Wilco’s Jeff Tweedy joins Kyle Meredith to dive into his ambitious new triple solo album, Twilight Override. Clocking in at 30 songs across three discs, the project explores the past, present, and future—not as a rigid concept record, but as a flowing arc of memory, meaning, and hope. Tweedy shares how the record was inspired by the voices of his touring band, and how writing for their harmonies pushed the songs into new emotional territory. He also reflects on post-pandemic generational trauma, the ongoing challenge of maintaining empathy in a fractured world, and the creative power in resisting doomscroll culture.

From the autobiographical storytelling of “parking lots” to the messy guitar solos and meditative closing track “Enough,” it’s a generous and unguarded collection—released, hilariously, on the 30th anniversary of Wilco’s debut. No nostalgia tours here, just a big-hearted flood of new music. Get tickets to Tweedy's upcoming tour dates here: https://stubhub.prf.hn/l/kVkPdWg/

Listen to Jeff Tweedy chat about all this or watch the interview 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.

The cast of The Senior -- Michael Chiklis, Rob Corddry, and Mary Stuart Masterson -- along with the actual former football player the movie is based upon, Mike Flint, join Kyle Meredith to talk about the film's wild-but-true story. The Senior follows Flint as he becomes the older player to ever suit up for a college football team -- at the age of 59.

Chiklis, who was also 59 when filming, talks about the physical toll of hitting the field, how he approached portraying a living person, and why this became one of the most meaningful projects of his career. Corddry and Masterson, who play Flint’s coach and wife, respectively, discuss finding unexpected emotional depth in their characters, navigating the real people behind the roles (including Eileen Flint watching on set), and how the film explores masculinity, redemption, faith, and the long game of unfinished business. It’s a sports movie, sure — but one that trades cliché locker room speeches for something a lot more human.

Listen to the cast of The Senior discuss the new movie or watch the interviews via YouTube: Michael Chiklis and Mike Flint here, and Rob Corddry and Mary Stuart Masterson here. 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.

Hannah Stocking, Madison Pettis, and Yvonne Orji talk with Kyle Meredith about The Wrong Paris on Netflix — where a contestant (played by Miranda Cosgrove) signs up for a Parisian dating show and lands in Paris, Texas instead, plotting an early exit until feelings complicate the plan. We get into audition choices (including a full-throttle Southern accent), improv on set, playing “ambitiously passionate” reality-show personas, and how Yvonne’s hosting on real-life dating shows informed her in-film emcee. It’s backstage chaos, bull-riding bruises, and a surprisingly sweet heart under the satire—all in a fast, funny hang with Kyle Meredith.

Listen to the cast of The Wrong Paris discuss the new film or watch the interview on YouTube here. 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.

Kyle Meredith talks with Willem Dafoe, Corey Hawkins, Anna Diop, and director Nadia Latif about turning Walter Mosley’s novel The Man in My Basement into a psychological thriller where race, trauma, and grief haunt every frame. The story follows Charles Blakey (Corey Hawkins), a man on the verge of losing his ancestral Sag Harbor home, who agrees to rent his basement to the mysterious Aniston Bennett (Willem Dafoe) for the summer—only to find himself pulled into a chilling reckoning with history, family ghosts, and the root of all evil.

Dafoe digs into acting as “pretend” courage, why first days on set still terrify him, and how genre lets hard truths sneak up on an audience. Latif reflects on making her feature debut and weaving her own story of loss into Mosley’s text, while Hawkins details playing Charles’ transformation opposite Dafoe in a basement where time itself bends. Diop speaks to how horror and thriller connect with Black history in ways straight drama can’t. From prosaic lines that ring like bells (“People die every day”) to lighting tricks, skewed timelines, and even maggot wrangling, the team unpacks how The Man in My Basement becomes a story you can’t shake.

Listen to Willem Dafoe, Corey Hawkins, and more of the cast of The Man in My Basement discuss the new film or watch the interviews on YouTube here and here. 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.

It's a Rewind double feature today on Kyle Meredith With, as we bring you a pair of episodes from 2017. First, Soft Cell’s Marc Almond talks with Kyle Meredith about shaping his 2017 solo album, Shadows and Reflections, as a '60s-steeped, orchestral “torch and baroque” set—curating lesser-known gems, keeping the original arrangements’ DNA, and slipping in two new cuts (including the filmic “No One to Say Goodnight To” and the Walker Brothers-sized “Embers”).

Then on the second half of the episode, OMD’s Paul Humphreys talks about the band's own album from that year, The Punishment of Luxury, balancing four decades of signature melody with modern minimalism and glitch textures, limiting the synth palette to dodge the “tyranny of choice,” and turning a WWI painting into a rhythmic teaser with gunfire as percussion—while still embracing the hits.

Show your support for Kyle Meredith With by making sure 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.

Sabrina Impacciatore showed up to The Paper — the long-awaited return to the world birthed by The Office — like a heat-seeking comet, all glamour, sharp elbows, and survival instinct. She spoke with Kyle Meredith about stepping into a franchise with generations of fans and finding the funny even when the stakes feel like a barbell on your shoulders. She calls the weight a motivator, not a burden, and her character of Esmeralda arrives fully charged: vintage-star hair, weaponized nails, and a don’t-look-down ambition that keeps the newsroom whirring. Listen now.

Impacciatore laughs now about the terror of those early table reads, admitting “My legs under the table were shaking." She adds that she "didn’t understand what was going on” through the language haze -- but the nerves didn’t dull the commitment. Case in point: the soon-to-be infamous “worm” moment. “Why don’t we shoot me doing the worm?” she pitched, only to discover the worm is an ’80s break-dance move that she absolutely didn't know how to do. A midnight YouTube cram session later, she arrived on set, launched into it, and swears she delivered “the best worm in the history of worms,” just as the director tells her that it was only a rehearsal take. We get to see the bloody knees version.

Listen to Sabrina Impacciatore or watch it on YouTube chat about all this and more. 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.

Lzzy Hale of Halestorm spoke with Kyle Meredith about Everest, the band’s roaring new record born from a “desert island” headspace in Savannah with Dave Cobb. Nearly three decades into their run, Hale framed the album as a live-wire snapshot instead of a genre exercise: big melodies, bigger punches, and zero interest in coloring inside the lines. It’s the sound of a band refusing to calcify. Listen now.

“We were writing and recording in real time,” Hale says, describing how the band ditched old riffs and notebooks to chase whatever felt electric that day. That gamble paid off on “Watch Out,” where a 4:00 a.m. voice-note flipped the entire track: “Dave’s like, ‘That’s the chorus — screw the other part.’”

She also lit up at the mention of Nick Cave, praising the way he can drop a single word — like sin — and suddenly the song carries a new kind of gravity. “He’s one of those rare, once-in-a-lifetime artists who can be otherworldly and still completely genuine," she says. "There’s this balance he mastered long ago that I really admire.”

Listen to Lzzy Hale of Halestorm or watch it on YouTube chat about all this and more. You can also grab tickets to Halestorm's upcoming tour here. 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.

For this edition of Kyle Meredith with..., listen to Wayne Coyne of The Flaming Lips across three interviews that span their albums King’s Mouth and The Terror, collaborations with Miley Cyrus and Kesha, and covers of The Beatles.

Coyne also digs into concept records, becoming a new father, the perception of songs like “Giant Baby,” and why useful music — like “Happy Birthday" — matters. He also reflects on the band’s legacy, staying curious, the balance between pop culture chaos and charity work, and why Flaming Lips fans embrace constant change.

Listen to Wayne Coyne of The Flaming Lips or watch it on chat about all this and more. 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.