POPULARITY
102 episodes with Triple Feature
10 episodes with Triple Feature
11 episodes with Triple Feature
12 episodes with Triple Feature
6 episodes with Triple Feature
6 episodes with Triple Feature
8 episodes with Triple Feature
2 episodes with Triple Feature
5 episodes with Triple Feature
8 episodes with Triple Feature
2 episodes with Triple Feature
3 episodes with Triple Feature
4 episodes with Triple Feature
3 episodes with Triple Feature
3 episodes with Triple Feature
3 episodes with Triple Feature
3 episodes with Triple Feature
2 episodes with Triple Feature
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
Tonight on Triple Feature, Mark Radulich and Mik Wanamaker dig into three new streaming releases that explore the tension, trauma, and absurdity of family dynamics: The Parenting (Max), Holland (Amazon Prime), and Control Freak (Hulu).First up is The Parenting, a horror-comedy where a young couple's weekend getaway with their parents takes a supernatural turn. Then it's on to Holland, a slow-burn thriller about secrets, suburbia, and what really lies beneath the surface of a quiet marriage. Finally, they review Control Freak, a darkly funny psychological drama that dives into codependency, manipulation, and unraveling relationships.From dysfunctional families to deadly secrets, Mark and Mik explore what these films say about control, trust, and the chaos behind closed doors.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
Tonight on Triple Feature, Mark Radulich, Mik Wanamaker, and Mac Kettner gather ‘round the digital table to review three recent streaming dramedies that blend nostalgia, emotional growth, and a dash of chaos: Nonnas (Netflix), Summer of 69 (Hulu), and One of Them Days (now streaming after its January theatrical release).Nonnas tells the heartwarming story of a brash young MTA worker who reinvents his life—and his restaurant—by hiring a group of feisty Italian grandmothers. Summer of 69 takes us on a bittersweet coming-of-age journey set during a summer of rebellion, music, and first heartbreak, capturing the wild spirit of a generation in flux. Finally, One of Them Days leans into cosmic absurdity, following 2 women whose already terrible day escalates into full-blown mayhem with unexpected twists and philosophical undertones.The crew digs into how each film handles tone, structure, and character development—while debating which one hits hardest emotionally, and which one left them scratching their heads. From comfort food vibes to existential slapstick, this episode's got something for everyone.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 present our review of The Substitute/The Principal/187!The genre of "high schools in trouble" movies evolved significantly from the late 1980s into the mid-1990s, beginning with a foundation of inspirational redemption dramas and mutating into gritty action thrillers.It began earnestly with films like Lean on Me (1989), Stand and Deliver (1988), and Dangerous Minds (1995). These movies centered on teachers and administrators fighting to reclaim failing schools, emphasizing personal transformation, student empowerment, and systemic reform. The stakes were social and emotional — saving lives through education, not violence.However, as the '90s progressed — and as American cultural anxiety about crime, urban decay, and "out-of-control youth" intensified — the "high schools in trouble" narrative hardened. Instead of inspirational teachers winning hearts and minds, later films portrayed literal battles for survival against criminal elements within the schools.Movies like The Principal (1987), The Substitute (1996), and One Eight Seven (187) (1997) transformed the setting from a battlefield of ideas to an actual battlefield. Authority figures were no longer educators first — they became enforcers. Characters like James Belushi's Principal Latimer, Tom Berenger's mercenary-turned-substitute Shale, and Samuel L. Jackson's haunted teacher Trevor Garfield had to physically fight gangs, drug dealers, and violent students. Education was almost incidental — survival and order became the goal.Thus, the genre evolved:From teachers trying to save troubled studentsTo teachers trying to survive troubled studentsThis transition also reflects the broader cultural fears of the 1990s: urban schools were increasingly depicted as hopeless, violent zones where idealism wasn't enough — only strength and retaliation would do.By the end of the '90s, this cycle largely burned out. The action-heavy "high schools in trouble" subgenre gave way to other approaches, like the more psychological horror of The Faculty (1998) or the satirical dark comedy of Teaching Mrs. Tingle (1999). The idea of schools as battlegrounds didn't disappear, but the way Hollywood depicted them shifted with the times.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
Tonight on the show, we're diving into a trio of cult-favorite musicals that blur the lines between horror, comedy, camp, and tragedy: The Rocky Horror Picture Show (1975, starring Tim Curry), Little Shop of Horrors (1986, starring Rick Moranis), and the 2001 filmed stage production of Jekyll and Hyde: The Musical, featuring David Hasselhoff in a career-defining dual performance.At first glance, these might seem like wildly different productions—ranging from glam-rock alien chaos to doo-wop-infused plant horror, to a dark, gothic tale of split identity—but together they tell a broader story about how musical theater has embraced monstrosity as metaphor. Each of these works asks: What happens when the line between man and monster blurs? What desires are we really afraid of? And can we sing our way through the madness?Tim Curry's Frank-N-Furter is a force of nature—part scientist, part seducer, part destroyer. Rocky Horror was a revolution in form and content, upending gender norms, mocking genre tropes, and creating an interactive cult ritual that has endured for nearly 50 years. It's a cultural milestone not just because of what it is, but because of what it unleashed—a safe space for the weird, the queer, and the outsider.Rick Moranis' Seymour in Little Shop of Horrors gives us a very different kind of mad scientist: a nebbish pushover corrupted by power, ambition, and a bloodthirsty plant. The film (based on the Howard Ashman and Alan Menken stage musical) blends 1960s Motown stylings with Faustian tragedy, capturing the dark side of the American dream—and warning us what happens when we feed the things that promise us love and success.And then there's Jekyll and Hyde, the most classical of the three, but perhaps the most psychologically intense. Hasselhoff's performance—often memed, but undeniably committed—gives us a musical take on Robert Louis Stevenson's timeless story of duality. It's a sweeping, gothic powerhouse of repression, temptation, and the dangers of scientific hubris—a thematic cousin to both Frank-N-Furter and Seymour in ambition and eventual ruin.Reviewing these three together allows us to trace how musicals have uniquely adapted horror and moral ambiguity to the stage and screen. From parody to tragedy to grand melodrama, these stories use music to heighten emotion, build absurdity, and expose the deep fears and fantasies lurking behind every monstrous transformation.So grab your fishnets, your gardening shears, or your top hat and cane—we're about to explore the darker, stranger side of musical theater, where the monsters are often the ones singing the loudest.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 present our Cleaner/Alarum/G20 review!Cleaner is a 2025 British action thriller film directed by Martin Campbell, written by Simon Uttley, Paul Andrew Williams, and Matthew Orton, and starring Daisy Ridley, Taz Skylar and Clive Owen. The film was released in theatres in the United States on 21 February 2025, and is set to be released in the United Kingdom on Sky Cinema in April 2025. Alarum is a 2025 American action crime thriller film directed by Michael Polish and starring Scott Eastwood, Sylvester Stallone, Mike Colter, Willa Fitzgerald, Ísis Valverde, and D. W. Moffett. G20 is a 2025 American action thriller film directed by Patricia Riggen and written by Caitlin Parrish, Erica Weiss, and Logan and Noah Miller. The film stars Viola Davis as a president who must use her military skills to fight off terrorists who have taken over a G20 conference venue, with Anthony Anderson, Marsai Martin, Ramón Rodríguez, Douglas Hodge, Elizabeth Marvel, Sabrina Impacciatore, Clark Gregg, and Antony Starr. G20 was released worldwide by Amazon MGM Studios via Prime Video on April 10, 2025. The film received generally mixed reviews from critics.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
Tonight on Triple Feature, Mark Radulich, Dorian Price, and Mac Kettner dive into the world of modern romance with three recent streaming releases that explore love, self-discovery, and second chances: Bridget Jones's Diary: Mad About the Boy, The Life List, and La Dolce Villa. This episode unpacks how these films balance humor, heart, and emotional honesty within the romantic comedy and drama genres.The discussion begins with Bridget Jones's Diary: Mad About the Boy, the latest chapter in the life of everyone's favorite lovably awkward singleton, as Bridget navigates motherhood and the dating world in her 50s. Then the crew tackles The Life List, a heartfelt rom-com about a woman checking off her late best friend's bucket list, only to find her own path to happiness in the process. Finally, they explore La Dolce Villa, a breezy escapist rom-com set in the Italian countryside, where a workaholic real estate agent learns to slow down and embrace life—and love—while on assignment abroad.Together, Mark, Dorian, and Mac examine common rom-com tropes, the portrayal of aging and romance, and whether these films bring anything fresh to the genre. From heartwarming moments to predictable pitfalls, this episode covers it all with a mix of critical insight and playful banter.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 three tales about what can happen after the sun goes down. Lightless City Written by KI Simpson Born in the Fog Written by friendlycynic Midnight Salesman Written by RedNovaTyrant These stories can be found on Creepypasta.fandom.com and are protected by creative commons license. Follow me on most social networking sites at poigamestudio
We present our Hardbodies/10/Spring Break Review!When people think of iconic American cinema, they rarely jump straight to beachside hijinks, topless party montages, and clueless middle-aged men trying to reclaim their youth—but perhaps they should. Films like 10 (1979), Hardbodies (1984), and Spring Break (1983) are part of a uniquely 1980s phenomenon: the sex comedy boom, where the combination of sun, skin, and slapstick served as both low-budget goldmines and cultural time capsules. Though 10, starring Dudley Moore and Bo Derek, predates the others and leaned more into adult romantic fantasy than outright teen farce, it planted the seeds for the genre's obsession with unattainable beauty, aging masculinity, and self-aware hedonism. But it was Hardbodies that truly shifted the tone, ushering in the rise of the raunchy, youth-driven beach comedy that would define a generation of VHS rentals and late-night cable rewatches.Hardbodies wasn't the first to feature babes and bros on the sand, but it was the blueprint that codified the formula: old dudes hire a young ladies' man to teach them how to pick up women in Malibu, resulting in a series of increasingly absurd, sexualized, and tone-deaf adventures. It's pure wish fulfillment, soaked in neon tans and synth-heavy soundtracks, but it also became the prototype for films like Spring Break, Private Resort, and Hot Dog… The Movie. Its unapologetic objectification and throwaway plotting weren't accidental—they were the selling point. And for better or worse, Hardbodies helped shift sex comedy from teen coming-of-age (Porky's, Fast Times) to pure, exploitative fantasy. That shift matters, because it marked the moment when these films stopped pretending to be about growing up and started reveling in never growing up at all. The film legacy of Hardbodies isn't about quality or prestige—it's about influence, formula, and the way it captured a certain type of American escapism that filmmakers are still riffing on (or reacting against) 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
We present our Mean Girls (2024)/Waitress the Musical (2023, MAX)/Legally Blonde The Musical (2007) review!Mean Girls is a 2024 American teen musical comedy film directed by Samantha Jayne and Arturo Perez Jr. from a screenplay written by Tina Fey. It is based on the stage musical of the same name, which in turn was based on the 2004 film (both also written by Fey), itself inspired by Rosalind Wiseman's 2002 book Queen Bees and Wannabes. It stars Angourie Rice, Reneé Rapp, Auliʻi Cravalho, and Christopher Briney. Fey and Tim Meadows reprise their roles from the original film.Mean Girls premiered at the AMC Lincoln Square in New York City on January 8, 2024, and was released in the United States by Paramount Pictures on January 12. The film grossed over $104 million worldwide on a $36 million budget and received mixed reviews.Waitress (also known by its promotional title Waitress: The Musical) is a 2023 American musical comedy drama film consisting of a live stage recording of Sara Bareilles and Jessie Nelson's 2015 musical based on the 2007 film by Adrienne Shelly.It premiered at the Tribeca Film Festival on June 12, 2023 and was theatrically released in the United States on December 7, 2023 by Bleecker Street in collaboration with Fathom Events. It received positive reviews from critics.Legally Blonde is a 2007 musical with music and lyrics by Laurence O'Keefe and Nell Benjamin and a book by Heather Hach. It is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name.The musical was recorded in September 2007 and aired on MTV in October 2007. Following this, a reality television program aired showing the audition process for the next person to play Elle Woods on Broadway. The winner was Bailey Hanks, who played the role from July 23, 2008, until the production closed on October 19, 2008.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
On this week's New Flesh, it's the all-too-rare new release horror movie triple feature, including a new film from Flying Lotus, a Sam Raimi-produced movie, and a foreign film that's worth your time. It's ASH, LOCKED and HOOD WITCH time! Before that, plenty of horror news of the week, including an important update regarding the Texas Chainsaw Massacre franchise
We present our Back in Action/You're Cordially Invited/Kinda Pregnant review!Back in Action is a 2025 American action comedy film directed by Seth Gordon from a script he co-wrote with Brendan O'Brien. The film stars Jamie Foxx, Cameron Diaz, Andrew Scott, Jamie Demetriou, Kyle Chandler, and Glenn Close. The film was released by Netflix on January 17, 2025. It received generally negative reviews from critics.Back in Action was released by Netflix on January 17, 2025. It was originally set to be released on November 15, 2024, before being pushed to its current release date.The film amassed 46.8 million views in its first three days, giving it the biggest opening weekend for an English-language Netflix film since The Adam Project.You're Cordially Invited is a 2025 American romantic comedy film written and directed by Nicholas Stoller for Amazon MGM Studios. It stars Will Ferrell and Reese Witherspoon.When the weddings of widowed father Jim's daughter Jenni and Margot's sister Neve are double-booked at the same small island venue, they both try to preserve the wedding weekend.The film was released on Amazon Prime Video on January 30, 2025 to mixed reviews from critics.Kinda Pregnant is a 2025 American comedy film directed by Tyler Spindel, written by Julie Paiva and Amy Schumer, and starring Schumer alongside Jillian Bell, Brianne Howey, and Will Forte. It tells the story of 40-something school teacher Lainy who gets envious when her life-long best friend and colleague Kate and another co-worker are both pregnant leading her to steal a fake pregnancy belly to pretend to be pregnant.The film was released on February 5, 2025 by Netflix, and received generally negative reviews from critics.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
We present our conclusion to Black History Month with actor focus; this time we celebrate the career of Samuel L. Jackson! We're looking 3 of his starring vehicles Snakes on a Plane, then The Great White Hype and finally Soul Men, also starring the late, great Bernie Mac!Samuel L. Jackson is one of the most iconic, prolific, and versatile actors in modern cinematic history. With a career spanning over five decades, Jackson has appeared in more than 150 films, cementing his status as a cultural icon and a box office powerhouse. His breakthrough role came in Spike Lee's Jungle Fever (1991), but it was his unforgettable performance as Jules Winnfield in Quentin Tarantino's Pulp Fiction (1994) that propelled him to global stardom. That role earned him an Academy Award nomination for Best Supporting Actor and introduced audiences to his signature blend of charisma, intensity, and humor — all delivered with that unmistakable commanding voice.Throughout his career, Jackson has balanced blockbuster success with critically acclaimed performances. He's a staple in Tarantino's films, appearing in Jackie Brown, Django Unchained, and The Hateful Eight, showcasing his ability to deliver complex, morally ambiguous characters with unmatched flair. His work in the Marvel Cinematic Universe as Nick Fury has made him a cornerstone of one of the most successful film franchises in history, introducing him to a new generation of fans.Despite his widespread popularity, Samuel L. Jackson's awards recognition has often lagged behind his cultural impact. In addition to his Oscar nomination for Pulp Fiction, Jackson has received numerous honors, including a BAFTA Award, Golden Globe nominations, and an Honorary Academy Award in 2022, recognizing his lifetime achievements and contributions to cinema.Jackson's legacy is defined not only by his memorable performances but also by his ability to elevate even the most minor roles into something unforgettable. Whether in gritty dramas, high-octane action films, or sharp comedies, his presence demands attention, often turning supporting parts into scene-stealing moments. Beyond acting, Jackson's influence extends to his advocacy for diversity in Hollywood, his mentorship of younger actors, and his efforts to champion independent filmmakers.With a career that seamlessly spans indie gems, blockbusters, and prestige films, Samuel L. Jackson stands as a living legend whose legacy is defined by his versatility, consistency, and undeniable cultural presence — a true icon whose impact will resonate for generations to come.Snakes on a Plane is a 2006 American action thriller[3] film directed by David R. Ellis and starring Samuel L. Jackson. It was released by New Line Cinema on August 18, 2006, in North America and the UK. The film was written by David Dalessandro, John Heffernan, and Sebastian Gutierrez and follows the events of dozens of venomous snakes being released on a passenger plane in an attempt to kill a trial witness.The Great White Hype is a 1996 American sports comedy film directed by Reginald Hudlin. It stars Samuel L. Jackson, Peter Berg, Damon Wayans, Jeff Goldblum, Jon Lovitz, Cheech Marin, John Rhys-Davies, Salli Richardson and Jamie Foxx.The film satirizes racial preferences in boxing, and was inspired by Larry Holmes's 1982 fight with Gerry Cooney (who was known as "The Great White Hope") and Mike Tyson's 1995 return fight vs. Peter McNeeley. Entertainment Weekly called Rev. Fred Sultan (Samuel L. Jackson) a "Don King-clone."Soul Men is a 2008 American musical comedy film directed by Malcolm D. Lee, and starring Samuel L. Jackson, Bernie Mac, Sharon Leal and Sean Hayes, released on November 7, 2008. It was one of three Mac's films that were released after his death (and was actually released on the same date as another posthumous film, Madagascar: Escape 2 Africa).Mac and Isaac Hayes died on August 9 and 10, 2008, respectively. Director Lee said the film was heavily re-edited to soften the tone of the film, as a tribute to the two actors.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 continue to celebrate afro-centric films during Black History with a director focus on John Singleton films; Poetic Justice/Higher Learning/Baby Boy!Poetic Justice is a 1993 American romantic drama film written and directed by John Singleton, and starring Janet Jackson, Tupac Shakur, Regina King, and Joe Torry. It follows a poet (Jackson) mourning the loss of her boyfriend from gun violence. She goes on a road trip from South Los Angeles to Oakland on a mail truck, along with her friend (King) and a postal worker (Shakur), in order to deal with depression.Following the success of his debut film, Boyz n the Hood, Singleton wanted to make a film that would give a voice to young African-American women. Jada Pinkett, Lisa Bonet, Monica Calhoun, and many other popular actresses auditioned for the role of Justice, though Singleton knew from the script's draft that the role was solely intended for Jackson. Filming took place from April 11 to July 4, 1992.Poetic Justice was released in the United States on July 23, 1993. The film received mixed reviews from critics, who criticized the screenplay though praised Jackson and Shakur's performances and chemistry. It reached No. 1 in the box office its opening weekend, grossing $11,728,455. It eventually grossed a total of $27,515,786. Jackson received Academy Award and Golden Globe nominations for Best Original Song for "Again", which also reached number one on the Billboard Hot 100. Janet won 2 MTV Movie awards for her role in the film, including Most Desirable Female. The film has developed a cult following, especially for the chemistry between Jackson and Shakur.Higher Learning is a 1995 American crime drama film written and directed by John Singleton and starring an ensemble cast. The film follows the changing lives of three incoming freshmen at the fictional Columbus University: Malik Williams (Omar Epps), a track star who struggles with academics; Kristen Connor (Kristy Swanson), a shy and naive girl; and Remy (Michael Rapaport), a lonely and confused man seemingly out of place in his new environment.The film also featured Tyra Banks' first performance in a theatrical film. Laurence Fishburne won an NAACP Image Award for "Outstanding Supporting Actor in a Motion Picture"; Ice Cube was also nominated for the award. This was the last film appearance of Dedrick D. Gobert, who was shot dead in 1994 prior to the film's release.The exterior shots and outdoor scenes were shot on the campus of University of California, Los Angeles (UCLA) while the interiors were shot at Sony Pictures Studios.aby Boy is a 2001 American coming-of-age hood drama film directed, written and produced by John Singleton, and starring Tyrese Gibson, Snoop Dogg, Ving Rhames, Omar Gooding, A.J. Johnson and Taraji P. Henson.[5] The film follows Joseph "Jody" Summers (Gibson), a 20-year-old bike mechanic as he lives and learns in his everyday life in the hood of Los Angeles.The film was originally written with rapper-actor Tupac Shakur in mind to play Jody; Shakur had previously worked with Singleton on Poetic Justice. However, following Shakur's murder in 1996, Singleton decided to replace Shakur with R&B artist Tyrese Gibson. Additionally, the role of Rodney was originally written for Ice Cube, who had worked with Singleton on Boyz n the Hood and Higher Learning. The film marked the feature acting debut of Gibson and provided Henson with her first prominent role.Released in the United States on June 27, 2001, the film received predominantly positive reviews from critics and audiences, with many deeming it as Singleton's best film since Boyz n the Hood. The film is also the final feature film written by Singleton as he did not write any of his later feature-length directorial projects before his death in April 2019.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyernism, evangelicalism, Arianism, cults, Hebrew roots, JWs, etc. Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.
© 2020-2025 Ivy Podcast Discovery LLC
