Radulich in Broadcasting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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