike Wedge of Interposition, we spend most of this episode discussing Urdr-Hunt.  We discuss Sunrise's penchant lately for putting its DVD extras at the beginning of the film, Wistario Afam's quest to create Las Venus, wives snoring, mobile armor's having PTSD, the  identity of Lord N, the real color of Orga's suit, Sunrise's animation capability, and just what the hell Wufei was doing.  Plus, Brian finally learns how to watch Gundam Wing!

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 

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 

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 

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 

This episode features a streaming-era Christmas triple feature examining how modern holiday films handle conflict, resentment, and emotional labor: Oh. What. Fun., A Merry Little Ex-Mas, and Jingle Bell Heist.Oh. What. Fun. was released by Prime Video in 2024 as a holiday comedy aimed at adult audiences, with a cast led by established, middle-aged performers and a narrative centered on maternal burnout and invisible labor. Critical reception was mixed to negative, with reviewers divided on tone, though some praised its willingness to depict flawed, resentful characters.A Merry Little Ex-Mas, a 2024 Netflix original rom-com, targets millennial and Gen Z viewers fluent in therapy culture, featuring a recognizable streaming-friendly cast and a Christmas setting built around emotional reconciliation. Critics largely noted its heavy reliance on therapy-speak and safe conflict resolution, resulting in lukewarm aggregate scores.Jingle Bell Heist, also released by Netflix in 2024, leans into the holiday caper genre, combining romance with a Christmas Eve robbery plot and a younger, internationally marketable cast. Reviews were mixed but slightly more favorable than typical seasonal filler, and the film performed well in Netflix's global streaming charts despite modest critic scores.Together, these films offer a snapshot of how streaming platforms shape modern holiday storytelling.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 a quick Friday Triple Feature episode of The Week In IndyCar podcast! TOPICS: RLL lawsuit, FIA Super License points, and the Independent Officiating Board! NEW show stickers and retro racing memorabilia: ThePruettStore.com EVERY episode is graciously supported by the Justice Brothers and TorontoMotorsports.com. If you'd like to join the PrueDay podcast listener group, send an email to pruedayrocks@gmail.com and you'll be invited to participate in the Discord chat that takes place every day and meet up with your new family at IndyCar events. Play on Podbean.com: https://marshallpruett.podbean.com/ Subscribe: https://marshallpruettpodcast.com/subscribe Join our Facebook Group: https://www.facebook.com/MarshallPruettPodcast [WTI]

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Tonight's triple feature embraces the exact kind of weird that makes cinema fun. We open with Christmas Chaos! — a meta-documentary about the fictional StabaClaus franchise, built from chaotic behind-the-scenes lore and cast interviews. We're doing it at Kathleen Benton's request since she appears in the film, and if someone you know is in a piece of indie Christmas madness, you screen it.From there, we dive straight into Troma: Tromeo and Juliet and Frankenhooker. These aren't just cult films — they're punk cinema at full blast. Gleeful, grotesque, DIY to the bone, and totally uninterested in prestige respectability.Together, the three films form an accidental masterclass in joyful trash: fake slasher mythology, Shakespeare rewritten by lunatics, and a man who builds the perfect woman out of spare parts. A perfect Troma Christmas.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 we'll hear three short stories about the wonders and horrors that lie beyond the safety of our home world.   Red Moon Written by Avenging Angel   Warm Skin, Cold Heart Author unknown   Lunar Outpost 27B Author unknown   These stories can be found on creepypasta.fandom.com, and are protected by creative commons license.

Relive the episode where Brian and Shelly share their picks for a Christmas Evil triple feature including Rare Exports, Whoever Slew Auntie Roo and Black Christmas

Something Wicked this way comes as Dana, Steve, and guest host Dan Kois gather round their proverbial cauldrons for an all-movie edition of the Gabfest. First up, of course, is Wicked: For Good the green/pink-hued conclusion to the alternative history of Oz. This sequel, which reunites Cynthia Erivo and Ariana Grande as witch besties/mortal enemies, goes to surprisingly dark places. Next, they discuss Train Dreams, the contemplative and grandeur-filled adaptation of Denis Johnson's novella directed by Clint Bentley. Finally, they sit down for a long, rich conversation between friends in Peter Hujar's Day, a chamber piece by Ira Sachs about art, friendship, and how much can happen in a single day. In our bonus episode for Slate Plus subscribers, Julia hops on the call to continue our recap series of Pluribus. The hosts get into all the details of Pluribus episode 5 “Got Milk.” We're still taking submissions for our call-in show. If you've got a burning cultural question or topic you'd like our hosts to tackle, call and leave us a message at:  347-201-2397 Endorsements: Dan: Matching Minds with Sondheim by Barry Joseph, a whole book about Stephen Sondheim's love of puzzles. Steve: The jazz album Mal/4 by Mal Waldron Trio and Tim (Let it Bleed Edition) by the Replacements. Dana: The Broadway production of Waiting for Godot that reunites none other than Bill and Ted with stars Keanu Reeves and Alex Winter. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Something Wicked this way comes as Dana, Steve, and guest host Dan Kois gather round their proverbial cauldrons for an all-movie edition of the Gabfest. First up, of course, is Wicked: For Good the green/pink-hued conclusion to the alternative history of Oz. This sequel, which reunites Cynthia Erivo and Ariana Grande as witch besties/mortal enemies, goes to surprisingly dark places. Next, they discuss Train Dreams, the contemplative and grandeur-filled adaptation of Denis Johnson's novella directed by Clint Bentley. Finally, they sit down for a long, rich conversation between friends in Peter Hujar's Day, a chamber piece by Ira Sachs about art, friendship, and how much can happen in a single day. In our bonus episode for Slate Plus subscribers, Julia hops on the call to continue our recap series of Pluribus. The hosts get into all the details of Pluribus episode 5 “Got Milk.” We're still taking submissions for our call-in show. If you've got a burning cultural question or topic you'd like our hosts to tackle, call and leave us a message at:  347-201-2397 Endorsements: Dan: Matching Minds with Sondheim by Barry Joseph, a whole book about Stephen Sondheim's love of puzzles. Steve: The jazz album Mal/4 by Mal Waldron Trio and Tim (Let it Bleed Edition) by the Replacements. Dana: The Broadway production of Waiting for Godot that reunites none other than Bill and Ted with stars Keanu Reeves and Alex Winter. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's Triple Feature—Showgirls, Striptease, Hustlers—tracks 30 years of America wrestling with sex, money, and power. Showgirls (1995) is Verhoeven's neon nuclear satire, the American Dream as a Vegas buzzsaw. Striptease (1996) shifts to Florida grime, looking and feeling like Road House with a pole—sweaty bars, corrupt politics, and Demi Moore surviving a world rigged against single moms. By 2019, Hustlers flips the script: Ramona and her crew turn the strip club into a recession-era hustle, treating sex work as labor and revenge on Wall Street. Different decades, different aesthetics, same spine: women navigating systems built by men and reshaped by money.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 

Jonathan Lynn isn't a household name, but his precision reshaped film comedy. A Cambridge satirist before Hollywood, he built jokes like arguments—logic first, chaos second. “Clue” (1985) was a $15M ensemble farce with three valid endings, a box-office flop that became a cult classic and a film-school staple. “My Cousin Vinny” (1992) turned courtroom procedure into character comedy; its $11M budget became a $64M hit, earning Marisa Tomei an Oscar and a permanent place in law-school curricula. “Trial and Error” (1997), a $25M legal farce with Jeff Daniels, Michael Richards, and early Charlize Theron, underperformed but became a cable favorite. Together, these films show Lynn's gift: ordinary people stumbling through rigid systems, revealing the absurdity underneath. In 2025, when studio comedy leans on improv and noise, Lynn's structured, intelligent approach feels like a lost art—proof that smart comedy still matters.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 Peak Schwarzenegger — three films that aren't tied to franchises, sequels, or shared universes, yet define the essence of Arnold at the height of his cultural power.Commando (1985) is the pure, concentrated version of the 80s one-man-army fantasy — a comic book made of gun smoke, muscle, and one-liners.Last Action Hero (1993) shifts the frame, turning Schwarzenegger into both icon and commentary — a meta-text where the action hero confronts his own mythology, clichés, and limits.And True Lies (1994) marks the fully-evolved form: Cameron-scale spectacle, domestic farce, spy thriller, and movie-star charisma operating at maximum output.Taken together, these three films trace the arc of the American action hero: from invincible, to self-aware, to cinematic legend.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 diving into the gothic playground of Tim Burton — a director whose fingerprints are carved deep into American pop culture. From Edward Scissorhands, Burton's bittersweet suburban fairy tale about isolation and artistry, to Mars Attacks!, his anarchic send-up of mid-century sci-fi and political hubris, and finally Dark Shadows, his nostalgic monster mash of style over sincerity — this lineup traces the arc of a filmmaker both trapped and liberated by his own aesthetic. It's a look at how Burton went from misunderstood romantic to self-parody, and how, even now, his best work still feels like the dream of an outcast who never quite came 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 

Happy Halloween! Allan straps James down and forces him to watch a triple bill of his favorite North American slasher films: Just Before Dawn (1981), Happy Birthday to Me (1981), and Slumber Party Massacre 2 (1987). Twitter: @CinemaShame Bsky: @cinemashame.bsky.social Instagram: @CinemaShamePodcast

Frankenstein (1931) Dr. Henry Frankenstein is obsessed with assembling a living being from parts of several exhumed corpses. The Invisible Man (1933) A scientist finds a way to become invisible, but in doing so becomes murderously insane. The Wolf Man (1941) Upon his return to his father's estate, aristocrat Larry Talbot meets a beautiful woman, attends a mystical carnival and uncovers a horrifying curse. On this week's episode… Join the crew as we celebrate Halloween by discussing 3 absolutely classic Universal monster movies! Show Notes: Housekeeping (6:00) Back of the Box/Recommendations (13:10) Spoiler Warning/Full Review: (20:30) Rotten Tomatoes (56:58) Trivia (1:03:40) Back of the Box/Recommendations (1:11:58) Spoiler Warning/Full Review: (1:16:25) Rotten Tomatoes (1:47:40) Trivia (1:54:05) Back of the Box/Recommendations (1:58:30) Spoiler Warning/Full Review: (2:04:20) Rotten Tomatoes (2:43:23) Trivia (2:47:22) Cooter of the Week (2:53:51) Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

It's a big one! We're covering not one, not two, but THREE movies in one jam-packed episode. The Cherry Lane trilogy has finally hit Hallmark Channel — and we've got all your festive feels covered with Seasons Greetings from Cherry Lane, Happy Holidays from Cherry Lane, and Deck the Halls on Cherry Lane Watch the show on Youtube - www.deckthehallmark.com/youtubeInterested in advertising on the show? Email bran@deckthehallmark.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Darren Aronofsky's films are about the body as battlefield — craving, decaying, reaching for redemption and collapsing under its weight. Requiem for a Dream (2000) is addiction as apocalypse, a symphony of repetition and ruin powered by Ellen Burstyn's tragic hunger for fame. The Wrestler (2008) trades chaos for quiet despair, with Mickey Rourke's washed-up hero chasing applause like a drug — a portrait of broken masculinity and fading glory. The Whale (2022) completes the cycle: Brendan Fraser's Charlie seeks forgiveness through reconnection with his daughter, eating himself alive to prove he still feels. Across all three, Aronofsky obsesses over self-destruction and the impossible longing to be seen again — by God, by the crowd, or by one's own child. His cinema is a study in human ruin: brutal, sacred, and endlessly reaching for grace.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 keep Tim Lammers for two segments because there is a lot to get to - the new Bruce Springsteen biopic featuring Jeremy Allen White, Netflix's Frankenstein and a Tim Burton mini series!

Tonight's triple feature charts the modern musical's evolution from stage grandeur to cinematic intimacy. Les Misérables (2012), long trapped in development, found redemption under Tom Hooper's live-sung realism, winning three Oscars and redefining the genre's emotional rawness. The Phantom of the Opera (2004), Andrew Lloyd Webber's own adaptation directed by Joel Schumacher, preserved the opulent theatricality of its 1986 hit, trading subtlety for spectacle and box office success. Tim Burton's Sweeney Todd (2007) stripped Sondheim's operatic dread to its bones—industrial London rendered in blood and ash, with Johnny Depp's haunted performance earning two Oscars. Together they form a triptych of obsession and redemption—three wounded men seeking salvation through music, their worlds collapsing between faith, art, and violence. From the barricades to the opera house to Fleet Street, these films trace the death of theatrical innocence and the last roar of the sung confession.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 our Florida Creature Triple Feature, discussing the history and context of three hidden gems in Florida horror cinema: Two Thousand Maniacs! (1964), Frogs (1972), and Ghost Story (1981). We talk about the changing genre through the 20th century, the various sub-genres that emerged, and the fascinating ways that Florida communities embraced the films created in their hometowns.   A number of free special effects were used in the creation of the WFMP 960 radio signal. You can see the original source and authors for the effects at the links below. Inserting casette into tape deck by Robinhood76 Tape Start 139BPM Sync by djilprojects Reel to reel machine start stop close very spin up Radio changing channels by Bbpianoholic   Pick up your copy of FLORIDA! right here! Thank you to Chelsea Rice for her incredible design of our logo! Follow Chelsea on Instagram here!   Besides the above effects, all the music was originally composed.

We are officially in Halloween

Disney Parks Podcast Show #890- Disney New For The Week Of September 08, 2025 In today's show, we have news about Updates on Tropical Americas at Disney’s Animal Kingdom, El Capitan Theatre Hosting a Triple Feature for the Release of Tron Ares, and so much more on today's Disney Parks Podcast. The post Disney Parks Podcast Show #890- Disney New For The Week Of September 08, 2025 appeared first on Disney Parks Podcast.