Author: Peach Fish Productions

Michelle Buteau explains why she is the "achievable Beyonce" for government workers and how her history editing grim news footage at WNBC led her to a record-breaking comedy career. Her new special, A Beautiful Mind, marks her as the first woman of color to headline Radio City Music Hall—a feat she attributes to the same grit that carried her through five years of IVF and "weird needles" at TSA. Along the way: the "dangerous" trend of punching down in comedy, the specific anxiety of visiting a Bronx reptile sanctuary while high on an edible, and the culture shock of a Dutch husband who still defends the practicality of wooden clogs.

Produced by Corey Wara

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Actor and comedian T.J. Miller explains why a traumatic brain injury is his improvisational "cheat code"—and how a 2010 surgery for an arteriovenous malformation (AVM) in his right frontal lobe fueled a career of manic chaos. Miller discusses the "invisible disability" of brain surgery and the high-stakes gamble of a 10% fatality rate. Along the way: a tour of city mottos, from the low-bar honesty of Toledo to the bizarre promise that Auburn, Washington is "more than you imagined." Plus, a look at the "Bulgarian" financial ecosystem of Fort Wayne, Indiana, where a three-bedroom house costs $485 a month.

Produced by Corey Wara

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Mike unlocks two interviews from the vault featuring comics who navigate the cultural minefield with very different styles. First, Sarah Silverman discusses her evolution from "arrogant ignoramus" character comedy to earnest podcasting, reflecting on her blackface controversy, her embrace of the "Bernie bro" label, and why she believes being wrong never feels shitty if you're willing to learn. Then, Kyle Kinane joins to talk about his special Loose in Chicago, the specific pain of being a Cubs fan (pre-World Series win), and his low-stakes conspiracy theories about Trader Joe's parking lots.

Produced by Corey Wara

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In this special holiday week episode, Mike sits down with comedian Alex Edelman, fresh off a Tony Award for his show Just For Us and a spot on the Time 100 list. They discuss the "liquid dynamics" of a Comedy Cellar audience, the art of bombing while testing new material, and why jokes about the Israel-Gaza conflict are the hardest tightrope in comedy right now. Edelman explains why comedy thrives in doubt rather than certainty, how he uses "invisible pillars" to structure a narrative, and why he believes a joke should be "conversant with the moment, not beholden to it." Plus, Mike offers a critique of the mockumentary format glut in modern sitcoms.

Produced by Corey Wara

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In this special Christmas Day edition, Mike gives the gift of Roy Wood Jr., a comedian who embodies the "profundities in punchlines" ethos. Wood joins to discuss his CNN show Have I Got News for You, his upbringing as the son of a pioneering radio journalist, and the central thesis of his comedy: that in a fractured world, people prioritize dopamine over truth. They debate whether political comedy has devolved into mere applause lines, why comedians are the new op-ed writers, and the delicate art of crafting a joke about police reform that actually lands with everyone. Plus, Mike explains why you need a "Christmas Eve" song if you want your novelty hit to last.

Produced by Corey Wara

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In a special Christmas Eve edition, Mike brings you a "gift" from the comedy vault: an interview with the brilliantly off-kilter Django Gold. A veteran of The Late Show with Stephen Colbert and The Onion, Gold discusses his YouTube special Bag of Tricks and his commitment to playing a paranoid, morose character on stage—a persona he claims is "closer to who I really am" than any bubbly crowd-pleaser. They dissect the mechanics of anti-humor, the joy of "uncomfortable staring," and why Gold believes the best comedy leaves the audience "a little dimly lit." Plus, Mike muses on the specific genius of "Christmas Eve" songs versus generic holiday tracks.

Produced by Corey Wara

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Thomas Chatterton Williams joins to discuss his new book, The Summer of Our Discontent: The Age of Certainty and the Demise of Discourse. He argues that the racial reckoning of 2020 was not an inevitable tide of history but a perfect storm of pandemic isolation, polarizing politics, and institutional failure. TCW dissects how mainstream institutions—from the New York Times to the Philadelphia Inquirer—abandoned objectivity for "moral clarity," and how misinformation about cases like Jacob Blake fueled a cycle of violence in Kenosha. Mike and Thomas debate whether the Left's introspection is necessary to defeat the "worse" impulses of the MAGA Right, or if it just alienates the base.

Produced by Corey Wara

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Quico Toro joins to discuss Charlatans: How Grifters, Swindlers, and Hucksters Bamboozle the Media, the Markets, and the Masses, distinguishing the "parasitic" nature of the charlatan from the hit-and-run tactics of the scammer. He traces the lineage of the grift from the official alchemists of 16th-century Venice to the upsell tactics of Trump University, arguing that loneliness and the internet have created a "target-rich environment" for swindlers. Then, a pivot to the environment: Mike and Quico debate whether the "green halo" around solar and wind constitutes its own form of elite misinformation, and why the villainization of nuclear energy—and the partisanship of climate policy—has stalled real progress.

Produced by Corey Wara

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In light of the recent tragedy, Mike unlocks a 2016 interview with the late Rob Reiner. It is a conversation that now plays differently: Reiner discusses his film Being Charlie, which was written by his son Nick Reiner—the man now arrested in connection with his death. Mike reflects on the director's legacy, the eerie prescience of their discussion on addiction and family, and the President's disparagement of the deceased. Then, The Spiel turns to the Compact magazine essay by Jacob Savage on the "vanishing" white male in cultural industries. Mike parses the statistics—from Ivy League hiring to MacArthur Grants—to ask if the corrective pendulum has swung too far.

Produced by Corey Wara

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Comedian Jay Jurden explains why nine years of theater training is his "superpower" on the stand-up stage—and why he treats every punchline like a line of dialogue rather than a personal diary entry. His new special, Yes Ma'am, argues that physical specificity (from "rolling a wheelchair into affordable housing" to Marjorie Taylor Greene's hooves) is what separates a 300-level performer from a novice looking at their shoes. Along the way: memories of growing up in Canton, Mississippi, where movie sets for A Time to Kill. Plus, the greatest college football analogy ever delivered by a gay comedian—a warning against "scrambling" for viral crowd work instead of sticking to the designed play.

Produced by Corey Wara

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