Michael Ian Black doesn't usually reveal a lot about himself in his comedy. He's generally more comfortable playing characters who at most manifest fragments of his personality, like the hilarious solipsism of "Michael Ian Black" in "Michael and Michael Have Issues." His new memoir, "You're Not Doing It Right: Tales of Marriage, Sex, Death, and Other Humiliations," is different. It's bracingly candid, full of unromanticized and unflattering real-life detail. It never seems self-indulgent or confessional, though, and it's both funny and insightful. Same goes for my conversation with Michael, in which we discussed all of the aforementioned humiliations.

Michael Turner, of the University of Chicago and Kavli Institute, has had his hands in some of the biggest cosmological advances of recent years. He's also contributed to the scientific lexicon, coining the term “dark matter” and presaging its discovery. We talked about that and some of the universe's other big head scratchers.

It was Easter Sunday, so I resurrected my 2011 interview with Carolyn Burke, discussing her book No Regrets: The Life of Edith Piaf. Carolyn is equally strong on the biographical details and the musical oeuvre of France's great songstress, and provided astute commentary on some of Piaf's signature songs.

I thought this might turn into an entirely satirical April Fool's interview with John Hodgman's mock-pundit character, but after some japery, the conversation got sorta serious. John may lampoon the whole notion of expertise and authority in his TV appearances and books, but his thoughts on the subject run deep. We talked about his days studying literary theory at Yale, the real-life model for his professorial persona, truth vs. artistic license, and John's up close and personal view of the Mike Daisey/This American Life debacle.

In the age of science, what's a philosopher to do? As physics, biology and other hard sciences advance, is philosophy left with only a few increasingly recherché questions? Nope, says philosopher Colin McGinn. McGinn argues that philosophy is a kind of science (though it could use some rebranding to that effect), and those other sciences would do well to pay it some mind. A dose of philosophy could help clear up many scientific confusions and save theorists from a mess of conceptual errors (homuncular fallacy, anyone?). Colin McGinn and I talk science vs. philosophy, different kinds of knowledge, the nature of objectivity, problems with the scientific study of consciousness, and his Campaign to Rename Philosophy (CRP), which he wrote about recently in the New York Times.

In his new book, "Eminent Outlaws: The Gay Writers Who Changed America," Christopher Bram says it was literature more than any other art form that opened America's eyes to same-sex relationships and paved the way for gay rights. In the years following World War II, when homosexuality was taboo territory for movies, TV and other mass media, it was writers who broke the silence. Chris and I discussed the impact of writers such as Gore Vidal, Tennessee Williams, Truman Capote, James Baldwin and Allen Ginsburg; the sometimes nasty critical reaction to their work; and how Chris himself read his way out of the closet.

And you thought sequencing the human genome was a big job. MIT neuroscientist Sebastian Seung is proposing something even more Herculean: tracing the trillions of neuronal connections in the human brain, collectively known as the "connectome." He believes the connectome may hold the key to understanding the brain and the self. That follows from connectionism—the notion that learning, memory and personality are embedded in the brain's wiring. Like so much else in neuroscience, that's still hypothetical, and Sebastian is refreshingly candid about the limits of current understanding. We discussed what is and isn't known about the workings of neurons, how the brain's circuitry might encode information, the relevance of computer models, and artificial intelligence techniques that may help map the connectome. Also: the "Jennifer Aniston neuron," whether or not to freeze your posthumous head, and the cautionary tale of the South Park underpants gnomes.

Everybody loves a good dysfunctional family drama, which is one reason the Oresteia and other Greek tales of the strife-torn House of Atreus have never gone out of fashion. Agamemnon, Clytemnestra, Electra and the gang are at it again in a new play premiering this week at UC Santa Cruz. The production draws freely on classical sources including the Illiad and the plays of Aeschylus, Sophocles and Euripides, and adds a high-tech twist: the performance is split between two stages representing two distinct realities, bridged by live video streaming. I spoke with writer/director Kirsten Brandt and producer Ted Warburton, both of UCSC's Theater Arts Department, about the performance, the timeless truths of Greek tragedy and the use of “telematic” technology in theater.

This episode originally aired on Feb. 15, 2009. Seeing as it was the morning after, I took a few swipes at love and romance with the help of some great guests and lots of music. This year, my broadcast slot fell on Feb 19, close enough to Valentine's Day to revive the show. Segments include: Science writer Hannah Holmes on the biology of hooking up and dogging around; critic Laura Kipnis on monogamy and marriage as social engineering; writer Jonathan Ames on love and its disappointments; and writer/guitarist Glenn Kurtz on the death of dreams.

Despite an old-school classical education in the Soviet Union, where she grew up before emigrating to Australia as a teen, composer Elena Kats-Chernin is anything but tradition-bound. Her influences run the gamut from ragtime to nuevo tango to minimalism and pop. Her work is powerfully evocative and unabashedly listenable. Elena says for her, “music is a living thing.” She writes daily, and a lot of her own life inevitably makes its way into her compositions. In this interview, we listened to some exquisite tunes and dug deep into the sources of her music, including the very personal story behind some of her most affecting works.