A celebration of 50 years of Saturday Night Live, featuring stories from Bill Hader, Julia Louis-Dreyfus, and Jason Reitman.

Find links to hear each of these full episodes. Visit Peacock to watch The SNL Anniversary Special, The Homecoming Concert, and the four-part docuseries Beyond Saturday Night.

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For more than a decade, Chris Hayes has been one of our most incisive political thinkers. He joins us this week in New York City, hours before taping his hit MSNBC show, All In with Chris Hayes, to discuss his new book, The Sirens’ Call.

At the top, we unpack America’s Constitutional crises (5:30), the editorial inner workings of “All In” (7:00), and how attention became our most endangered resource (12:00). Then, Hayes talks through the challenges of maintaining viewership in the era of cord cutting (14:00), the diversity of his primetime audience (25:00), and how he balances the performative elements of the job with his authentic self (44:00).

On the back-half, Hayes describes the challenges of reaching a wider audience in our increasingly partisan political landscape (50:00), his tenure on television (55:00), his formative years writing at The Chicago Reader (1:05:00), and a short story from Albert Camus that keeps him on course (1:10:00).

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Actor Mikey Madison has delivered the performance of the season with her star-making turn in Anora. She joins us this week on the heels of her recent Oscar nomination for Best Actress.

We begin by discussing the organic partnership she formed with writer/director Sean Baker (3:30), the ‘emotional preparation’ required to tell this vulnerable story (7:00), her San Fernando Valley upbringing (11:45), and her formative years working with Pamela Adlon on Better Things (22:38).

On the back-half, Mikey reflects on her breakout part in Quentin Tarantino’s Once Upon a Time… in Hollywood (30:30), the sex professionals who helped inform her work in Anora (32:50), how she excavated her past to create in the present (43:10), and where she hopes to go on the other side of this towering achievement (49:50).

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From The Walking Dead to Minari to Beef, Steven Yeun has become one of the most singular performers in Hollywood today. With his latest role in the sci-fi romance Love Me, we look back at our conversation with the leading man.

At the top, Yeun unpacks his acclaimed Netflix series Beef (5:09), a powerful church scene from the show (11:30), and his personal experience immigrating to the US from Seoul as a child (18:15). Then, we walk through Steven’s coming of age in Michigan (21:24), his memorable audition for The Second City Touring Company (25:29), and his pursuit of on-screen work in Los Angeles (33:40).

On the back-half, Steven reflects on his portrayal of Glenn on The Walking Dead (36:22), the films that followed, including Okja (48:10), Burning (50:02), and Sorry to Bother You (51:16), his transformative experience making and premiering Minari (55:42), and to close, a poem that guided him on set by the great Wendell Berry (1:08:19).

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David Lynch was an artist in every sense of the word. Rest in peace to the legendary filmmaker, who passed away this month at the age of 78.

Today we present a tribute to Lynch, featuring excerpts from two of his most enduring collaborators: actors Kyle MacLachlan and Laura Dern. In each conversation, they reflect on the early projects they worked on with Lynch—together in Blue Velvet and Twin Peaks, separately in Dune and Wild at Heart. They also discuss David’s original creative process, his fascination with the mysteries of life, and memories from over three decades alongside the beloved director.

To close, a love letter to the movies and a piece of music by Lynch himself.

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Writer Emily Witt (“Health and Safety: A Breakdown”) has spent the past two weeks on the ground covering the Los Angeles wildfires for The New Yorker.

Her latest story centers around the Benns (5:39), a multigenerational Black family with deep ties to Altadena (8:35), where they’ve raised children in homes they’ve owned dating back to the late 1950s (16:13). We discuss how they’re managing as the Eaton fire continues to rage (17:00), the value of community in crisis (18:40), and the measures the city was urged to take to mitigate this disaster (23:28).

On the back half, Witt reflects on her 2023 interview with Mayor Karen Bass (32:40), the prophetic work of Altadena author Octavia Butler (39:28), how on-the-ground reporting offers a chance to “write a first draft of history” (46:30), and where Los Angeles goes from here (56:10).

To help support the Benn family, visit their GoFundMe or text “Talk” to 858-358-5881. 

And special thanks to Weyes Blood.

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This week, we revisit a soulful conversation around climate change and the restorative power of nature with author Richard Powers.

We begin by defining the thematic through-line between The Overstory and Bewilderment (5:06), the eco trauma articulated in each text (9:10), how we may redefine hope today (16:08), and what the pandemic taught us about the climate crisis (26:18). Powers also details the ecological shortcomings of capitalism (29:00) and our myopic interpretation (and fear of) death (30:56).

On the back-half, we unpack why he writes (33:48), the need for “productive solitude” (40:40), and the singular way he writes analytical and emotional characters (44:42). To close– a fitting scene from one of Powers’ earlier works, Plowing the Dark (50:30), in which an older man enters an used bookstore, unable to find the book intended. And in the absence of that book, Richard Powers will continue to do so (52:50).

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Writer Jia Tolentino (The New Yorker) became a literary sensation in 2019 upon the release of her best-selling essay collection, Trick Mirror: Reflections on Self-Delusion. She joins us this week to ring in 2025.

We start by discussing the erosion of privacy online (11:26), the potentially forthcoming TikTok ban (13:32), and how she circumvented self-surveillance technology in her Hidden Pregnancy Experiment for The New Yorker (15:28). Then, we unpack how data is monetized online (18:00), as depicted in an unsettling scene from Succession (21:50), the harmful effects of screen time on children (26:10), and her writerly upbringing in Houston (31:48).

On the back-half, Jia recounts a formative summer in Venice (41:55), her subsequent decade working at The Hairpin and Jezebel (50:43), the trad wife phenomenon (55:00), how she swings between pessimism and optimism (1:12:19), and why writing still retains the power to liberate (1:17:00).

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To close out the holidays, our conversation with actor Harris Dickinson.

We discuss his latest role in Halina Reijn’s Babygirl (6:50), Nicole Kidman’s “disarming and generous” quality on set (9:27), and the exploration of masculinity in Harris’ roles— from Beach Rats (12:48) to Triangle of Sadness (13:03) to Babygirl (13:24). Then, we dive into the online discourse about his new performance (15:52), his upbringing in Walthamstow, England (17:10), and the early short films he made with his high school mates (20:20).

On the back-half, Harris unpacks his formative university years (24:45), his post-grad search for purpose, first in the military (30:20) then working at a hotel in east London (33:26), and the inspiration behind his forthcoming directorial debut (34:25). To close, we talk about the parallels between filming fight scenes (43:50) and intimate scenes (44:48) and the Charles Bukowski poem that keeps him creating (52:25).

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For the holiday week, we’re revisiting one of our favorite conversations with Pulitzer Prize-winning writer and critic Hilton Als.

At the top, we unpack his approach to writing profiles (5:50), inspired by the words of photographer Diane Arbus (6:10), and how he captured Prince in a new, two-part memoir entitled My Pinup (7:55). Then, Als reflects on his upbringing in Brownsville, Brooklyn (10:25), a timely passage from his 2020 essay "Homecoming" (14:40), and formative works by writers Adrienne Kennedy (20:58) and the late Joan Didion (27:05).

On the back-half, we discuss the interplay of memory and writing (36:38), Hilton’s writing routine (40:55), his sources of hope today (44:30), and to close, a dialogue from Jean Rhys’ unfinished autobiography Smile Please (48:25).

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