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.

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

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  Episode #163

  ReelTalk 09/28/2026 reviewing HEART OF THE BEAST with Gino Sassani

  Sep 28, 202656 min

  Survival movies usually pose a fairly straightforward question: will the characters make it out alive? But the best examples of the genre understand that physical survival may be only half the battle. Brad Pitt takes audiences deep into the Alaskan wilderness in Heart of the Beast, playing James Belmont, a retired Green Beret traveling with Odin, his former combat dog. After a devastating plane crash strands them in the mountains, James and Odin must rely on their training—and one another—to survive. But what impressed me most is that director David Ayer and screenwriter Cameron Alexander make the wilderness only one source of danger. James and Odin enter those mountains already carrying the psychological wounds of war. The result is a survival picture in which the question is never simply whether these two characters can survive what they encounter in the wilderness. The deeper question is whether they can survive what they brought into it with them. It is exhilarating, emotionally affecting, beautifully photographed, and—perhaps surprisingly for this kind of movie—remarkably restrained. And by the time it concluded, this critic was wiping away a few tears before heading home to hug his own dog. Joining me today is returning guest and friend of the show Gino Sassani, editor-in-chief at UpcomingDiscs.com and a member of both the Critics Association of Central Florida and Southeastern Film Critics Association.

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  Episode #162

  ReelTalk 08/31/2026 reviewing COYOTE VS ACME with Sean Boelman

  Sep 8, 202657 min

  Sometimes a movie arrives with a premise so simple and so ridiculous that it sounds impossible to pull off. Wile E. Coyote, after decades of being crushed, blown up, launched from cliffs, and otherwise betrayed by Acme products, decides he has finally had enough. So he sues them. That is the wonderfully absurd setup of Coyote vs. Acme, a live-action and animated comedy that plays like Who Framed Roger Rabbit crossed with Erin Brockovich—all wrapped around a surprisingly heartfelt David-versus-Goliath. The plotting is solid, the characters possess more complexity than you might expect, and the filmmakers clearly understand and love the Looney Tunes legacy. The movie is packed with visual jokes, Easter eggs, and affectionate nods to these characters, while still finding room for a genuinely warm story about courage, failure, and standing up to people with more money, power, and polish than you. And given the movie’s own history—completed, shelved, and eventually released—that underdog story takes on an almost accidental layer of meaning. The movie itself became something of a Wile E. Coyote, refusing to disappear no matter how many times corporate machinery tried to drop an anvil on it. Joining me once again is friend of the show Sean Boelman, film critic, member of the Critics Choice Association, and editor at FandomWire.

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  Episode #161

  ReelTalk 08/24/2026 reviewing INSIDIOUS: OUT OF THE FURTHER w/ Brad Biewer

  Aug 24, 202657 min

  For over 15 years, horror audiences have been returning to one particular location: the Further. And today, we are reviewing this most recent return in Insidious: Out of the Further, the sixth installment in the Insidious franchise. This franchise has always understood the importance of atmosphere. The red door, the astral plane, the unsettling creatures, and the performances—particularly Lin Shaye’s portrayal of Elise Rainier—have helped establish a mythology that audiences continue to revisit. But horror, like every other genre, requires more than individual ingredients. A creepy setting can create tension. A frightening image can create a memorable moment. A beloved franchise can bring audiences back to theaters. But ultimately, a motion picture requires something more: characters we care about, conflict that develops naturally, and a screenplay that connects those individual pieces into a cohesive dramatic experience. Insidious: Out of the Further introduces several intriguing ideas: a new protagonist dealing with grief and trauma, a new exploration of the Further, and a fascinating expansion of what that supernatural realm can do. Horror has always been a genre built on imagination. A door. A shadow. A sound from another room. A place we should not enter. Insidious: Out of the Further understands those elements. It understands atmosphere, mythology, and the power of unsettling imagery. But ultimately, even the most frightening ideas need a strong foundation beneath them. Because the difference between a collection of scary moments and a memorable horror film is not simply what scares us. It is why we care.

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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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