Episodes
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Ride or Die starts with the best kind of best-friend problem: one of them is an international assassin and that’s not even the whole mess. Octavia Spencer, Hannah Waddingham, Tessa Coates, and Matt Miller talk with Kyle Meredith about the Prime Video series, from Waddingham finally getting to go full action star and Spencer digging into the friendship at the center of it, to Coates building a female action story that sends the assassin back for her best friend instead of the typical husband or kid. Miller gets into making eight episodes feel like one big globe-trotting movie, even if most of Europe was secretly Prague, while everyone circles the bigger win here of “women of a certain age” getting to be funny, complicated, dangerous, and completely in charge of the ride.
Listen to Octavia Spencer, Hannah Waddingham, Tessa Coates, and Matt Miller chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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Kurt Vile and Kevin Morby both know how to make city songs feel lonely, funny, half-haunted, and still totally wide open. Vile talks with Kyle Meredith about 2016’s B'lieve I’m Goin Down, being cartooned into a stoner squirrel on HBO’s Animals, fame arriving one weird step at a time, and writing songs that leave room for everyone else to move in. Morby then discusses 2017’s City Music, turning New York isolation into fiction from out in Los Angeles, building “1234” out of the Ramones and Jim Carroll, and leaving bands behind so he could try on every suit that fit. Two songwriters chasing loose ends, street noise, and the next version of themselves.
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Missing episodes?
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Tori Amos talks with Kyle Meredith about In Times of Dragons, the concept record she built out of democracy cracking in real time, dangerous men behind the curtain, Celtic gods, witches, daughters, and the younger self who wrote "Silent All These Years." She also gets into writing fast, bringing Matt Chamberlain and John Evans back into the room, how her daughter Tash helped unlock the daughter’s role in the story, and why older records like Strange Little Girls can sneak back into the cupboard when the songs need the right ingredients. Heavy stuff, sure, but Tori still makes the dragon fight sound like a spell you can hum.
Listen to Tori Amos chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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Jane Kaczmarek talks with Kyle Meredith about returning to Malcolm in the Middle for Life’s Still Unfair, reuniting with Bryan Cranston, and why Erik Per Sullivan deciding not to come back as Dewey might be the most quietly heroic thing of all. She also digs into The Boroughs, playing Alfred Molina’s wife for the fifth time, getting to die to "Thunder Road," and why this latest chapter has her thinking about love, theater, artichokes, Led Zeppelin, and the very real power of knowing when to say, “I’m good.”
Listen to Jane Kaczmarek chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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A rom-com may promise the ending, but Joel Courtney and director Andy Delaney tell Kyle Meredith that 40 Dates and 40 Nights is really about everything that happens in between. Delaney talks about using the genre as a way to focus on “the micro,” leaning into character details, awkward moments, and real-life experiences pulled directly from writer Sarah Howard’s own dating history. Courtney discusses finding Mason’s grounded, relatable side and reveals that his own love story is something of a rarity, having ultimately married the only woman he ever seriously dated. The two also dive into the chemistry between Courtney and co-star Bailee Madison, the importance of authenticity over broad comedy, and why the film’s failed dates had to feel like real people instead of cartoons.
Listen to Joel Courtney and Andy Delaney chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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Gerry Beckley still has a lot in the vault, and Merciful proves it. The America co-founder talks with Kyle Meredith about stepping away from touring after 50-plus years, splitting time between Los Angeles and Sydney, and finally having the space to write, record, and chase ideas without getting off a plane every other day. Beckley digs into reworking “Monster,” covering The Beatles’ “Norwegian Wood” with Graham Nash, the Henry Diltz story behind “All the Wounded Cowboys,” and why melody, melancholy, and a little light-dark chemistry are still at the center of what he does.
Listen to Gerry Beckley chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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Suki Waterhouse talks with Kyle Meredith about her new album Loveland, a record written in that strange in-between space after becoming a mom, coming off Sparklemuffin, and figuring out who she was becoming in real time. She gets into working with Aaron Dessner, keeping the raw demo vocal on “Seasons,” the woozy jazz feel of “When I Get Drunk,” and why “Notting Hill” sits at the heart of the record as a love letter to home, London, and the life she keeps moving through. There’s also talk of dreams coming true, the cost of those dreams, and why tour rehearsal starts in the bathroom mirror.
Listen to Suki Waterhouse chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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Del the Funky Homosapien talks with Kyle Meredith across two eras, first with Dan the Automator as Deltron 3030 in 2014 and then solo in 2018 around Gate 13 with Amp Live. Del and Dan get into why Deltron feels political without chasing headlines, how sci-fi works best when it’s really talking about right now, and why disposable music has made longevity feel like its own rebellion. Del also digs into recovering after his Gorillaz stage fall, using battle rap as creative fuel, showing up in Jonah Hill’s Mid90s, and why he’s less interested in nostalgia than figuring out what comes next.
Listen to Del the Funky Homosapien chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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John Gallagher Jr. talks with Kyle Meredith about his new EP Almost Okay, finding the spark again after the heartbreak of Swept Away closing on Broadway, and why his music has become more alive the longer he’s been doing it. He gets into the chaos behind “Tough Spit,” the Paul Westerberg spirit running through “All This Changing,” and how “Never Leave” ended up being one of those songs you immediately start sending to friends. There’s also a little trip into the Flanaverse with Mike Flanagan’s new Exorcist movie, because John’s creative tides are pulling in every direction at once, and lucky us.
Listen to John Gallagher Jr. chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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A girls trip gone wrong, a desert town full of menace, and one unforgettable act of revenge are at the center of Find Your Friends. Talking with Kyle Meredith, Bella Thorne, Chloe Cherry, and writer-director Izabel Pakzad discuss the real Joshua Tree incident that inspired the film, the complicated friendships and double standards surrounding female sexuality, and why the movie’s biggest horror comes from situations women face every day. They also get into flipping familiar gender dynamics on their head, building characters rarely seen on screen, and that shocking finale that leaves quite an impression.
Listen to Bella Thorne, Chloe Cherry and Izabel Pakzad chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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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.
Listen to Tom Cavanagh chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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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.
Listen to Judith Light chat about all this and more or watch it on YouTube. Please take the time to like, review, and subscribe to KMW wherever you get your podcasts, and keep up to date with all our series by following the Consequence Podcast Network.
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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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