The Playlist Podcast Network

Few shows reinvent themselves as boldly between seasons as Dan Fogelman’s “Paradise.” What began as a tightly wound political mystery in Season 1 mutates into something far bigger in Season 2: a survival story, a character odyssey, and a puzzle box full of fan theories that viewers are now happily dissecting online. The world expands dramatically beyond the bunker, pushing its characters into unfamiliar territory and raising the emotional stakes across the board.
On this episode of The Playlist’s Bingeworthy podcast, host Mike DeAngelo speaks with Sterling K. Brown and Shailene Woodley, and Julianne Nicholson about the show’s ambitious second season, the emotional toll of survival, and what lies ahead as the series moves toward its planned ending.

At first glance, “Heel” (released internationally as “The Good Boy”) looks like it might be a grim captivity thriller. A troubled young man is abducted and chained in a basement by a grieving couple. But filmmaker Jan Komasa has something stranger and more psychologically rich in mind. Instead of a story about imprisonment and escape, “Heel” becomes a meditation on grief, redemption, and the uncomfortable idea that compassion can sometimes arrive in deeply unsettling forms. The film stars Stephen Graham, Andrea Riseborough, and Anson Boon, and opens in theaters and on-demand March 6.
On this episode of The Discourse, host Mike DeAngelo spoke with Graham and Riseborough together, followed by Boon in a separate conversation, about the film’s unusual premise, the emotional core behind its darkness, and the different ways each actor interpreted the story.
READ MORE: ‘The Bluff’: Priyanka Chopra-Jonas & Karl Urban On Brutal Location Shoots, Colonial Reckonings, ‘The Boys’ Finale, ‘Citadel,’ & The Hope For More ‘Dredd’ [The Discourse Podcast]
For Graham, the script’s twisted premise wasn’t the point. What grabbed him was the emotional logic behind it.

There’s a specific flavor to a Steve Conrad show. A little awkward. A little hilarious. A little sad. A little dangerous. Sex, lies, murder, and old smut. That tone is back in full force with “DTF: St. Louis,” the HBO Max series that follows adults who think they’re signing up for an app that's simple and transactional, only to discover that intimacy is never that clean. The ensemble includes Jason Bateman, Linda Cardellini, David Harbour, and Richard Jenkins, and like Conrad’s previous work on “Patriot,” it blends weaponized awkwardness with genuine emotional exposure.
On this episode of Bingeworthy, Mike DeAngelo spoke with Conrad and the cast about where the idea began, how you calibrate a tone that’s funny and unsettling at the same time, and what it’s like to shoot your first scene together at eight in the morning while sitting on Jason Bateman’s face.
For Conrad, the origin point wasn’t a character or a crime, it was the app itself.
“It was the brand name of that make-believe app,” he said. “It opened up everything for me, because only a sucker would believe that that’s all anybody is down for. I mean, life has its surprises, but the idea that you can have an intimate relationship with somebody, shake hands and say, now go on with the rest of my life — unlikely that that is always going to go that way.”

There’s a blunt-force clarity to “The Bluff.” Cannons roar, cliffs loom, and survival comes down to grit, guns, and one badass mother who refuses to bend. Directed by Frank E. Flowers, the 19th-century Caribbean thriller follows Ursell (Priyanka Chopra Jonas), a former pirate whose quiet life is shattered when Connor (Karl Urban), a betrayed former ally, arrives with vengeance and unfinished business on his mind. What unfolds is part Pirate-themed, “Die Hard”-esque siege movie, part reckoning with empire, and, in Urban’s words, “actually a love story with the volume turned up.” The film hits Prime Video on February 25 and also stars Temuera Morrison, Ismael Cruz Córdova, Safia Oakley-Green, and more.
On this episode of The Discourse, host Mike DeAngelo is joined by Priyanka Chopra Jonas and Karl Urban to talk about the sweat, the history, and the franchise futures looming on both of their horizons.
When asked just how physically punishing the shoot for “The Bluff” was, Urban did not romanticize it. “At the end of every single day, I would go and get all the stuff taken off, and I would have a double tequila ready to go and ready for that car ride home,” he said. Chopra-Jonas raised the stakes. “I definitely needed a tetanus shot, and margarita, and a bottle of wine.” The production was shot entirely on location, on a tight schedule, and there was “no time for anybody to fall sick. There was just no room.” Chopra Jonas admitted. “But, I mean, it looks great, and it turned out great.”

There’s a very specific kind of comfort that only “Scrubs” can deliver. It’s the snap‑cut from slapstick to soul‑crushing. The hallway daydream that detonates into real grief. The sense that medicine is both sacred and absurd, and that humor is the only thing keeping anyone upright. The new “Scrubs” revival understands that alchemy. It is not interested in embalming the past. It is interesting to ask what happens when the dreamers become the grownups, when the interns who once hid behind fantasies now have to lead.
On this episode of Bingeworthy, host Mike DeAngelo sits down with Bill Lawrence and Aseem Batra to talk about bringing “Scrubs” back in a way that honors its past without getting trapped by it. The revival premieres with two back‑to‑back episodes on Wednesday, February 25, on ABC and streams the next day on Hulu.
For Lawrence, the return starts with gratitude. “Not every show that you worked on gets to have a fan base so passionate that they continue to do it,” he said. That passion, he noted, is alive and well, citing everything from obsessive continuity questions to fans who never stopped revisiting Sacred Heart.