Evan Ratliff is a magazine writer, podcaster, and author of Mastermind: Drugs, Empire, Murder, Betrayal, which was released in 2019 by Random House. In addition to co-founding Longform and The Atavist Magazine, Evan was also one of the founding editors of Pop-Up Magazine.

In this episode, he talks to Matthew about Shell Game, a hit narrative podcast Evan funded, created, and distributed independently, working with a small team that included Evan's wife, Samantha Henig, and the independent producer Sophie Bridges. "I've had pretty good experiences doing projects with friends," Evan says. "And enough of those projects have worked out that I feel like it's worth taking some risks, especially in this environment where like the media industry is constantly like devolving in new and unexpected ways that you didn't even think about last year, where you were like, 'Oh, well that's solid,' and now it's gone." 

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Bonnie Tsui is a veteran journalist and the author of several critically-acclaimed books, including On Muscle, American Chinatown, and Why We Swim, which was published in 2020 by Algonquin Books.

In this episode, she talks with Matthew about the challenges of writing Why We Swim, which mixes rigorous scientific reporting, history, and long passages of essayistic exploration. “It’s an instinctive way of writing," Bonnie says of the latter. "I mean, you know you have to come back to the points that you’re trying to make, with the chapter or the piece or whatever, but it is not the same as going to report something, or interview a person, and get all those details in. It’s about feeling your way forward and finding your way to some truth.”

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Roy Wood Jr. is a comedian, actor, and former correspondent for The Daily Show. In this episode, he talks to Matthew about his new book, "The Man of Many Fathers: Life Lessons Disguised as a Memoir," which is structured as an extended letter to his young son. Early drafts, Wood recalls, were composed by voice note, while walking to the set of The Daily Show – a process that helped give the book its emotional power and irreverent humor. 

"I don't believe you type the way you talk because you're constantly thinking about grammar and sentence fragments. Whereas I'm just walking down the street, and I'm like, 'This dude, he snorted cocaine, he stank, he looked like a gorilla, his shirt was sweaty, had brown teeth. He had one tooth that was more yellow than the other. How you get extra tartar on one tooth?' These are abstract, weird thoughts and if I'm in a flow of talking aloud, they're gonna come out. And I can take those, transcribe them, and then at night, really look at this story and go, 'Okay, this part should go here. This is disjointed, let's move this around.'

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Part book club, part English class, Zero to Well-Read is a fun and irreverent guide to the books everyone talks about, from classics you should have read in high school to the modern hits everyone's buzzing about. In each episode, hosts Jeff O'Neal and Rebecca Schinsky tell you everything you need to know about a must-read book, including its plot, what it feels like to read, why it’s important, and the key takeaways you can use at your next dinner party.

Bad Elizabeth is a comedic true crime podcast  hosted by friends and former “The Daily Show with Jon Stewart” office mates, Gideon Evans and Kathy Egan-Taylor.

The premise is as simple as it sounds: each episode explores the story of an “Elizabeth” (or any derivation of that name) who is notorious, be they a murderer, a fraudster, or just a complete a-hole. These women span both past and present, in pop culture, and world history. Gideon & Kathy guide you through these sordid and outrageous tales breezily, as if you were a guest at a fun cocktail party.

Mitch Albom is a journalist, playwright, and the author, most famously, of "The Five People You Meet in Heaven." Before scoring his breakout hit with "Tuesdays With Morrie," Mitch was a longtime sports reporter for The Detroit Free Press, where his column still appears every week.

In this episode, he talks to Matthew about his new novel, Twice, and the importance of putting theme first. "The ideas always come before the characters and even the plot," he says of his creative process. "So I always start with, 'What theme do I want to write about?' Never what plot, or what's the story, or an idea for a character. It's, 'What do I want to tackle?' Because I know I'm going to have to live with that theme for a long time. Plots come and go. Characters can come and go. But if I'm not happy about what it is that I'm writing about, or what I'm trying to sail towards –– my North Star as I'm writing –– I can't live with it for that long." Mitch says he writes every day, for no more than three hours. "You need to fill your heart back up again. It's a regenerating thing, like blood. Like Red Smith said about sports writing: 'It's easy. You just sit down and open up a vein and bleed out a story.' But if you close the vein, you put a bandage on it, the blood eventually comes back in and you get back what you lost. I think it's the same thing with ideas and words." 

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Steve Burns is best known as the first host of the groundbreaking kids TV show Blue's Clues, which debuted nearly three decades ago, in 1996. After leaving Blue's Clues, Steve worked as a voiceover actor and a musician; his song "Mighty Little Man" became the theme song for "Young Sheldon." In this episode, he talks to Matthew about the creation of his new hit podcast, "Alive With Steve Burns," and the learning curve involved in experimenting with a new medium.  "I watched like 40 hours of Dick Cavett and then I realized that was not useful to this forum in any way," he says. "And that I'd probably be better off taking some improv classes and understanding what journalism is. Right now, it seems like it's improvisational journalism if it's anything. But I'm still flailing around in a sea of fear when I'm here."

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Debora Cahn is a television writer, producer, and showrunner. Debora launched her career as a scribe on The West Wing and Grey’s Anatomy; later, she served as a writer and executive producer on Homeland. In this episode, she talks to Matthew about The Diplomat, the hit drama series she created for Netflix.

“The game that we're trying to win is to stay in a viewer's life for years,” she says of The Diplomat, which is now entering its third season. “Make this story interesting to people for years. And to do that, you plant all of these things in the garden, to use a simple metaphor. And some of them grow and some of them don't. And some of them are just sort of sitting there waiting for you to take advantage of them somewhere down the line.”

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Max Minghella is an actor, writer, and director. Born in London, Max has acted in projects as varied as The Social Network, The Handmaid’s Tale, and The Ides of March. He also wrote and directed Teen Spirit, a coming-of-age drama set in the world of pop stardom.

In this episode, he talks to Matthew about his latest directorial effort, Shell, a body-horror satire about beauty, technology, and transformation. His interest in this kind of material sprang, in part, from a previous acting gig on a Saw spin-off called Spiral. “When we were focus testing Spiral,” he says, “I discovered quite a lot of things watching a movie with audiences that I didn't expect. And one of them was how much glee people took from watching something that made them squeamish. I thought it would just make people turned off or uncomfortable. Actually, it made them laugh. And it made them laugh a lot in a wonderful way –– a really joyous way.”

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Brian Goldstone is a journalist and anthropologist whose reporting focuses on inequality, housing, and the fragile architecture of the American dream. In this episode of Origin Stories, Goldstone talks to Matthew about There Is No Place for Us: Working and Homeless in America, his critically-acclaimed new nonfiction book.

"In the last five or six months of writing, where I was just in that sort of fever dream phase, I had started waking up at 4 AM," Goldstone says. "Because with kids, that's the only way I was going to finish this. So I would be at my desk at four in the morning. And what allowed me to keep moving forward was having an outline in front of me that had already been so heavily edited and revised. I could be confident that even if I can't see the forest for the trees right now, I know that if I just keep putting one foot in front of the other, I'm going in the right direction."

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