WKGC Public Media

Broadcasting from the campus of Gulf Coast State College in Panama City, we are the Emerald Coast’s local NPR (National Public Radio) station. Our mixed format lineup of shows provides listeners with national news, locally produced programming, and a variety of music. Our on-air personalities engage listeners by igniting curiosity, enriching minds, and cultivating relationships within the Emerald Coast Community through our high-quality, thought-provoking content that educates, entertains, and informs.

WKGC Public Media is a education podcast hosted by Unknown Host, with 100 episodes on record and a Required Pod Score of 80. PitchCentric scores this show on Booking Probability, Listen Score, and live audience signals refreshed every 24 hours.

Unknown Host hosts WKGC Public Media, a education show with 100 episodes published.

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  Episode #160

  ReelTalk 08/17/2026 reviewing THE END OF OAK STREET w/ EILFM Podcast

  Aug 16, 202658 min

  Dinosaurs are scary again. That may be the simplest way to describe The End of Oak Street, a summertime creature feature that takes prehistoric predators and drops them into one of the most familiar environments imaginable: suburbia. Shot on 35mm film, the movie has a wonderfully warm, slightly soft texture that gives the picture an old-school personality—almost like a 1960s B-movie somehow wandered into the present day. And despite some tonal uncertainty and several thematic ideas that never receive the development they deserve, the movie has heart, momentum, and enough creature-feature energy to make it an entertaining capstone to the summer season. What I particularly enjoyed is how effectively it taps into that childhood fear many of us probably had after seeing Jurassic Park: what if the dinosaurs weren't on some remote island? What if they were in your neighborhood? The End of Oak Street may not fully develop every idea it introduces, and its uncertain balance between horror and dark comedy keeps the movie from becoming quite as cohesive as it could have been. But sometimes a creature feature succeeds because it understands something much simpler: Monsters are supposed to be fun—and occasionally they're supposed to scare us. With its warm 35mm presentation, old-school B-movie personality, brisk pacing, and prehistoric predators invading the comforts of suburbia, The End of Oak Street delivers an enjoyable final dose of summertime movie escapism. Most importantly, dinosaurs are scary again. Joining me today is a guy who's uniquely qualified to answer that question—Steve, half of the duo otherwise known around as “the dinosaur people,” from the Everything I Learned from Movies podcast. Izzy, unfortunately isn't able to join the show. I've appeared on their show many times, and today we're finally turning the tables.

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  Episode #159

  ReelTalk 08/03/2026 reviewing SPIDER-MAN: BRAND NEW DAY

  Aug 2, 202658 min

  For more than sixty years, Spider-Man has endured because, beneath the mask and the extraordinary abilities, Peter Parker remains one of the most recognizably human superheroes ever created. He worries about money. He disappoints the people he loves. He makes mistakes. And no matter how many times he saves New York—or perhaps the entire world—his victories nearly always come at a personal cost. That humanity is at the center of Spider-Man: Brand New Day, perhaps the darkest Spider-Man movie since The Amazing Spider-Man 2. This is a Peter Parker who bleeds, bruises, and carries the physical and psychological consequences of everything he has endured. The vulnerability gives Tom Holland some of the strongest material he has received as the character and perhaps results in his best performance to date. At the same time, the film makes the unusual decision to tell a superhero story without a traditional central villain. There are threats and adversaries, but no enduring character of opposition to propel Peter through the conventional hero’s journey. The result is a film I found dramatically uneven: thoughtful and well performed, but also slow, heavily melodramatic, and lacking some of the excitement I expect from Spider-Man. Spider-Man: Brand New Day takes Peter Parker into darker and more human territory than most previous entries, giving Tom Holland an opportunity to deliver perhaps his finest performance beneath—or outside—the mask. Whether the movie succeeds may depend on what audiences want from Spider-Man. Those looking for a somber character study may appreciate its focus on injury, trauma, and consequence. Those expecting a more traditional superhero adventure may feel the absence of a central villain and the lack of sustained momentum. For me, it is a thoughtful and strongly performed film that never completely develops into satisfying Spider-Man entertainment. Still, its willingness to show Peter Parker as vulnerable, frightened, and physically fallible reminds us why the character has endured for generations. Spider-Man may possess extraordinary powers, but it is his humanity that keeps audiences returning. Joining me today is someone who has shared many Spider-Man adventures with me—although ours usually involve waiting in queue before riding Spider-Man attraction at Universal’s Islands of Adventure.

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  Episode #158

  ReelTalk 07/27/2026 reviewing PINOCCHIO UNSTRUNG with Sean Boelman

  Jul 26, 202658 min

  Gloriously unhinged! Some movies ask us to admire their stories. Others ask us to admire the craftsmanship that brought them to life. Pinocchio Unstrung, the latest horror reimagining from the creative team behind Winnie the Pooh: Blood and Honey, isn't a film I'll remember for its screenplay. The dialogue is often clunky or just bad, the characters are thinly drawn, and the story rarely surprises. Yet within minutes, I found myself grinning from ear to ear. Why? Because this is a movie made by artists who clearly love movie magic. From handcrafted puppets and practical makeup to animatronic creatures and inventive production design, nearly every frame reminds us what can happen when filmmakers choose tangible craftsmanship over digital convenience. Pinocchio Unstrung may never be remembered as one of horror's great screenplays, but I sincerely hope it's remembered for something equally important. At a time when computer-generated imagery has become the industry's default solution, this film reminds us that movie magic can still be built by hand. Puppeteers. Makeup artists. Creature designers. Animatronic engineers. Craftsmen whose work is tangible enough to touch—and whose passion is visible in every frame. Whether or not the story completely works, the artistry certainly does. Joining ReelTalk once again is friend of the show film critic Sean Boelman, editor at FandomWire and member of the Critics Choice Association.

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  Episode #157

  07/20/2026 reviewing THE ODYSSEY with Gino Sassani

  Jul 20, 202658 min

  Magnificent moments in search of equally epic dramatic architecture? We shall see, as we review The Odyssey. Christopher Nolan has built a career on making films that inspire conversation long after the credits roll. Whether it's Memento, The Prestige, Inception, or Oppenheimer, audiences rarely leave simply talking about whether they liked the movie—they leave debating what Nolan was trying to accomplish. His latest film, may prove to be his most divisive work yet—at least that has been my experience since I made my thoughts known on that pool of constructive criticism and thoughtful discourse that is social media—oh how I wish. On one hand, it's a staggering technical achievement, bringing Homer's legendary epic to the screen with a sense of scale that reminds us why the theatrical experience still matters. On the other hand, Nolan once again challenges traditional narrative conventions, prompting an interesting question: Can spectacle alone carry an epic, or does every great epic ultimately depend upon dramatic architecture? And we will be able to do more than critique the film itself, as my guest today has recently completed a re-read of the Iliad and The Odyssey, so he’ll be able to bring the literary dimension to our conversation as well.

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  Episode #156

  07/13/2026 ReelTalk reviewing MINIONS & MONSTERS with Brad Biewer

  Jul 12, 202656 min

  When we talk about movies that celebrate cinema itself, our minds usually drift toward films like Singin' in the Rain, Hugo, a personal favorite of my mom’s, or perhaps The Artist. They're movies about moviemaking, about Hollywood, and about why the medium has endured for more than a century. Rarely would anyone expect to add a Minions movie to that list. And yet, Minions & Monsters surprised me—and many other critics. Rather than simply repeating the familiar formula of the Minions searching for their next great villain to serve, the filmmakers take these delightfully chaotic little yellow creatures and place them at the birth of Hollywood itself. The result is a film that functions simultaneously as a love letter to cinema, a playful history lesson, and a heartfelt story about discovering the thing that gives your life purpose. What impressed me most wasn't simply the humor or the endless visual references to film history. It was the sincerity. Beneath the slapstick lies a genuine affection for movies—not as content, but as an art form capable of inspiring dreams, preserving history, and connecting generations. The film channels the optimism and craftsmanship of classical Hollywood storytelling while reminding audiences that cinema isn't merely something we watch. It's something we feel. Joining me once again is returning guest and friend of the show, film critic Brad Biewer, host of the CinemaSpeak Podcast

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