Podcasts about Triple Feature

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

Solltet ihr diese Podcast-Folge beim Joggen hören, dann habe ich grandiose Nachrichten: Heute wird auch bei uns sehr viel gerannt! Natürlich nur im übertragenen Sinne, denn Filmpodcaster auf dem Laufband will nun wirklich keiner mit anhören. Dann würde man die ganzen „ähms“ unter dem Gestöhne ja gar nicht mehr verstehen. Für uns ziehen dafür heute die Laufschuhe an: Arnold Schwarzenegger in der Version von 1987, Glen Powell in der aktuellen Kinofassung und Jörg Plewa in der deutschen Skandalvariante von 1970. Wer kommt am frischesten über die Ziellinie und wem geht schnell die Puste aus, erfahrt es in der 305. Episode der Kinotagesstätte! Viel Spaß beim Reinhören! Timecodes: 00:00:00 Intro 00:05:31 Das Millionenspiel (1970) 00:30:39 The Running Man (1987) 00:45:28 The Running Man (2025) 01:20:42 Ende

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 

Heidiho Welt, das heutige Trio hat neben zwei kleinen Filmen und der Fortsetzung zu "Black Phone" auch ein passendes Triple-Feature im Programm. Beim Klassiker waren sich alle einig: Der perfekt inszenierte „Die Nacht des Jägers“ von 1955 war seiner Zeit weit voraus. Doch konnte er auch als Film mit einer guten Geschichte überzeugen? In dieser Hinsicht herrschte beim aktuellen Werk „A House of Dynamite“ Einigkeit – ein Film, der hervorragend zum aktuellen Zeitgeist passt. Bei „Springsteen: Deliver Me from Nowhere“ sind sich dann schließlich alle einig. Was das bedeutet? Findet es am besten selbst heraus ;) Wie immer gilt: bleibt gesund und spoilerfrei!

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

Tonight's Triple Feature is a director spotlight on Michael Mann, a filmmaker who has built his career around professionals under pressure and the costs of living by codes.We begin with Ferrari (2023) — a film Mann spent decades trying to make. Starring Adam Driver as Enzo Ferrari, the movie takes place in the summer of 1957, when Ferrari's company was facing bankruptcy, his marriage was crumbling, and the infamous Mille Miglia race loomed large. It's not just a biopic but a portrait of obsession: the relentless drive to build something lasting, even as personal and public tragedies pile up.From there we move to Heat (1995), Mann's defining crime epic. Al Pacino plays Vincent Hanna, an LAPD detective, while Robert De Niro plays Neil McCauley, a career thief. Both men are at the top of their respective crafts, and both are consumed by their work to the point of personal ruin. The film's legacy is monumental—praised for its authenticity, its attention to detail in portraying criminal life, and of course, the first face-to-face meeting of Pacino and De Niro on screen.Finally, we close with Collateral (2004), a lean, modern thriller shot largely on digital cameras when that technology was still new. Tom Cruise plays Vincent, a contract killer who hires Jamie Foxx's cab driver, Max, to ferry him around Los Angeles during a night of assassinations. It's a film about chance encounters, moral choices, and the ways ordinary lives are disrupted by the professional ruthlessness of others.Together, these films illustrate Mann's enduring obsessions: characters defined by their craft, stories where professionalism is both armor and curse, and worlds where the pursuit of excellence isolates people from human connection. Whether it's a race car mogul, a master thief, or a contract killer, Michael Mann's protagonists live—and often die—by the codes they set for themselves.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 peel back more than just plot—this episode explores how each film was built, the bold choices behind them, and what makes them tick both on screen and in the cutting room.First, Sinners, the ambitious 2025 hybrid of Southern Gothic horror, musical, and supernatural thriller from Ryan Coogler. Coogler not only directed but wrote and produced, putting this deeply personal project through his Proximity Media banner. It was rumored to have sparked a fierce studio bidding war early on. The film was shot over spring and summer 2024 on location in Louisiana, and it pushed technical boundaries by being shot on 65 mm film—including IMAX 15-perf and Ultra Panavision 70 formats—allowing Coogler and cinematographer Autumn Durald Arkapaw to shift between widescreen and immersive aspect ratios. Coogler also consulted real-life twins to help Michael B. Jordan ground his dual roles—Smoke and Stack—with distinct emotional and physical nuances. The production even reused costumes originally designed for Blade after that project shifted direction, thanks to designer Ruth E. Carter.Sinners is more than a genre film: it's built with weight, history, and intention, demanding you think about racially charged myth, redemption, and community as much as it scares you.Next up is Drop, directed by Christopher Landon and co-written by Jillian Jacobs & Chris Roach. On paper, it's a taut thriller: a widowed mother on her first date in years suddenly receives chilling anonymous messages via “DigiDrop” threatening the lives of her son and sister unless she follows orders—including committing murder. But behind that premise, the film draws from a real-life anxiety: the idea of unexpected AirDrops in public spaces. Production began in Ireland in April 2024, and the movie's contained setting (almost entirely within a restaurant and tied intimately to a digital device) turned constraint into tension. The director even explained that the final act's identity reveal and pivot underwent dramatic changes deep into post-production. The villain behind “Let's Play” commands the narrative with digital terror—a modern twist on classic “phone call from nowhere” horror tactics.Lastly, Echo Valley brings us out of the city and into Pennsylvania farmland, where Julianne Moore plays a horse trainer whose life becomes entwined with the state of her daughter, played by Sydney Sweeney. The screenplay, penned by Brad Ingelsby, layers in addiction, familial secrets, and the quiet violence that festers in isolated communities. Moore anchors the emotional ground, imbuing her character with both grief and steely resolve, while Sweeney provides the restless, volatile counterpart. The tension in Echo Valley often breathes through landscape and silence—what's not said becomes as dangerous as what is. The film has been praised for allowing Moore and Sweeney to take the emotional reins and carry scenes with minimal exposition, trusting the actors and the visuals to convey the weight.Three films. Three different modes of storytelling: Sinners with its genre-bending ambition and technical daring; Drop with its high-concept, digital-age suspense and careful spatial design; Echo Valley with its character-driven brood and sense of place. All three ask us to lean in—not just watch, but feel the mechanics behind them. Strap in.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 brings together three wildly different but thematically connected films: Happy Gilmore 2, Heads of State, and The Thursday Murder Club. Netflix leads with Happy Gilmore 2, directed by Craig Gillespie (I, Tonya) and marking Adam Sandler's return to his most iconic role in a sequel that blends nostalgia with heart. Amazon Prime counters with Heads of State, an action-comedy from Ilya Naishuller (Nobody) starring John Cena and Idris Elba as unlikely political partners, mixing campaign satire with explosive buddy-movie energy. Rounding things out is Netflix's adaptation of Richard Osman's bestseller The Thursday Murder Club, helmed by Chris Columbus and headlined by Helen Mirren, Pierce Brosnan, and Ben Kingsley in what looks to be the start of a cozy-crime franchise. Critics call Happy Gilmore 2 a fun if uneven revival, Heads of State a brash but entertaining streaming-era crowd-pleaser, and The Thursday Murder Club charming and faithful, if leisurely paced. Together, these films explore the comedy and drama of second chances and reinvention—whether it's Sandler's aging golfer taking another swing, Cena and Elba finding common ground in chaos, or a group of retirees proving that friendship and wit never go out of style.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 

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.

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.

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.

Tonight's triple feature is about bodies turned into currency — fought over, driven to the edge, and sculpted into impossible ideals.We open with Queen of the Ring — Ash Avildsen's new biopic of Mildred Burke, starring Emily Bett Rickards. Burke wasn't just a wrestler, she was the first million-dollar female athlete, the longest-reigning women's world champion, and a single mother who forced her way into a sport that didn't want her. Rickards trained with real wrestlers like Kamille and Toni Storm to capture not just the bumps and holds, but the physical revolution Burke embodied. It's a film about blood, sweat, and every ounce of will it takes to demand equality through violence in the ring.From there, we slide into Joseph Kosinski's F1 — a story of speed, ego, and mortality. If Burke's ring was four ropes, Mann's arena is the racetrack, where every corner can kill you and every victory requires putting body and machine in perfect sync. It's about men who turn themselves into missiles, knowing one wrong turn means fire and death.We close with Magazine Dreams — Jonathan Majors' portrait of a bodybuilder dissolving under the weight of his own ambition. His body is a weapon, his physique his calling card, but the more he sculpts himself into perfection, the further he drifts from humanity. It's a movie about the cost of being seen — and what happens when recognition never comes.Taken together, these films form a grim but riveting arc: the wrestler, the racer, the bodybuilder. Three people who make their bodies into tickets — to fame, to survival, to love — only to discover the price is higher than they ever imagined.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 takes us across three very different animated landscapes: Predator: Killer of Killers, The Witcher: Sirens of the Deep, and Love Me. At first glance, they don't seem to belong together—sci-fi bloodsport, dark fantasy folklore, and surreal romance. But when you strip them down, they share a common pulse.Each film uses animation not just as a style but as a weapon. Predator turns combat into operatic spectacle, the Witcher refracts violence through moral ambiguity, and Love Me translates intimacy into something jagged and strange. They're all asking the same question: how do you capture the extremes of human experience when realism isn't enough?These stories lean on mythology and the superhuman—hunters, monsters, and lovers blown up into archetypes. And they all circle around alienation. The Predator is literally alien, Geralt is permanently the outsider, and Love Me lingers on the alienation baked into desire itself. What unites them is the uncanny, the surreal, the sense that the only way to tell the truth about violence and intimacy is to exaggerate it until it breaks.So that's the throughline tonight: three animated visions that turn estrangement, myth, and brutality into something bigger than life—and maybe, because of that, closer to the truth.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 celebrate the career of Terry Gilliam!What happens when the animator from Monty Python decides to direct movies? You get Terry Gilliam — an American who somehow made the most British films imaginable.Gilliam's fingerprints are all over Monty Python's Flying Circus — those cut-out animations, the grotesque faces, the surreal leaps between worlds. And when he moved into directing, he carried that style with him: cluttered sets, exaggerated characters, satire of authority, and a constant blur between dream and reality.You see it evolve across three films. Time Bandits — childhood fantasy meets biting satire, a boy escaping his consumer-obsessed parents to loot history with dwarves. The Adventures of Baron Munchausen — a sprawling tale of impossible adventures, about how imagination itself becomes resistance in a world closing in. And Fear and Loathing in Las Vegas — Hunter S. Thompson's American nightmare, filtered through Gilliam's absurd, grotesque lens, with Johnny Depp mumbling like a Monty Python character for two straight hours.Gilliam's films are infamous for their production disasters — blown budgets, lawsuits, near career-enders. But that's exactly why he matters. In an age of safe blockbusters, Gilliam shows what happens when you chase imagination at any cost. His movies are messy, personal, and unforgettable.Terry Gilliam isn't just a filmmaker. He's the warning and the inspiration — proof that cinema can still be wild.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 are doing a director focus on Joel Schumacher. We are reviewing The Lost Boys, Falling Down and 8mm!Most people only remember Joel Schumacher for Batman & Robin. Neon lights, Bat-nipples, toy commercials. He did what Warner Bros. told him to do, and he got crucified for it. But if you actually look at his career, Schumacher wasn't a hack. He was a stylist with something to say—especially about male power.Take The Lost Boys. It looks like a teenage power fantasy—motorcycles, leather jackets, eternal youth. But it's really about the seduction of that brotherhood, and how it traps you.Then Falling Down. A middle-aged man, angry at the world, trying to take back control. It feels like vigilante wish-fulfillment, but Schumacher shows it as a breakdown. Male power here isn't noble—it's pathetic and dangerous.And finally 8MM. The darkest version: power as voyeurism, where wealthy men turn suffering into a commodity. No fantasy, no cool factor—just exploitation laid bare.Put together, these three films form Schumacher's real trilogy. They're about how men chase power, how it seduces them, and how it destroys them. And that's a far richer legacy than just being the guy who put nipples on the Batsuit.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 the 77th episode of Bomb Squad Matinee, Tanner, Cody, Joe V, Tim, and special guest Orion Agnew discuss the first three films in Pixar's groundbreaking animated franchise: Toy Story, Toy Story 2, and Toy Story 3. With the original film turning 30 this year, do these toys still have some life in them? Which of these films resonated the most among our group members? How far did the technology of CG animation come between films? Tune in to find out!

In which Jorge and JT power up those PCs for a look at three movies that take place on the ol' laptop screen: Unfriended, Host, and Untitled Horror Movie.LINKSFind us on Letterboxd!Skull logo by Erik Leach @erikleach_art (Instagram)Theme:  Netherworld Shanty, Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 LicenseWe'd love to hear from you!

In which Jorge and JT tuck in to the all-you-can-eat buffet of gooey, drippy, slimy bonkers weirdness unlike any we've ever seen: The Feast Trilogy!LINKSFind us on Letterboxd!Skull logo by Erik Leach @erikleach_art (Instagram)Theme:  Netherworld Shanty, Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 LicenseWe'd love to hear from you!

Welcome to tonight's Triple Feature, where we're diving deep into three searing portraits of adolescent collapse: Bad Boys (1983), The Basketball Diaries (1995), and Over the Edge (1979). These films don't just shock or provoke—they document. They document a particular strain of American decay that metastasized during the twenty-year stretch from 1959 to 1979—a period when the traditional family structure, once upheld as a Cold War ideal, began to fracture under economic pressure, suburban disillusionment, and institutional mistrust. This wasn't a clean break. It was a slow corrosion. The result? A generation of young men left untethered—adrift in a world that could neither protect them nor punish them fast enough to matter.We begin with Over the Edge, a 1979 cult classic that captured the disaffected spirit of middle-class youth like few films ever have. Set in a prefabricated suburb designed more for investment than living, the kids here are not impoverished—but they are neglected. Their world is one of false promises and fenced-in futures. There are no fathers, not really—just overworked salesmen and checked-out authority figures. The emotional distance is palpable. This is what happens when you build communities as holding pens, not homes. The result is explosive. These teens aren't rebelling against strict parents or moral codes—they're lashing out at an emotional void.Next, we jump to The Basketball Diaries—a harrowing look at addiction and alienation set against the backdrop of 1990s New York but rooted in a true story from the ‘60s. Jim Carroll's descent into heroin addiction is often read as a personal tragedy, but in context, it's emblematic of something larger: the erosion of protective adult guidance and the seductive power of oblivion when reality offers nothing back. His mother, present but overwhelmed, is powerless to stop the spiral. Authority comes too late and in the wrong form. There's no community here, only institutions—and institutions don't love you. They process you. In many ways, this film picks up the thread left dangling by Over the Edge: What happens when the fallout of that suburban collapse reaches the inner city and there's no illusion of a future left?Finally, Bad Boys—a film that doesn't blink. Released in 1983, it thrusts us into the juvenile detention system and strips away every layer of protection we pretend still exists for troubled youth. Sean Penn's character is a product of pure hardening. There's no fantasy, no poetry, no redemption arc—only survival. The family here is nonfunctional to the point of irrelevance. The state is a gladiator pit. Violence isn't dramatic—it's pragmatic. What Bad Boys does so brutally well is force us to confront what happens when boys become men too early, too alone, and too angry.What ties these three films together is not just their focus on troubled youth, but their implicit accusation: We made them this way. Through neglect, economic expediency, and the slow abandonment of any consistent moral or emotional scaffolding, American society left millions of young people to fend for themselves. These aren't just stories of crime or rebellion. They're stories of abandonment. And that's why they matter—especially in 2025. Because while the details have changed, the pattern remains. We live in a world where young men are still falling through the cracks—only now the cracks are digital, pharmacological, or ideological.Watching these films today isn't about nostalgia. It's about recognition. It's about asking how many more generations we can afford to lose before we start reckoning with the systems that keep producing them. So let's talk about 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 

Not one, not two, but three things to discuss! First off, we talk about the latest Summer previews, including the surprise Votann drops and the new Space Marine characters and […] The post Episode 330: Triple Feature – Previews, Templars, and Knights first appeared on Preferred Enemies - A Warhammer 40K Podcast.

Tonight's Triple Feature digs deep into the emotional terrain of three strikingly different but thematically aligned musicals: O'Dessa (Hulu, 2024), The End (2024), and Dear Evan Hansen (2021). On the surface, these films couldn't be more dissimilar in aesthetic—one is a Southern-fried post-apocalyptic fairy tale, one a sleek black comedy about the apocalypse itself, and the last a grounded teen drama about lies and loneliness. But together, they form a mosaic of Western culture's collective longing for connection, identity, and redemption in a fractured world.Musicals have always been about big emotions. Characters sing when mere speech can't carry the weight of what they're feeling. But in this particular set, the music isn't just emotional punctuation—it's confession. Each film uses the form to excavate shame, grief, isolation, and the human capacity for either healing or self-destruction. These aren't the tap-dancing musicals of old Hollywood or even the bombastic showstoppers of Hamilton. These are musical dramas where the songs feel like psychological x-rays.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 is a director spotlight on Barry Levinson, a filmmaker whose career is as quietly influential as it is stylistically fluid. We're looking at three of his most potent and thematically rich films: Good Morning, Vietnam (1987), Sleepers (1996), and Wag the Dog (1997). While these movies differ wildly in tone—ranging from manic comedy to grim drama to razor-sharp political satire—they're united by something deeper: a fascination with storytelling as both a tool of survival and a weapon of manipulation.To understand how these films fit together—and what they say about Levinson himself—we need to start with the man behind the camera.Who Is Barry Levinson?Barry Levinson emerged from the 1980s auteur boom with a distinctly humanistic voice. A Baltimore native, Levinson first made his mark as a screenwriter, penning ...And Justice for All (1979) and Diner (1982), the latter of which marked his directorial debut. He quickly carved out a niche making intelligent, character-driven dramas with sharp dialogue and a blend of humor and melancholy.You might call him an American moralist—but a flexible one. His best films don't preach; they interrogate. Levinson doesn't arrive at the story with a hammer and message—he arrives with a question. What is the cost of truth? What happens when institutions fail? What stories do we tell to protect ourselves… or to control others?This puts him in a rare category: a commercial filmmaker who consistently tackles uncomfortable ideas, often smuggled into crowd-pleasing packages.The Aesthetic: Naturalism Meets Narrative ControlVisually, Levinson isn't flashy. He doesn't announce himself with whip-pans or long takes. Instead, his aesthetic is clean, restrained, and deceptively simple—he clears space for character and performance. He's a director who understands the power of a well-cast actor and a lived-in setting.But beneath the grounded surface, Levinson is obsessed with the structure and function of narrative. His films constantly interrogate who gets to tell the story, why they're telling it, and what the consequences are. That meta-awareness—about media, perception, and memory—is central to tonight's triple feature.Good Morning, Vietnam (1987): Humor as SubversionGood Morning, Vietnam is perhaps Levinson's most accessible film, largely thanks to Robin Williams' explosive, genre-defying performance as real-life military radio DJ Adrian Cronauer. On the surface, it's a war comedy—a zany, rapid-fire laugh-fest set against the backdrop of Vietnam. But dig deeper, and it's a biting exploration of truth, censorship, and the psychological cost of telling jokes in a world on fire.Levinson lets Williams run wild, yes—but he also carefully frames Cronauer as a man whose humor is both a coping mechanism and a form of protest. The military brass wants control over the narrative. Cronauer wants to tell the truth, or at least laugh at the lie. And that tension—between comedy and tragedy, propaganda and rebellion—makes the film more than just a showcase for improv. It becomes a study of how humor can be a form of defiance in the face of institutional rot.This is Levinson at his most charming, but also his most subversive. He knows a spoonful of sugar helps the medicine go down—and he laces the sugar with acid.Sleepers (1996): Trauma, Brotherhood, and Justice Outside the SystemNearly a decade later, Levinson delivered Sleepers, a completely different animal. Based on Lorenzo Carcaterra's controversial novel (whose “based on a true story” claim remains disputed), Sleepers is a dark, operatic tale of childhood abuse and adult revenge. The humor of Vietnam is gone. In its place: Catholic guilt, corrupted institutions, and the brutal costs of unresolved trauma.If Good Morning, Vietnam was about resisting propaganda, Sleepers is about rewriting it. The second half of the film becomes an elaborate lie—a staged trial, manufactured witnesses, rigged outcomes—all orchestrated not to deceive the audience, but to achieve justice the legal system refuses to provide.Levinson doesn't ask us to condone this. He asks us to understand it. What happens when the people we trust—priests, guards, judges—become the abusers? And what happens when no one will hold them accountable?This is Levinson's angriest film, and his most emotionally direct. It's also deeply personal. Set in Hell's Kitchen in the 1960s, it's saturated with nostalgia—until that nostalgia curdles. It's the American coming-of-age story turned into a horror film.And once again, we're dealing with a narrator—Jason Patric's character—telling us the story long after the fact. But can we trust him? Should we?Levinson doesn't answer. He just holds the camera steady.Wag the Dog (1997): Manufacturing Reality in Real TimeIf Sleepers is a courtroom drama told through shadows and memory, Wag the Dog is a satire of the same mechanisms—but weaponized in real time. Released just weeks before the Clinton-Lewinsky scandal broke, this film is practically prophetic.A spin doctor (Robert De Niro) and a Hollywood producer (Dustin Hoffman) fabricate a fake war to distract from a presidential sex scandal. It's absurd. It's hilarious. And it feels… inevitable.This is Levinson in full meta mode, stripping the illusion of politics down to its skeleton. But while the premise is cynical, the filmmaking is precise and controlled. The performances are pitch-perfect. The script, by David Mamet and Hilary Henkin, is lean and lethal. And the message is terrifying:If the story is good enough, the facts don't matter.Wag the Dog completes the arc that began with Vietnam. In that film, the media truth-teller is punished. In Wag the Dog, the media manipulator is rewarded. Humor, once a weapon of rebellion, has become a tool of control. The satirical bite here is so sharp it draws blood.What These Films Say About LevinsonTaken together, these three films show a director fascinated by the moral weight of storytelling. Levinson keeps returning to the same idea: that narrative is power. Whether it's used to comfort soldiers, avenge childhood trauma, or distract a nation, stories shape the way we see the world—and they're always being weaponized by someone.He's not flashy. He's not dogmatic. But Barry Levinson understands something fundamental: that the line between truth and fiction is thin, fragile, and often chosen for us by people we'll never meet.And that's what makes him one of the most essential—and underrated—American filmmakers of the last 40 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 

This episode we'll listen to three tales of terror about photographs. The Girl in the Photograph Tower of Silence Don't use Polaroids Owned by Dead People Author for all three stories is unknown. These stories can be found on creepypasta.fandom.com, and are protected by creative commons license.

Welcome back to Triple Feature, where we don't do pious canonization or mindless culture war dunking—we do critical conversations. And tonight, we're closing out Pride Month with a look at three biographical films that give us not only a window into LGBTQ history but also force us to confront the messy, complicated truth behind some of its most iconic figures: Milk (2008), Kinsey (2004), and Lizzy (2018). These are not feel-good hero narratives. Nor should they be. All three subjects—Harvey Milk, Alfred Kinsey, and Lizzie Borden—occupy liminal, even controversial, spaces in both queer history and American memory. And while these films do the Hollywood work of dramatizing personal struggle and cultural impact, what makes them worth watching—and discussing together—is that none of them give us easy protagonists. These are portraits of disruption, not sainthood. And maybe that's exactly what Pride Month needs: less sanitized inspiration and more uncomfortable honesty. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Triple Feature, Mark Radulich and Mac Kettner embark on a cinematic journey through the bold, genre-bending filmography of the Wachowski Sisters, tracing their artistic evolution from the noir-tight thriller Bound (1996), through the ambitious, time-hopping epic Cloud Atlas (2012), to the sprawling, space-operatic chaos of Jupiter Ascending (2015).We begin with Bound, their directorial debut—a lean, tightly constructed neo-noir starring Gina Gershon and Jennifer Tilly. While remembered today for its stylized depiction of a lesbian relationship and its feminist reversal of genre tropes, the film also laid the groundwork for the Wachowskis' signature style: sharp visual framing, subversive gender politics, and a meticulous blend of genre tradition and rebellion. Critics at the time praised its confidence and tension, and it's since become a cult classic, often cited for how it queered the crime genre with both sensuality and grit.Fast forward to Cloud Atlas, a deeply ambitious adaptation of David Mitchell's novel. Co-directed with Tom Tykwer, the film features a sprawling ensemble cast—Tom Hanks, Halle Berry, Hugh Grant, Jim Broadbent, Doona Bae—playing multiple interconnected roles across six timelines. Aesthetic maximalism meets spiritual recursion here: past lives, future consequences, and the collapse of individual identity into something larger. The film was divisive, praised for its ambition but criticized for its complex structure and controversial use of makeup. Still, in retrospect, Cloud Atlas is regarded as a turning point—a declaration that the Wachowskis were more interested in ideas than in simple spectacle.Finally, we crash into Jupiter Ascending—a wildly uneven, endlessly fascinating space opera starring Mila Kunis and Channing Tatum. The film throws genetic royalty, flying rollerblades, Eddie Redmayne whisper-shouting, and bureaucratic intergalactic dynasties into a blender. It's messy, no doubt. But it's also unmistakably Wachowskian: rich with metaphor, post-capitalist critique, and gendered power struggles wrapped in ridiculous sci-fi fantasy. It was largely panned upon release, but like much of their work, Jupiter Ascending has developed a loyal fanbase who see past the surface chaos to the emotional and thematic sincerity underneath.Through these three films, we trace the Wachowski Sisters' cinematic transformation: from intimate noir storytellers to high-concept philosophers to unapologetically maximalist dreamers. No matter the box office or Rotten Tomatoes score, their work consistently pushes boundaries—of genre, identity, and cinematic form itself.So buckle in. We're talking legacy, aesthetics, ideas, and all the gloriously weird stuff in between.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, Mark Radulich and Sean Comer celebrate the flamboyant, fearless, and fiercely important legacies of three trailblazing films: The Adventures of Priscilla, Queen of the Desert (1994), To Wong Foo, Thanks for Everything! Julie Newmar (1995), and Hedwig and the Angry Inch (2001). While each tells its own unique story—from a desert drag road trip across the Australian outback to a heartfelt exploration of gender identity through glam rock cabaret—they are all interconnected by the historical arc of queer visibility in cinema. These films didn't just showcase LGBTQ+ characters—they centered them, in eras where that was still an act of rebellion.Priscilla broke ground internationally, putting Australian queer cinema on the global map and normalizing drag culture long before RuPaul's Drag Race made it mainstream. Just one year later, To Wong Foo introduced Middle America to drag queens with heart, humor, and dignity—starring mainstream Hollywood actors like Patrick Swayze, Wesley Snipes, and John Leguizamo at the height of their careers. Then came Hedwig, a deeply personal indie musical about gender, trauma, and artistic expression, which has since become a cult favorite and a cornerstone of trans representation in modern film and theater. Together, these films reflect the evolution of queer and trans narratives—from coded subtext to full-throated declarations of identity and humanity.More than just products of their time, these movies pushed culture forward. They asked audiences to look beyond binary norms and embrace love, transformation, and self-expression in all forms. Whether through sequins, ballads, or beat-up buses, these stories assert—loudly and proudly—that queer people, drag performers, and trans individuals deserve joy, complexity, and a place in the cinematic canon. And as we revisit them in 2025, their messages feel just as urgent, defiant, and beautiful as ever.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 this Triple Feature jam-packed Review Roundup episode, Doug takes on three of the most talked-about releases. First up is Hurry Up Tomorrow, The Weeknd's latest cinematic swing — bold, stylish, and already stirring up a TON of divisiveness. Then, he dives into the return of a horror franchise staple with Final Destination: Bloodlines, filled with all the chaotic death traps you'd expect. And finally, Doug shares his thoughts on Disney's newest live-action reimagining: the highly anticipated remake of Lilo & Stitch.Are any of these worth the hype? Doug's got you covered — press play and find out!The Genre of Your Life is available on all your favorite podcast platforms and with a new episode every Friday. Don't forget to subscribe and leave a review to never miss an episode!Music by Richard Lewis from Pixabay

Take a drink every time we say, "Naked Greased Up Tom Hardy!"Tonight on a special birthday edition of Triple Feature, Mark Radulich is joined by the other two wise men of The Radulich in Broadcasting Network—Robert Winfree and Jesse Starcher—for a stylish, provocative, and ultra-violent journey through the films of Nicolas Winding Refn (and one by Refn's spiritual cousin, Winding Hardy). In this episode, the trio revisit their creative bond forged in blood during their review of Too Old to Die Young, and now explore three equally intense visual feasts: Drive, Bronson, and The Neon Demon. They discuss how these films portray masculinity, performance, ambition, and destruction through uniquely artistic lenses, and reflect on the surreal legacy Refn and company have carved into modern cinema. Come for the analysis, stay for the birthday mayhem.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 

Bing! Pow! Ka-boom! The hilarious Mike Rainey & Pete Angelo join Zac Amico in turns this week for a Triple Feature of short films! From the demented mind of Ari Aster comes his college thesis short film, The Strange Thing About the Johnsons, covering one of the most deranged family dynamics in fictional cinema history. And if that's not enough to get your juices going, strap in for two fan-made short films tackling comic book superheroes, with Batman: Dead End, and Lobo's Paramilitary Christmas Special, all jam-packed into one delicious, grindhouse style episode of Zac Amico's Midnight Spook Show!Air Date: 05/23/25Subscribe to Zac's BRAND NEW show, Zac Amico's Morning Zoo!https://www.youtube.com/@ZacsMorningZooFor the FULL watch-along experience, visit GaSDigital.com and use promo code ZAC at signup and SAVE $1.50 on your monthly subscription, plus access to all of our video episodes, completely Ad-Free & UNCENSORED!Support Our Sponsors!Fans over the age of 21, visit YoKratom.com for all your Kratom needs. No promo code necessary, just head over to YoKratom.com, home of the $60 kilo!Follow The Show!Mike Rainey:http://onpercs.comhttp://youtube.com/@GetInSomeHeadPodcasthttp://instagram.com/mikerainey82Pete Angelo:http://instagram.com/metalpetecomedyhttp://x.com/bigdoompeteZac Amico:http://youtube.com/@midnightspookshowhttp://instagram.com/zacisnotfunnyhttp://twitter.com/zaspookshowGaS Digital:http://youtube.com/@gasdigitalnetworkhttp://instagram.com/gasdigitalhttp://twitter.com/gasdigitalSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tonight on Triple Feature, Mark Radulich, Jesse Starcher, and Mik Wanamaker crank up the angst and dive into three cult classics that capture youthful rebellion, anti-establishment rage, and the search for identity: Pump Up the Volume, S.F.W., and SLC Punk.The trio explores how each film reflects a different flavor of disillusioned youth. Pump Up the Volume stars Christian Slater as a pirate radio DJ inspiring suburban teens to speak up and fight back. S.F.W. (So F***ing What) takes media cynicism to the extreme, with Stephen Dorff as a hostage-turned-reluctant celebrity in a media circus. SLC Punk delivers a wild, stylish deep-dive into Salt Lake City's punk scene, where Matthew Lillard's character questions whether rebellion means anything when everyone's faking it.From angry soundtracks to broken systems, the panel discusses what these films say about youth culture, counterculture, and what happens when the system you hate wants to sell you your own voice back.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.Mik's Spicy Content: https://onlyfans.com/asirencreatesMark 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