Tony Hale and director Ol Parker join Kyle Meredith to talk about Office Romance, the new Netflix comedy starring Jennifer Lopez and Brett Goldstein. Parker discusses finding his lane in romantic comedies, balancing big-hearted storytelling with unexpectedly raunchy moments, and building a cast packed with scene-stealers like Hale, Betty Gilpin, Amy Sedaris, and Bradley Whitford. Hale talks about the moment he realized “Tony Hale type” had become an actual casting description, how childhood anxiety helped shape some of his most memorable characters, and the deleted bathroom meltdown scene that never made the final cut. Along the way, they celebrate the art of looking ridiculous for a laugh, mourn the disappearance of DVD extras, and share why audiences may be ready for rom-coms all over again.

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Maximum Pleasure Guaranteed starts with loneliness, cam boys, custody battles, and youth soccer. Tatiana Maslany, Jake Johnson, Jessy Hodges, Murray Bartlett, Brandon Flynn, David J. Rosen, and David Gordon Green talk with Kyle Meredith about the new Apple TV+ thriller, from Paula’s search for connection and the show’s Rear Window-style internet paranoia to true crime culture, sex work, villain logic, and the very unfair math around motherhood and desire. It’s murder, blackmail, bad choices, and a few jokes sharp enough to keep the whole thing from collapsing into a police report.

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Tom Cavanagh tells Kyle Meredith why the writing on You’re Killing Me worked so well that the cast mostly just had to stay out of its way. The Flash and Scrubs favorite talks about building his small-town detective alongside Brooke Shields and Amelia Williamson, improvising lines, sneaking a little Columbo into the performance, and why knowing the ending helped him “keep the powder dry” until the finale. There’s also a quick detour into Prince, Bowie, and one of the smoothest segue compliments ever handed out in an interview.

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Judith Light says horror found her, not the other way around, but The Terror: Devil in Silver might be the role that proves she belongs there. Talking with Kyle Meredith, the legendary actress gets into disappearing into the character of Dory, a woman abandoned inside a psychiatric hospital for decades, while also digging into the series’ bigger themes around mental health, homelessness, and a healthcare system that leaves people behind. Along the way, she talks about working with Dan Stevens, CCH Pounder, and Steven Root, the “wild hysteria” offset that kept everyone sane while making something this dark, and why entertainment works best when it gets people talking afterward.

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Kimiko Glenn says every relationship on her debut EP Modern Dance was either doomed from the start or became material eventually, and talking with Kyle Meredith, she gets into the very real stories behind it all. The Orange Is the New Black and Kiff star talks about finally putting her “secret” songs out into the world after years of treating music like a private diary, channeling grief into her first single “Oh Honey,” and finding a weirdly perfect lane between synth-pop confessionals and total visual chaos. They also get into dating in the age of the manosphere, emotionally intelligent men apparently becoming an endangered species, directing her own completely unhinged “Hang Out Forever” video, and why voice acting accidentally gave her the freedom to become a musician in the first place. Also, she’s playing Peni Parker in the new Spider-Man animated movie, which means Gerard Way technically helped create one of her next big roles.

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Jack Antonoff says all he really wants out of life is to make records and tour, and that turns into a surprisingly heavy conversation with Kyle Meredith about grief, ancestry, community, religion, and why Bleachers’ new album Everyone for Ten Minutes accidentally became an origin story. They get into the “ancestral pact” of leaving home to chase art, Bruce Springsteen’s advice about building a life around music, the weirdness of becoming famous enough to watch your own history rewritten, and why Antonoff thinks concerts are closer to church than actual churches. There’s also plenty on balancing the producer side with the artist side, finding “magic” in recording sessions, and why sometimes the demo is still the best version no matter how much money you throw at it.

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Maya Hawke tells Kyle Meredith that her new album MAITREYA CORSO accidentally became a love record after falling deeper into her relationship and eventually marrying songwriting partner Christian Lee Hudson, and the conversation gets pretty fascinating from there. They talk about writing songs together while navigating a real relationship, the fear of being fully seen by another person, and how tracks like “Dreamhouse” and “Bring Home My Man” became about learning to stop hiding parts of yourself. Hawke also opens up about finishing Stranger Things 5 while making the record, the depression that followed the end of the series, and how being more selective with acting roles finally changed her confidence on the film side too.

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Courtney Barnett is back talking with Kyle Meredith about Creature of Habit, digging into those years between records, the move to LA, and why that chapter is more backdrop than the story itself. She gets into second-guessing songs like “Mostly Patient” and “Site Unseen” before pulling them back from the edge, trusting instinct even when it feels like a dead end, and how ideas can sit for years before finally clicking. There’s also talk about subtle callbacks across her catalog, turning old riffs into new songs, and working with Flea and Katie Crutchfield in a loose, live-in-the-room session. And somewhere in there, she’s still figuring out if those songs are actually talking to each other or if that’s just us connecting the dots.

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Natalie Alyn Lind got the call, packed her bags in two days, and suddenly she’s at cowboy camp learning to rope for Dutton Ranch, and she tells Kyle Meredith how that whirlwind turned into one of the most immersive roles of her career. She talks about building a “wild and free” character who evolves in ways fans won’t see coming, going toe-to-toe with Annette Bening, and why the show’s messy family dynamics are the real hook. Then it flips completely as she dives into Halloween Store, the slasher she’s starring in, producing, casting, and even editing herself, calling it her love letter to old-school horror and the project that’s got her hooked on filmmaking beyond acting.

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Paul Bettany says he believes in genius “the same way I believe in libraries,” and that pretty much sets the tone as he and Will Sharpe talk Amadeus with Kyle Meredith, digging into why this story still hits and what a longer series lets them explore beyond the film. Bettany leans into Salieri’s perspective but says this version finally gives Mozart equal weight, especially the toll genius takes at home and not just in the spotlight. Sharpe, meanwhile, talks about using Mozart’s music as a way into the character, chasing the mix of playfulness, ego, and eventual darkness that builds across the series. And somewhere in there, you get a reminder that genius might be real, even if no one quite understands it.

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