W2M Network

Tonight on the Long Road to Ruin, we look back at Grease and Grease 2! One of the most successful movie musicals ever made spawned one of Hollywood's most infamous sequels, and we're breaking down how it happened. We examine Grease as both a beloved coming-of-age romance and a 1970s nostalgia machine, exploring how a rough-edged stage musical evolved into a polished cinematic fantasy of 1950s adolescence. Then we shift gears into Grease 2, a sequel that kept the leather jackets, motorcycles, Pink Ladies, and T-Birds but seemingly lost the magic that made the original a cultural phenomenon. Was Grease 2 truly the disaster its reputation suggests, or was it simply misunderstood? Join us as we discuss the music, performances, production history, themes of identity and belonging, the economics of sequels, and why one film became a timeless classic while the other became a cautionary tale of franchise filmmaking. Grab your leather jacket and join us at Rydell High! 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, we're reviewing Season 5 of The Boys, the fifth and final chapter of Eric Kripke's satirical superhero saga based on the comic by Garth Ennis and Darick Robertson. Produced by Amazon MGM Studios and Sony Pictures Television, the season brings back Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Karen Fukuhara, Chace Crawford, Laz Alonso, and the rest of the core cast, with Daveed Diggs joining the ensemble. As Homelander tightens his grip on America and seeks the original Compound V formula that could make him effectively immortal, Billy Butcher and The Boys unite for one final mission, armed with a virus capable of wiping out every Supe on Earth. Premiering on Prime Video in April 2026 and concluding in May, the season earned generally favorable reviews for its action, performances, social commentary, humor, and emotional payoff, though some critics cited pacing issues and a lack of focus. Tonight, we'll see if the finale sticks the landing. 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 

Few actors have embodied obsession, corruption, guilt, and authority quite like Harvey Keitel. In this Triple Feature actor focus, we examine three defining performances across three decades of filmmaking: The Duellists (1977), Bad Lieutenant (1992), and Cop Land (1997). From Ridley Scott's visually stunning debut feature, where Keitel plays a Napoleonic officer consumed by honor and vengeance, to Abel Ferrara's infamous portrait of addiction, moral collapse, and redemption in Bad Lieutenant, to James Mangold's examination of loyalty, corruption, and institutional decay in Cop Land, these films showcase the remarkable range and intensity that made Keitel one of the essential actors of the New Hollywood generation. Along the way, we'll discuss masculinity, power, violence, faith, police culture, and the evolution of American cinema from the 1970s through the 1990s. Join Mark Radulich and company as they explore three unforgettable films connected by one of the most compelling screen presences of the last fifty years. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/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 Damn You Hollywood, we’re reviewing Star Wars: The Mandalorian and Grogu, the first theatrical Star Wars film since The Rise of Skywalker and the cinematic continuation of the hit Disney+ series. Directed by Jon Favreau and co-written with Dave Filoni and Noah Kloor, the film follows Din Djarin and Grogu as they work with the New Republic to rescue Rotta the Hutt while uncovering new Imperial threats in the fractured post-Empire galaxy. Pedro Pascal returns alongside Sigourney Weaver, Jeremy Allen White, and Jonny Coyne, with Ludwig Göransson once again handling the score. Originally conceived as The Mandalorian Season 4 before the Hollywood strikes and Lucasfilm’s pivot back toward theatrical releases, the film represents Disney’s attempt to transform streaming-era Star Wars back into event cinema. Mixed critical reactions have praised Pascal and Göransson while questioning whether the series’ episodic DNA fully translates to the big screen. 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 Metal Hammer of Doom, Mark Radulich and Jesse Starcher review Empty Hands, the latest album from Poppy. Once dismissed as an internet-art curiosity built on surreal YouTube performance pieces and synthetic pop aesthetics, Poppy has evolved into one of the more fascinating figures in modern heavy music. Empty Hands pushes deeper into industrial metal, metalcore, glitch electronics, and emotionally raw songwriting, blending crushing riffs and breakdowns with hyper-polished hooks and digital-age anxiety. Produced by Jordan Fish (formerly of Bring Me the Horizon), the album explores identity collapse, emotional exhaustion, fame, alienation, and the cost of living inside algorithmic culture. Is this Poppy’s strongest statement yet, or another example of modern genre mashups substituting style for substance? We break down the music, themes, performances, and where Empty Hands fits in the evolving landscape of contemporary metal. 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 

Sessions returns to one of the strongest conversations in the Radulich in Broadcasting Network archive: the Jupiter’s Legacy review with Robert Winfree. What begins as a discussion of a Netflix superhero series becomes a sharper debate about power, restraint, morality, and the terrifying question at the center of the whole thing: if people don’t agree with what those in power are doing, who could stop them? The show frames that conflict through Sheldon and Walter, two men arguing over whether power should be limited by principle or used to reshape the world. From there, the conversation expands into modern anxiety about oligarchs, sealed files, private justice, public decay, and systems that no longer seem answerable to anyone. The result is “WHO COULD STOP US?”, an industrial rock track built like propaganda music for a collapsing empire: mechanical, confrontational, danceable, and paranoid in all the right ways. This is what Sessions is for—not recap, but extraction. Find the argument. Turn it into a song. 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 Triple Feature, we’re diving into three 2026 streaming-era genre swings: Mike & Nick & Nick & Alice, Pretty Lethal, and Thrash. On paper, each one has the kind of premise that sells itself before the movie even starts: gangsters, romance, crime, and time travel; ballerinas forced into violent survival mode; and a hurricane-flooded coastal town where sharks are suddenly part of the disaster plan. But that is also the problem. These are not old-fashioned star vehicles or theatrical events. They are premise-first movies built for the thumbnail age, where the logline has to do most of the work. So the question tonight is not simply whether these movies are good or bad. It’s whether the modern streaming B-movie still has personality, danger, and invention — or whether it has become a content slot wearing the skin of exploitation cinema. Are these sharp little genre machines, disposable algorithm bait, or proof that dumb fun still has a pulse? Gangsters, ballerinas, hurricane sharks — the algorithm wants blood. 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 

Justified: City Primeval is an American neo-Western crime drama television miniseries developed by showrunners Dave Andron and Michael Dinner. The series continues the story from Justified taking inspiration from the Elmore Leonard novel City Primeval: High Noon in Detroit and short story "Fire in the Hole". Timothy Olyphant returns to star as Deputy U.S. Marshal Raylan Givens, with Paul Calderón also reprising his role as Detective Raymond Cruz from the 1998 crime comedy film Out of Sight, a film adaptation of Leonard's 1996 novel of the same name. A world premiere was held on June 1, 2023, at the 12th ATX Television Festival, and the series premiered on FX on July 18, 2023, with back-to-back episodes. It 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 

On this episode of Damn You Hollywood, Robert Winfree, Jason Teasley and Mark Radulich review Mortal Kombat II (2026), the long-awaited sequel to the 2021 reboot based on the legendary video game franchise created by Ed Boon and John Tobias. Directed by Simon McQuoid and written by Jeremy Slater, the film brings back Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks, Lewis Tan, Joe Taslim and Hiroyuki Sanada, while adding Karl Urban as fan-favorite Johnny Cage alongside Adeline Rudolph as Kitana, Martyn Ford as Shao Kahn and Tati Gabrielle as Jade. This time the actual Mortal Kombat tournament takes center stage as Raiden’s Earthrealm warriors battle Outworld for the fate of humanity. Does the sequel finally deliver the crowd-pleasing martial arts spectacle fans wanted, or is it just another CGI-heavy nostalgia machine? We break it all down. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/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 Comic Stripped we head to Antarctica to compare Greg Rucka and Steve Lieber’s acclaimed indie noir graphic novel Whiteout with the 2009 film adaptation starring Kate Beckinsale. Originally published by Oni Press, Whiteout helped define the late-90s crime-comic boom with its blend of procedural mystery, environmental horror, and psychological isolation. But when Warner Bros. brought the story to theaters, the material was reshaped into a glossy late-2000s action thriller. We examine what was gained, what was lost, and why Hollywood often sands down strange, atmospheric stories into familiar formulas. From Carrie Stetko as a grounded, damaged professional to Antarctica itself functioning as a character, we break down adaptation choices, industry economics, noir storytelling, and whether Whiteout was simply ahead of its time. 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, Jesse and Mark revisit Season One of HBO’s The Newsroom, Aaron Sorkin’s cable news drama that premiered June 24, 2012. Starring Jeff Daniels as anchor Will McAvoy, the series follows the staff of fictional network ACN as they attempt to produce serious journalism inside a system driven by ratings, corporate pressure, and personal dysfunction. Featuring Emily Mortimer, Olivia Munn, Sam Waterston, Dev Patel, Alison Pill, John Gallagher Jr., and Thomas Sadoski, the show blends newsroom chaos with Sorkin’s signature rapid-fire dialogue and moral grandstanding. Critics praised the performances—Daniels won an Emmy—and the ambition of the series, while others criticized its smug tone, hindsight politics, and lecture-heavy writing. More than a decade later, The Newsroom remains a fascinating time capsule of the early 2010s media landscape and the growing battle between journalism, entertainment, and outrage culture. 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 

Three very different 2026 releases, one shared question: what does modern genre filmmaking actually produce anymore? Amazon’s The Bluff, directed by Frank E. Flowers and produced by the Russo Brothers, was built as a global star vehicle for Priyanka Chopra—an efficient pirate revenge story designed for streaming scale. Netflix countered with War Machine, Patrick Hughes’ $80M military sci-fi spectacle starring Alan Ritchson, originally intended for theaters but ultimately optimized for worldwide engagement, pulling Predator-style structure into algorithm-friendly action. And then there’s Good Luck, Have Fun, Don’t Die—Gore Verbinski’s first film in nearly a decade, a long-gestating, director-driven sci-fi comedy led by Sam Rockwell, released theatrically and drawing attention as a rare original swing in a franchise-heavy market. Together, these films sparked conversation not just about content, but about process—three models of development, distribution, and authorship colliding in real time. 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 

Three takes on lava-driven disaster, each reflecting its moment in Hollywood. In 1997, Dante’s Peak (directed by Roger Donaldson, starring Pierce Brosnan and Linda Hamilton) leaned on scientific realism and modest character drama, earning solid box office returns and a reputation as the more grounded of the twin volcano films. That same year, Volcano (Mick Jackson, with Tommy Lee Jones and Anne Heche) went bigger and more chaotic, dropping lava into Los Angeles for a spectacle-first hit that performed well commercially and remains a cable staple. By 2003, The Core (Jon Amiel, starring Aaron Eckhart, Hilary Swank, and Stanley Tucci) pushed the concept to its extreme—less lava, more planetary meltdown—failing at the box office but gaining cult status for its ambition. Together, they chart lava’s evolution from scientific threat to cinematic excess. 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 

Apex (2026) is a survival action thriller directed by Baltasar Kormákur and written by Jeremy Robbins, starring Charlize Theron, Taron Egerton, and Eric Bana. Released on Netflix on April 24, 2026, the film follows a rock climber pushed to her limits in the wilderness—only to find herself hunted by a man who turns survival into sport. What begins as isolation and endurance quickly becomes a brutal cat-and-mouse chase. Netflix acquired the project in 2024, with production led by Ian Bryce and Chernin Entertainment. Theron not only stars but produces alongside Dawn Olmstead, AJ Dix, and Beth Kono, with Kormákur also producing through RVK Productions. Egerton joined the cast in late 2024, followed by Bana in early 2025, rounding out a tight, performance-driven thriller built on tension, terrain, and pure survival instinct. 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 this edition of Sessions, we’re taking one of the most honest conversations we’ve ever had on the Radulich in Broadcasting Network and turning it into something heavier, louder, and harder to ignore. Coming out of our discussion on The Boys Season 3, what started as a breakdown of superheroes and spectacle quickly became something else entirely—a raw examination of masculinity, responsibility, and the quiet rules men are expected to live by. Not the version you see on social media. The real one. The one that says: get up, go to work, handle your business, no matter how you feel. “That’s What Men Do” isn’t a parody. It’s not a gimmick. It’s a direct translation of that moment—of frustration, of conviction, of lived experience—into a blue-collar Southern rock/metal anthem. Built from the language we actually used on that show, this track leans into repetition, pressure, and identity, capturing the idea that strength is expected, but rarely explained. Musically, we’re sitting somewhere between the dusty, grounded storytelling of Cracker and the aggressive, groove-heavy punch of Hellyeah—keeping one foot in alt-country grit and the other in controlled chaos. This is Sessions: where conversation becomes composition. 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 no Brendan Fraser or Boris Karloff, just a sarcophagus and some pure unstoppable terror from the director of 'Evil Dead Rise'. Alexis Hejna from Honeysuckle Rose Creations joins Robert Winfree to take a look at what will surely go down as one of the most intense horror films 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/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 we’re talking WrestleMania 42: two nights in Vegas that felt like two entirely different shows stitched together. Night 1 leans into overproduction—ads everywhere, celebrity spots, short matches, and finishes that feel more like content than competition—while Night 2 pivots back toward actual wrestling, letting matches breathe with clearer stakes and stronger pacing. The whiplash is the story: one night feels like a corporate media product designed to monetize attention, the other like a traditional WrestleMania trying to deliver payoff. What you end up with isn’t just a split card, but a split identity—WWE caught between being a brand showcase and a wrestling company, and not always able to reconcile the two. 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 

Irreversible, Baise-moi, and Trouble Every Day dives into the New French Extremity—films that reject comfort and weaponize the body. Gaspar Noé’s Irreversible (2002), starring Monica Bellucci and Vincent Cassel, uses reverse chronology, long takes, and disorienting camerawork to turn violence into an inescapable experience; its Cannes premiere sparked walkouts and lasting debate over form and ethics. Baise-moi (2000), directed by Virginie Despentes and Coralie Trinh Thi and starring Raffaëla Anderson and Karen Bach, blends punk rage with exploitation aesthetics, igniting censorship battles over its explicit sex and violence while challenging gender power dynamics. Claire Denis’ Trouble Every Day (2001), with Béatrice Dalle and Vincent Gallo, reframes desire as pathology through slow, arthouse horror. Once reviled, now studied, these films remain confrontational landmarks. 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 

Happy! is a black comedy action series based on Grant Morrison and Darick Robertson’s four-issue graphic novel, with Brian Taylor directing most of its early run. It premiered on Syfy in December 2017 to strong reviews (81% on Rotten Tomatoes, 65 on Metacritic) and paired Christopher Meloni’s self-destructive hitman Nick Sax with Patton Oswalt’s relentlessly optimistic imaginary unicorn. Season 1 works because it’s tight—an ultra-violent Christmas redemption story grounded in trauma, fatherhood, and the intrusion of hope. Renewed quickly, Season 2 expanded into bigger mythology and louder chaos, but lost the precision that made the premise hit. The result is a show built like a miniseries stretched into escalation. Cancelled in June 2019 just after Season 2 aired, Happy! ends not with resolution, but with a concept that outgrew its own design. 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 the Blink of an Eye (2026), directed by Andrew Stanton and written by Colby Day, is a science fiction drama starring Kate McKinnon, Rashida Jones, and Daveed Diggs. Premiering at Sundance on January 26, 2026—where it won the Alfred P. Sloan Prize—it was released on Hulu February 27. The film weaves three timelines: a prehistoric family 47,000 years ago, a present-day scientist, and a future space mission to the Kepler system. Influenced by 2001, Magnolia, and Interstellar, the ambitious structure drew heavy criticism. Despite strong visuals, production design, and a Thomas Newman score, critics panned its execution, citing shallow characters, forced emotion, and unfocused storytelling. It holds an 18% on Rotten Tomatoes and a 37 on Metacritic, widely seen as a misfire that reaches for universality but fails to connect. 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