KWIT

Linda Holmes

You've probably read by now at least a little bit about Jordan Peele's well-reviewed and very commercially successful horror movie Get Out. And many of you, I'm sure, have seen it. With the film a couple of weeks into its run, we thought it was the right time to sit down with Gene Demby and Kat Chow from Code Switch (while Stephen Thompson was out of town) to talk about this very, very creepy movie.

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The third season of "American Crime" premieres this Sunday on ABC.

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When we offered our friend Barrie Hardymon the chance to sit in our fourth chair for a discussion of Big Little Lies and Feud, I must tell you, listeners: she leapt. And if you know anything about Barrie, you know that she doesn't leap halfway.

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Well, excuse me while I throw away my first draft, won't you?

If you've found yourself with little taste for sniping in recent days and a serious thirst for entertainment that's satisfying and warm, you're not alone. I've heard this from an awful lot of folks in the last couple of months. And while there are lots of places to go to find what you're looking for if this is the headspace you're in, one place is the terrific Charleston season of Top Chef that's about to wrap up. The penultimate episode is Thursday night, and the finale is in a week.

This week's show brings a new voice to our fourth chair: Alan Sepinwall, TV critic at Uproxx and author (of The Revolution Was Televised and, with Matt Zoller Seitz, of TV (The Book)), is with us to talk about two new shows.

Perhaps nobody cares about their clothes anymore.

Back in 2013, Monkey See brought you an exclusive interview — "exclusive" in the sense that it happened only in our minds and we therefore were the only ones who knew about it — with the iron, just after Monopoly announced it was being retired from the game. During that interview, the iron darkly alluded to a difficult history with another game piece: the thimble.

It is a truth universally acknowledged that parsing the broader implications of The Bachelor/Bachelorette can feel an awful lot like examining the semiotics of mashed potato flakes. But can we not also agree that the fact that a narrative is ridiculous and phony doesn't mean it isn't both reflective of and influential upon the culture out of which it grows?

It's always fun when somebody from the NPR podcast family sits in our fourth chair, and this week, we've got two of them.

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