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 

Feel up for a trip to Vegas? Hope you're ready to fight Legionnaires, Deathclaws, and Elvis Impersonators! Alexis Hejna from Honeysuckle Rose Creations leads a discussion with Andrew Orozco and Kat Scott about season 2 of the hit Amazon show adapted from the post-apocalyptic video game series. Grab an ice-cold Nuka Cola and enjoy!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 

Scream 7 (2026) is the seventh installment in the long-running slasher franchise and a direct sequel to Scream VI (2023). Directed by Kevin Williamson, who co-wrote the screenplay with Guy Busick from a story by Busick and James Vanderbilt, the film sees Neve Campbell return as Sidney Prescott alongside Jasmin Savoy Brown, Mason Gooding, David Arquette, Matthew Lillard, and Courteney Cox. New cast members include Isabel May, Anna Camp, Mckenna Grace, and Joel McHale. The story centers on a new Ghostface killer targeting Sidney’s daughter.Originally set to be directed by Matt Bettinelli-Olpin and Tyler Gillett’s successor Christopher Landon, the film underwent major creative changes following the departures of Melissa Barrera and Jenna Ortega. Williamson ultimately stepped in as director. Filming ran from January to March 2025. Released February 27, 2026, by Paramount Pictures, the film drew negative reviews but delivered the franchise’s biggest opening weekend.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Robert Townsend is a filmmaker, actor, and independent architect of late-20th-century Black cinema who proved you didn’t have to wait for permission from Hollywood to tell your own story. Frustrated by typecasting, he financed and co-wrote Hollywood Shuffle (1987) on credit cards, building a sketch-structured satire that exposed casting as economic coercion. Featuring early appearances from comedians like Keenen Ivory Wayans, it became a blueprint for media self-critique. With The Five Heartbeats (1991), Townsend shifted to music melodrama, chronicling the rise and exploitation of an R&B group; though modest at the box office, it became a generational cult classic about contracts, ego, and ownership. Then came The Meteor Man (1993), one of the first Black-directed superhero films, centering community empowerment over lone-wolf dominance. Across genres, Townsend’s legacy is infrastructural: independence, authorship, and the fight to control the image.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Denzel Washington’s rise to cultural dominance can be traced through three defining performances that showcase his evolution as both actor and box-office draw. In Glory (1989), directed by Edward Zwick, Washington’s portrayal of Trip earned him the Academy Award for Best Supporting Actor and introduced him as a performer of raw intensity and emotional gravity. The film grossed over $26 million domestically on a modest budget and became a prestige historical staple. Just one year later, in Spike Lee’s Mo’ Better Blues (1990), Washington headlined opposite Wesley Snipes, anchoring a jazz drama aimed at adult urban audiences; while its box office was modest, it reinforced his leading-man charisma within Black cinema. By the time John Q (2002) arrived, Washington was a certified star. The film opened at number one and grossed over $100 million worldwide, tapping into working-class anxieties around healthcare. Across genres—historical epic, auteur drama, populist thriller—Washington proved bankable, award-winning, and culturally resonant, cementing his legacy as one of Hollywood’s most durable and influential leading men.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Sessions, Radulich in Broadcasting Network steps away from film analysis and into confession. “Living Is the Sentence” was born from our deep dive into moral accountability and consequence — not as abstract theory, but as lived reality. Inspired by our review discussion of BoJack Horseman, this stripped-down recording explores what happens when self-awareness doesn’t equal change, when survival isn’t mercy, and when redemption never arrives. Performed in a late-era American folk style — sparse, intimate, and unflinching — this session leans into gravity over spectacle. No satire. No irony. Just testimony. This is Sessions: one voice, one guitar, and the weight of living long enough to answer for 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 

Psycho Killer is a 2026 horror-thriller film directed by Gavin Polone in his feature directorial debut, and written by Andrew Kevin Walker. The film stars Georgina Campbell, James Preston Rogers, and Malcolm McDowell. The story follows a police officer on her mission to take down a serial killer known as "the Satanic Slasher" after he murdered her state trooper husband.Psycho Killer was released theatrically in the United States by 20th Century Studios on February 20, 2026. The film received negative reviews from critics and grossed $250,000 in its first day against a budget of less than $10 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Released between 2023 and 2024, The Book of Clarence, The American Society of Magical Negroes, and They Cloned Tyrone reflect a new wave of Black genre satire aimed squarely at millennial and Gen Z audiences fluent in trope critique and systemic analysis. Jeymes Samuel’s The Book of Clarence, starring LaKeith Stanfield, reimagines biblical epic through a hustler’s lens, blending hip-hop aesthetics with religious spectacle, though it struggled at the box office despite its ambition. Kobi Libii’s Magical Negroes, led by Justice Smith, emerged from Sundance development and skewered corporate assimilation culture, generating more online debate than ticket sales. Meanwhile, Juel Taylor’s They Cloned Tyrone, starring John Boyega, Teyonah Parris, and Jamie Foxx, found success on Netflix, merging Blaxploitation homage with paranoid sci-fi. Collectively, these films signal a cultural pivot: Black cinema interrogating myth, stereotype, and systemic control from within the genre machine itself.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Season 2 of Sports Night finds Aaron Sorkin’s cult newsroom dramedy hitting its creative stride. Airing in 1999–2000 on ABC, the sophomore season deepens the tension between idealism and network interference as Casey McCall (Peter Krause) and Dan Rydell (Josh Charles) fight to preserve the integrity of their late-night highlight show. Felicity Huffman’s Dana Whitaker continues to anchor the chaos as executive producer, balancing corporate pressure from the network’s new ownership with loyalty to her staff.Behind the scenes, Sorkin pushed harder into serialized storytelling, moving away from the early laugh-track experiment and leaning into walk-and-talk dialogue, romantic entanglements, and ethical dilemmas about ratings, loyalty, and creative control. The season sharpens its critique of media consolidation while giving emotional weight to character arcs—especially Dana’s authority, Natalie’s growth, and Jeremy’s insecurity. Smart, fast, and surprisingly heartfelt, Season 2 cements Sports Night as the blueprint for Sorkin’s later triumphs.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 

Crime 101 is a 2026 crime thriller film written and directed by Bart Layton, based on the 2020 novella of the same name by Don Winslow. It stars Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, Nick Nolte, and Halle Berry.The film premiered in London on January 28, 2026, and was released in the United States by Amazon MGM Studios and internationally by Sony Pictures Releasing International on February 13, 2026. It received positive reviews from critics and has currently grossed $29.8 million worldwide on a budget of $90 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Fra Diavlo’s Recipes for the Damned started as a joke — what if we made a death metal record where the lyrics were just someone reading a recipe? We couldn’t lift actual recipes for copyright reasons, so instead we wrote original lyrics structured like instructions and twisted them into brutality. That’s how you get titles like “Gnocchi Guillotine,” “Boil the Priest,” “Mince the Heretic,” and “Sous-Vide Sacrifice.” Because the AI took “death metal” literally, it leaned into classic genre tropes — anti-religion imagery, ritual sacrifice, damnation — so the kitchen becomes a cathedral of fire. “Béarnaise Bloodletting,” “Pan-Sear Damnation,” “Al Dente Execution,” even “Last Course: Cannibal Crème Brûlée” — it’s culinary language weaponized. It’s absurd, theatrical, and self-aware. That first record is where Fra Diavlo stopped being a bit and became a fully formed concept: cooking as ritual, metal as satire, dinner as damnation.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 Triple Feature we’re looking at three comic-adjacent films—projects either adapted from graphic novels or conceived in that visual language: Oblivion, Snowpiercer, and The Fountain—each exploring memory, identity, and survival inside closed systems.Oblivion, directed by Joseph Kosinski and based on his unpublished graphic novel, follows Jack Harper, a drone repair technician stationed on a post-apocalyptic Earth after a war with alien “Scavs.” As he services automated defense machines from a sleek sky tower, he begins recovering fragmented memories that contradict the official narrative. A crash survivor and a band of human rebels force him to confront the truth: he’s a clone sustaining an AI-controlled occupation.Snowpiercer, directed by Bong Joon-ho and adapted from the French graphic novel Le Transperceneige, is set aboard a perpetually moving train carrying the last survivors of a climate catastrophe. The rigid class hierarchy places the poor in the tail and elites in the front. Curtis leads a violent revolt through each car, exposing the brutal mechanics of engineered inequality.The Fountain, directed by Darren Aronofsky, interweaves three timelines—16th-century conquistador, modern scientist, and far-future space traveler—linked by a man’s obsession with conquering death and saving the woman he loves. The film blends mysticism and science fiction into a meditation on mortality and acceptance.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on Triple Feature, we look at three early hip-hop films that helped translate a Bronx-born movement to mainstream America: Krush Groove (1985), Beat Street (1984), and Disorderlies (1987). Krush Groove, directed by Michael Schultz, dramatizes the rise of Def Jam and stars Blair Underwood, Sheila E., Run-DMC, LL Cool J, and the Fat Boys. Beat Street, directed by Stan Lathan and produced by Harry Belafonte, focuses on breakdancing, DJ culture, and graffiti art in the South Bronx, starring Rae Dawn Chong and Guy Davis. Disorderlies, also directed by Schultz and released by Warner Bros., features the Fat Boys alongside Ralph Bellamy in a broad studio comedy. Together, these films capture hip-hop’s early crossover moment—music, dance, style, and personality moving from local scene to national platform.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

It's time to play the music, it's time to light the lights, it's time to meet Alexis Hejna and Mark Radulich as they look at the 2026 revival of The Muppet Show! Will this special become a back-door pilot for a new wave of sketches, songs, and Miss Piggy trying desperately to get more time on stage? Let's get things started!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