🎙 Tonight on The Indysiders: Mark Radulich and Harry Broadhurst put the spotlight on GCW Backyard Wrestling 7 — where fireworks meet faceplants in the wildest backyard brawl of the summer. Then we rewind to WWE Night of Champions 2025 and unpack what worked, what didn’t, and what’s next. Finally, we look ahead with a double preview of AEW All In 2025 and NXT’s Great American Bash. It’s indie chaos, WWE prestige, and AEW spectacle all in one packed episode. Don’t miss 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

We present our review of Jurassic World Rebirth! 

Jurassic World Rebirth is a 2025 American science fiction thriller film directed by Gareth Edwards and written by David Koepp. A standalone sequel to Jurassic World Dominion (2022), it is the fourth Jurassic World film and the seventh installment overall in the Jurassic Park franchise. The film stars Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, and Ed Skrein.

Work on the film began shortly after the release of Jurassic World Dominion, when executive producer Steven Spielberg recruited Koepp to help him develop a new installment in the series. Koepp previously co-wrote the original Jurassic Park film (1993) and wrote its sequel, The Lost World: Jurassic Park (1997). Development of Rebirth was first reported in January 2024. Edwards was hired as director a month later, and casting commenced shortly thereafter. Principal photography took place in Thailand, Malta, and the United Kingdom from June to September 2024.

Jurassic World Rebirth premiered on June 17, 2025, at Odeon Luxe Leicester Square in London, and was released in the United States and Canada by Universal Pictures on July 2. The film received mixed reviews from critics, with some deeming it an improvement over the previous entries. It has grossed over $322 million worldwide against a budget of $180 million, making it the tenth-highest-grossing film of 2025.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN 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 Control

Visually, 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 Subversion

Good 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 System

Nearly 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...

We present our The West Wing (Season 6) review!

The sixth season of the American political drama television series The West Wing aired in the United States on NBC from October 20, 2004, to April 6, 2005, and consisted of 22 episodes.
The sixth season opens with the Israeli and Palestinian delegations arriving at Camp David for peace talks. Despite problems at the summit, a deal is thrashed out by President Bartlet, but not before he fires Leo as chief of staff. Leo suffers a heart attack in the aftermath, leading to a re-shuffle of the White House staff. CJ Cregg becomes chief of staff but she finds it difficult to adapt, a fact not helped by the President's worsening multiple sclerosis and consequent interference from the First Lady in an effort to conserve his energy. Away from the White House, Josh convinces Texas Congressman Matt Santos to run for president, and after a shaky start, Santos finds himself in a three-way race for the Democratic nomination with Vice President Russell and former Vice President Hoynes. While the Republican primaries provide a clear winner in California Senator Arnold Vinick, a moderate, the Democratic ticket is not finalized until the Democratic National Convention, at which Santos is chosen as the presidential nominee, with Leo as his running mate. Meanwhile, someone at the White House has leaked national security information to reporter Greg Brock.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 
🎙️ New to streaming or looking to level up? Check out StreamYard and get $10 discount! 😍 https://streamyard.com/pal/d/5361143667490816

We present our M3GAN 2.0 review!

M3GAN 2.0 is a 2025 American science fiction action film that is the sequel to the 2022 film M3GAN. It follows M3GAN being rebuilt to combat a humanoid military robot built using M3GAN's technology that is attempting an AI takeover. It was written and directed by Gerard Johnstone from a story by Johnstone and Akela Cooper. It stars Allison Williams, Violet McGraw, Ivanna Sakhno, and Jemaine Clement, with Amie Donald physically portraying M3GAN while Jenna Davis voices the character. Jason Blum and James Wan return as producers under their respective Blumhouse Productions and Atomic Monster companies.

M3GAN 2.0 premiered in New York on June 24, 2025, and was released in North America by Universal Pictures on June 27. The film received mixed reviews from critics and has grossed $17.2 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

On this episode of Sessions, Jesse Starcher and Mark Radulich dig into one of the weirdest and most beloved moments from their podcasting past — the Source Material review of Ant-Man: Second-Chance Man.

What began as a routine comic book breakdown quickly spiraled into chaos when Darren Cross — newly transformed into a big, pink villain — was dubbed “the LGBTQ Hulk.” The resulting gag reel featured uncomfortable jokes, disco tangents, and one unexpectedly iconic line from Jesse that broke Mark mid-breath:

"Hit it, Darren."

Originally cut together from podcast outtakes and backed by car horns and absurd sound effects, the Ant-Man gag reel became infamous in Radulich podcast lore — funnier than the review itself.
Now, years later, that gag reel has been reborn as a full-blown dubstep banger, created entirely with AI. From the music to the mix to the cover art, every element of "Hit It, Darren" is machine-crafted absurdity — a tribute to inside jokes, accidental brilliance, and the enduring power of dumb comedy.

Only on Sessions.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

We present our review of Elio (2025) from Disney and Pixar!

Elio is a 2025 American animated science fiction adventure film produced by Pixar Animation Studios for Walt Disney Pictures. Directed by Madeline Sharafian, Domee Shi, and Adrian Molina[b], and written by Julia Cho, Mark Hammer, and Mike Jones, from a story by Molina, Sharafian, Shi, and Cho, the film stars the voices of Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brandon Moon, Brad Garrett, and Jameela Jamil. It follows an eleven-year-old boy named Elio Solís (Kibreab) who accidentally becomes the intergalactic ambassador of planet Earth after being beamed up to the Communiverse by aliens for making contact. He must form new bonds with eccentric alien lifeforms and navigate a crisis of intergalactic proportions that involves the warlord father of an alien he befriended.

Elio was conceived by Molina as a story about childhood and social isolation and was inspired by growing up at a military base and his eventual enrollment at the California Institute of the Arts. The film was officially announced in September 2022, with Molina attached to direct. Molina later left the project to work on Coco 2 (2029), and in August 2024, it was announced that Shi and Sharafian would replace him as the lead directors. The production team devised a process, titled the "College Project", to create the look of the space setting, Communiverse. The film was shot with a virtual anamorphic lens and Pixar's new Luna lighting toolset was used to quickly define lighting and the overall aesthetic. Its musical score was composed by Rob Simonsen.

Elio premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 10, 2025, and was theatrically released internationally on June 20, 2025.[5][6] The film has received positive reviews from critics and has grossed $34.8 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

In this episode of Comic Stripped, Mark Radulich and Evan Bevins dive into Here, discussing how Richard McGuire's formal experiment reshaped the boundaries of graphic storytelling and how Zemeckis’ adaptation attempts to interpret that same vision through cinema. The hosts explore whether the emotional arc added in the film enhances or detracts from the original’s minimalist power. They also debate the challenges of adapting abstract art into narrative film, and where Here sits in the pantheon of both graphic novels and cinematic experimentation.

"Here" is a 6-page comic story by Richard McGuire published in 1989, and expanded into a 304-page graphic novel in 2014. The concept of "Here" (in both versions) is to show the same location in space at different points in time, ranging from the primordial past to thousands of years in the future. "Here" has been recognized as a groundbreaking experiment with the formal properties of comics.

Here is a 2024 American drama film produced and directed by Robert Zemeckis, who co-wrote the screenplay with Eric Roth, based on the 2014 graphic novel by Richard McGuire. Echoing the source material, the film is told in a nonlinear fashion: using a locked-down or "static shot" technique, the story covers a single plot of land and its inhabitants, from the distant past to the 21st century. During the film, the screen is often subdivided into panes, presenting events from different times simultaneously. The film stars Tom Hanks, Robin Wright, Paul Bettany, and Kelly Reilly, with digital de-aging via generative artificial intelligence being used on much of the cast to have them portray their characters over time.

Here premiered at the AFI Fest on October 25, 2024, before being theatrically released in the United States by TriStar Pictures through Sony Pictures Releasing on November 1, 2024.[10] The film received generally negative reviews from critics and grossed $15.8 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 
For the purposes of engaging with tiktok and youtube viewers, what is the best 10min or more segment from this podcast? PLease include all the verbiage from beginning to end of the segment so I can edit the video later. Do not add any verbiage. tell me why you chose this segment. Please zero on where the segment starts and ends. Don’t bleed into other segments.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on TV Party Tonight, Mark Radulich, Jesse Starcher, and Alexis Hejna take a nostalgic deep dive into the cult classic animated series The Critic, starring Jon Lovitz as New York film critic Jay Sherman. Running for two short seasons in the mid-90s, The Critic blended sharp satire, biting movie parodies, and neurotic charm to skewer both Hollywood and media culture long before it was trendy.

More than just a cartoon, The Critic feels like the unintentional prequel to Damn You Hollywood — a spiritual ancestor in tone, theme, and relentless cinematic takedowns. With a mix of affectionate homage and cutting commentary, the show set the tone for the modern pop culture review format that Mark and company would eventually make their own.

Join us as we discuss the show's legacy, its oddly prescient relevance, and whether Jay Sherman’s infamous catchphrase — “It stinks!” — still hits in 2025. Spoiler: it does.

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.

https://www.etsy.com/shop/Honeysuckle...

Mark Radulich and his wacky podcast on all the things:
https://linktr.ee/markkind76
also
https://www.teepublic.com/user/raduli...
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1... 

Tonight on Damn You Hollywood!, Mark Radulich and Robert Winfree take flight with the live-action adaptation of How to Train Your Dragon! Based on the beloved DreamWorks animated trilogy and Cressida Cowell’s book series, this 2025 reimagining brings Hiccup, Toothless, and the Viking island of Berk into the realm of live-action fantasy.

Join us as we break down the casting choices, visual effects, faithfulness to the original, and whether this adaptation justifies its existence or rides on the coattails of nostalgia. Is Toothless still the most adorable dragon in cinema? Did the magic translate? We’ll answer all that and more—plus the usual box office analysis, critical response roundup, and plenty of laughs along the way.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on The IndySiders, Big Sexy Harry Broadhurst and The Heartbreak Kid Mark Radulich are back with another loaded episode! The boys break down Worlds Collide and Money in the Bank, unpacking every thrilling moment and what it all means for the future of WWE. They also dive into the bizarre saga of R-Truth’s sudden firing and shocking return, and discuss CM Punk’s controversial decision to head to Saudi Arabia. As always, expect unfiltered takes, deep analysis, and a few unexpected tangents in the world of professional wrestling!

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

There's a deadly fungus among us! Alexis Hejna from Honeysuckle Rose Creations hosts a roundtable look the second season of the hit TV series based off the hit video game (and its sequel), joined by Jesse Starcher and Jayson Teasely. Let's take a look at this story of vengeance, love, and mushrooms. 

The second season of the American post-apocalyptic drama television series The Last of Us was originally broadcast on HBO between April and May 2025. Based on the video game franchise developed by Naughty Dog, the season is set twenty-five years into a pandemic caused by a mass fungal infection, which causes its hosts to transform into zombie-like creatures and collapses society. The second season, based on the first half of the 2020 game The Last of Us Part II, follows Joel (Pedro Pascal) and Ellie (Bella Ramsey) five years after the events of the first season, after they have settled into Jackson, Wyoming, with Joel's brother Tommy (Gabriel Luna) and Ellie's friends Dina (Isabela Merced) and Jesse (Young Mazino).

HBO renewed The Last of Us for a second season less than two weeks after the series premiered in January 2023. Co-creators Craig Mazin and Neil Druckmann were joined in the writers' room by Halley Gross and Bo Shim; Druckmann wrote and co-directed the games, and Gross co-wrote Part II. Principal photography took place in British Columbia from February to August 2024. Druckmann, Mazin, and Peter Hoar returned to direct the seven episodes alongside newcomers Kate Herron, Nina Lopez-Corrado, Mark Mylod, and Stephen Williams. Gustavo Santaolalla and David Fleming returned to compose the score.

Critics felt the season reinforced The Last of Us as the best video game adaptation, praising the action sequences, direction, performances, production design, and writing, though some criticized the pacing and considered the story incomplete. It was nominated for several awards. Across linear channels and Max, the season premiere was watched by 5.3 million viewers on the first day, a 13% increase from the first-season premiere; by May, the series averaged almost 37 million global viewers per episode.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

We present our review of Ballerina (2025)!

Ballerina (marketed as From the World of John Wick: Ballerina) is a 2025 American action thriller film, directed by Len Wiseman and written by Shay Hatten. It is the fifth installment in the John Wick franchise, and it is set between the events of John Wick: Chapter 3 – Parabellum (2019) and Chapter 4 (2023). It stars Ana de Armas as the ballerina/assassin Eve Macarro, alongside Gabriel Byrne, Catalina Sandino Moreno, and Norman Reedus. Among those reprising their roles from the previous films include Anjelica Huston, Lance Reddick (in his final screen appearance), Ian McShane, and Keanu Reeves.

Lionsgate acquired Hatten's spec script for the spin-off film in 2017, leading to him contributing to the final script for Parabellum and serving as the lead writer for Chapter 4. In October 2019, Wiseman was hired as director; Chad Stahelski, who had directed the previous John Wick films, was confirmed as a producer by May 2020. Ballerina was officially announced in April 2022, with de Armas confirmed as the lead. Principal photography occurred from November 2022 to January 2023 in Prague; additional action sequences were shot starting in February 2024.

Ballerina was released in the United States on June 6, 2025. The film received generally positive 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 
🎙️ New to streaming or looking to level up? Check out StreamYard and get $10 discount! 😍 https://streamyard.com/pal/d/5361143667490816

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

We present our review of Karate Kid: Legends! 

Karate Kid: Legends is a 2025 American martial arts drama film directed by Jonathan Entwistle and written by Rob Lieber. It is the sixth film in The Karate Kid franchise, serving as a continuation of The Karate Kid (2010) and the television series Cobra Kai (2018–2025). It stars Jackie Chan and Ralph Macchio, both reprising their roles from the franchise, while introducing Ben Wang as the main lead alongside Joshua Jackson, Sadie Stanley, and Ming-Na Wen. It is the first film in the series not to be produced by Jerry Weintraub, who died in 2015.

The film was confirmed to be in development in September 2022, with Entwistle set to direct and Lieber set to write the screenplay in November 2023. Casting took place from November 2023 to April 2024. Principal photography took place from April to June 2024.

Karate Kid: Legends premiered at the Cinépolis Mitikah in Mexico City, Mexico on May 7, 2025, and was released in the United States by Sony Pictures Releasing on May 30. It received 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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Tonight on TV Party Tonight, Mark Radulich and Jesse Starcher dive into the outrageous and often forgotten adult animated series Stripperella, created by none other than Stan Lee and starring Pamela Anderson. We explore the show's unique blend of superhero satire, risqué humor, and early 2000s pop culture absurdity. From its edgy animation style to its bizarre plotlines, we ask—was Stripperella ahead of its time or just a weird cultural blip? Tune in as we dust off this forgotten gem and decide if it still has a place in the superhero TV canon.

Stripperella debuted on Spike TV in summer 2003 and lasted one season with 13 episodes. Anderson described it as not being a raunchy show, despite obvious double entendres and topless nudity (which was blurred out when shown on Spike TV).

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

On tonight’s episode of Long Road to Ruin, Mark Radulich, Pat Mullin and Sean Comer crane kick their way through The Karate Kid Trilogy. We chart the evolution of Daniel LaRusso’s journey from underdog in the original 1984 classic to his increasingly strained arcs in Parts II and III. The first film captured lightning in a bottle with a perfect mix of heart, mentorship, and underdog triumph. Part II expanded the scope with an Okinawa-set story that deepened Mr. Miyagi’s character but lost some of the first film’s spark. By Part III, the charm was wearing thin, the stakes felt forced, and Daniel-san's journey hit a wall of diminishing returns. Join us as we wax on and off about what made this trilogy iconic—and where it started to fall apart.

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/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59