Radulich in Broadcasting

In this episode of TV Party Tonight, Mark Radulich and Jason Teasley review the fifth and final season of Netflix’s hit psychological thriller YOU. With Penn Badgley returning as the dangerously charming Joe Goldberg, this season brings his twisted saga full circle as past sins, false identities, and broken relationships finally catch up with him. Mark and Jason break down the final arc’s high-stakes twists, the return of familiar faces, and whether the show stuck the landing after years of narrative reinvention. From stalking and obsession to guilt and accountability, the duo explores how YOU wrapped up its commentary on toxic romance, social masks, and the dark side of self-perception. Was Joe finally held accountable? Did the series earn its ending? Tune in for a spoiler-filled, insightful discussion on one of Netflix’s most addictive dramas. 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 turn their spotlight to one of the most respected independent wrestling promotions in the game — ACTION Wrestling — as they review their latest event, simply titled 7. From rising stars to technical clinics and high-impact storytelling, the duo breaks down the matches, standout performers, and how ACTION continues to build its legacy on the indie scene. But that’s not all! Harry and Mark also weigh in on two of the most talked-about moments from this week’s WWE Raw: Paul Heyman’s emotionally charged promo and Becky Lynch’s intense, character-defining mic work. Plus, the team runs through all the major headlines from the wrestling world — from signings and releases to rumors and upcoming cards — giving their unfiltered takes on everything that’s fit to print in the squared circle. Whether you’re deep in the indie trenches or just looking to stay up to speed with everything happening across the wrestling universe, this episode has you covered with insight, analysis, and a healthy dose of humor. 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 Thunderbolts review! Thunderbolts*  is a 2025 American superhero film based on Marvel Comics featuring the team Thunderbolts. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the 36th film in the Marvel Cinematic Universe (MCU). The film was directed by Jake Schreier from a screenplay by Eric Pearson and Joanna Calo, and stars an ensemble cast featuring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus. In the film, a group of antiheroes are caught in a deadly trap and forced to work together on a dangerous mission. Marvel Studios first teased the formation of a Thunderbolts team within the MCU in 2021. The film was revealed to be in development in June 2022, when Schreier and Pearson were attached. The main cast was revealed in September, with additional casting through early 2023. Lee Sung Jin joined to rewrite the script by March 2023, one of several creatives who returned to work with Schreier from the Netflix series Beef (2023–present). Production was delayed due to the 2023 Hollywood labor disputes, causing some cast changes in early 2024. Calo joined by then for further rewrites. Filming took place from February to June 2024 at Trilith Studios and Atlanta Metro Studios in Atlanta, Georgia, and also on location in Utah and Kuala Lumpur. Thunderbolts* premiered on April 22, 2025, at the Cineworld Leicester Square in London, England, and was released in the United States on May 2, as the final film of Phase Five of the MCU. The film received positive reviews from critics, and has grossed $160.4 million, becoming the eighth-highest-grossing film of 2025. The film's ending reveals that the asterisk in the title denotes The New Avengers, with the Thunderbolts team rebranded as the "New Avengers". Following the film's opening weekend, Marvel Studios began marketing the film with that title. 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 The Substitute/The Principal/187! The genre of "high schools in trouble" movies evolved significantly from the late 1980s into the mid-1990s, beginning with a foundation of inspirational redemption dramas and mutating into gritty action thrillers. It began earnestly with films like Lean on Me (1989), Stand and Deliver (1988), and Dangerous Minds (1995). These movies centered on teachers and administrators fighting to reclaim failing schools, emphasizing personal transformation, student empowerment, and systemic reform. The stakes were social and emotional — saving lives through education, not violence. However, as the '90s progressed — and as American cultural anxiety about crime, urban decay, and "out-of-control youth" intensified — the "high schools in trouble" narrative hardened. Instead of inspirational teachers winning hearts and minds, later films portrayed literal battles for survival against criminal elements within the schools. Movies like The Principal (1987), The Substitute (1996), and One Eight Seven (187) (1997) transformed the setting from a battlefield of ideas to an actual battlefield. Authority figures were no longer educators first — they became enforcers. Characters like James Belushi's Principal Latimer, Tom Berenger’s mercenary-turned-substitute Shale, and Samuel L. Jackson's haunted teacher Trevor Garfield had to physically fight gangs, drug dealers, and violent students. Education was almost incidental — survival and order became the goal. Thus, the genre evolved: From teachers trying to save troubled students To teachers trying to survive troubled students This transition also reflects the broader cultural fears of the 1990s: urban schools were increasingly depicted as hopeless, violent zones where idealism wasn't enough — only strength and retaliation would do. By the end of the '90s, this cycle largely burned out. The action-heavy "high schools in trouble" subgenre gave way to other approaches, like the more psychological horror of The Faculty (1998) or the satirical dark comedy of Teaching Mrs. Tingle (1999). The idea of schools as battlegrounds didn't disappear, but the way Hollywood depicted them shifted with the times. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/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 show, we’re diving into a trio of cult-favorite musicals that blur the lines between horror, comedy, camp, and tragedy: The Rocky Horror Picture Show (1975, starring Tim Curry), Little Shop of Horrors (1986, starring Rick Moranis), and the 2001 filmed stage production of Jekyll and Hyde: The Musical, featuring David Hasselhoff in a career-defining dual performance. At first glance, these might seem like wildly different productions—ranging from glam-rock alien chaos to doo-wop-infused plant horror, to a dark, gothic tale of split identity—but together they tell a broader story about how musical theater has embraced monstrosity as metaphor. Each of these works asks: What happens when the line between man and monster blurs? What desires are we really afraid of? And can we sing our way through the madness? Tim Curry’s Frank-N-Furter is a force of nature—part scientist, part seducer, part destroyer. Rocky Horror was a revolution in form and content, upending gender norms, mocking genre tropes, and creating an interactive cult ritual that has endured for nearly 50 years. It’s a cultural milestone not just because of what it is, but because of what it unleashed—a safe space for the weird, the queer, and the outsider. Rick Moranis' Seymour in Little Shop of Horrors gives us a very different kind of mad scientist: a nebbish pushover corrupted by power, ambition, and a bloodthirsty plant. The film (based on the Howard Ashman and Alan Menken stage musical) blends 1960s Motown stylings with Faustian tragedy, capturing the dark side of the American dream—and warning us what happens when we feed the things that promise us love and success. And then there's Jekyll and Hyde, the most classical of the three, but perhaps the most psychologically intense. Hasselhoff’s performance—often memed, but undeniably committed—gives us a musical take on Robert Louis Stevenson’s timeless story of duality. It’s a sweeping, gothic powerhouse of repression, temptation, and the dangers of scientific hubris—a thematic cousin to both Frank-N-Furter and Seymour in ambition and eventual ruin. Reviewing these three together allows us to trace how musicals have uniquely adapted horror and moral ambiguity to the stage and screen. From parody to tragedy to grand melodrama, these stories use music to heighten emotion, build absurdity, and expose the deep fears and fantasies lurking behind every monstrous transformation. So grab your fishnets, your gardening shears, or your top hat and cane—we’re about to explore the darker, stranger side of musical theater, where the monsters are often the ones singing the loudest. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/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