Mato just raised pre-seed Read more
Podcast charts
Published by The New York Times
Conversations about the culture that moves us – the good, the bad and whatever’s in between. Every week, critic Wesley Morris talks with writers and artists about the moment we’re in. Surprisingly personal and never obvious, new episodes drop Thursdays. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.
On the charts
Every published chart this podcast appears in, in the snapshot behind this page. Each one links to the chart it came off.
The Mato Topic Intelligence Platform does not report this podcast as charting in a published category in this snapshot.
From the feed
The latest episodes published to this podcast’s own RSS feed. Titles and descriptions are the publisher’s.
Singer-songwriter Ella Langley’s country tune “Choosin’ Texas” entered the Billboard Hot 100 chart last November, and it hasn’t left. It’s just tied the record for the most nonconsecutive weeks at No. 1: 22 . (Sorry, Mariah Carey.) Wesley Morris is a student of the chart and he’s noticed that in recent years certain songs seem to hang around for a long, long time. These chart toppers are starting to feel more like chart cloggers. Why is this happening? His curiosity cannot be contained for another week. So he’s going to Chris Molanphy, a pop music critic and the host of Slate’s “Hit Parade” podcast, for answers. Together, they recall chart trends, think about Billboard’s tracking metrics, and consider what kind of choice “Choosin’ Texas” is. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
It has been 25 years since the attacks on Sept. 11, 2001, and Wesley has been reflecting on what has changed since then — particularly when it comes to comedy. The first film he saw in theaters after the attacks was “Zoolander,” which opened to mediocre box office numbers and mixed reviews. The movie became a flashpoint as the world wrestled with questions about what was funny and when it would be OK to be funny again. And that uncertainty about what American comedy is, whom it’s aimed at and whether it can be therapeutic may never have gone away. This week, The Times’s comedy critic, Jason Zinoman, sits down with Wesley to remember the debates about comedy in the aftermath of the attacks, and to think through how that period changed the art form in ways that we’re still experiencing today. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
This year’s summer movie season proved that the “Toy Story” franchise still has some juice, that “The Odyssey” can spark endless debates, and that “The Invite” might be the sleeper film of the year. But according to Wesley Morris, we’re still in a summer movie drought. He can’t help himself! His nostalgia for the movies of summers past is as strong as it was last year . So, once again, Wesley invites Sam Anderson, staff writer for The New York Times Magazine, to go back in time. This week, they travel to 1986, where the multiplex marquee reads: “Ruthless People” and “Ferris Bueller’s Day Off.” Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Anita Baker’s second album, “Rapture,” was released in 1986 and became a breakout hit for the R & B singer from Detroit, winning two Grammys and selling eight million copies worldwide. The album’s eight tracks defined her signature sound — what Baker liked to call “fireside love songs with jazz overtones” — and solidified her as a giant of the Quiet Storm radio era. But while the singer went on to produce four more albums, most notably her follow-up, “Giving You the Best That I Got,” in 1988, she hasn’t maintained the mainstream presence of her “Rapture” years. Today, Wesley wonders: Is Baker underrated, properly rated, or just kind of … forgotten? He brings these questions to Danyel Smith, former editor at Billboard and editor in chief of Vibe Magazine. Together, they luxuriate in Anita Baker’s “Rapture” while wrestling with her legacy. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
What did we get for our country’s 250th birthday, a.k.a. the semi-quincentennial? An Ultimate Fighting Championship cage match on the White House lawn? A sparsely attended Great American State Fair? An underwhelming logo? The last time we had an anniversary this massive, it was 1976 — the bicentennial — and the celebration was everywhere: in our movies, in our books, in our Saturday morning cartoons. What happened this year? Wesley Morris is perplexed. Jennifer Schuessler, a Times reporter who covers intellectual life and ideas, has talked to state planners and historians alike, and attended semi-quincentennial events across the country. Together, she and Wesley mull over the circumstances that led this year’s birthday bash to fall flat, and they celebrate the bicentennial gifts that keep on giving, 50 years later. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
When Madonna’s new album, “Confessions II,” dropped in early July, it went straight to the top of the Billboard 200 ( her 10th No. 1 album ). Many of the 16 tracks plumb her own history for lessons learned along the way. On “Bizarre,” the blue Shelby Cobra she gave her first husband, Sean Penn, “ wasn’t meant to last .” On “The Test,” she tells her daughter Lola Leon, with whom she sings: “I wish I knew the pain I’ve caused.” And on “Danceteria,” she takes us to the New York City clubs of the 1980s and the moment when a D.J. “ played my tape ‘Everybody’ ” and launched her career. Wesley Morris describes the album as “post-nostalgia,” with Madonna using an idea of her past as a slingshot into some kind of future. “Confessions II” is also a dance record that reminds us of the impact she has had on club culture and gay culture. Wesley sits down with one of the biggest Madonna fans he knows — Jacob Bernstein, a writer for The Times’s Styles section and a former club kid in New York City — to talk about her new record and the immense influence Madonna has had on their lives. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
If you haven’t seen Christopher Nolan’s “The Odyssey” yet, good luck. The hit of the summer is selling out showtimes around the country. Wesley Morris initially thought he didn’t need this adaptation. Then, Matt Damon was cast as Odysseus. Curiosity piqued. Fast forward to him in a packed theater (IMAX 70mm, of course) excited by the prospect of an old-fashioned all-star-cast movie. But with Nolan’s filmmaking, it’s never that simple. There’s a lot going on within the nearly three-hour epic that’s fascinated moviegoers and critics alike. And so, whenever there’s a big movie that everybody is talking about, Wesley wants to hear from his pal, Sean Fennessey. Fennessey is head of content at The Ringer and a co-host of the podcast “The Big Picture.” Together, Wesley and Sean go deep on the “The Odyssey” and the evolution of Nolan’s career. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
After five weeks of action, the World Cup is finally coming to an end, a tournament that will be remembered as much for its feats of athleticism — the precision passes and laserlike goals — as for the passionate fans and spirited team rivalries. No wonder soccer is called the beautiful game. Wesley and his guest, Pablo Torre, host of the podcast “Pablo Torre Finds Out,” also see the action on the pitch as something more: pure cinema. They tick down a list of reasons the matches — and the culture surrounding them — are theatrical. Cue the lights, the cameras and the Viking score. These games have proved more than ready for their Oscar-worthy close-up. Don’t forget the pomade! Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Olivia Rodrigo’s third record, “You Seem Pretty Sad for a Girl So in Love,” is a 13-song concept album that imagines the arc of a young relationship from desperate yearning, to domestic coupling, to eventual dissolution and heartbreak. It might be Album of the Year. To Wesley Morris, the dating world has only sharpened the 23-year-old’s song craft. Sure, she’s talented and can write a ballad like no other. But musically and lyrically, she’s evolved. She’s both an old soul and very 2026. Which, when compared to other current pop stars like Taylor Swift, Bruno Mars and Ariana Grande, makes her really intriguing. All things considered, Wesley has thoughts. And he couldn’t think of a better conversation partner than pop music journalist Caryn Ganz, who profiled Rodrigo in 2023 and has continued to follow her career closely. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Forget the hot dogs and apple pie. Wesley has one thing on his mind this Fourth of July — potato salad! The moment has stirred up some really strong feelings for this classic summer staple and how it lives up to the country’s ideals of what it is and could be. Wesley takes to the streets of New York City and back to The Times’s Cooking Kitchen to test out his theory against his family’s recipe for potato salad. Is it the beacon of hope and possibility that he thinks it is? Along the way, he’s joined by a two-time James Beard Award winner and food historian, Jessica B. Harris, to answer this essential question: Does potato salad belong on the Mount Rushmore of national dishes? Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
A few weeks ago, “Cannonball” hosted its first live show at the 2026 Tribeca Festival. Wesley Morris thought to himself, “What could we talk about in front of a bunch of New Yorkers that would be interesting to them?” And then the answer came to him: New York movies! Movies about New York City. Joining him for the conversation is Cynthia Nixon, one of our great New Yorkers. She’s made iconic work in the city (like, of course, “Sex and the City”) and is a fierce advocate for the TV and film industry to continue making work here. Also, no big deal, she ran for governor in 2018. Together, Wesley and Cynthia chat about three N.Y.C. movies of their choice: “Breakfast at Tiffany’s,” “The Taking of Pelham 123" and “The Wiz.” Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
It’s no secret that Steven Spielberg is fascinated with the cosmos. His latest aliens-are-among-us action thriller, “Disclosure Day,” follows a TV weatherperson (Emily Blunt) and an encryption specialist (Josh O’Connor) as they attempt to understand their connection to life beyond this planet. In doing so, they get entangled in a government cover-up. Ahead of the movie’s release, Wesley Morris spent time with Spielberg and wrote a profile of him for The New York Times Magazine. The 79-year-old director’s appetite for telling stories on the big screen is undiminished — he’s preparing to make his first western — but Wesley writes that as Hollywood adapts to the streaming era, “the idea of a Steven Spielberg has felt endangered.” And so, there’s only one person for Wesley to call when a new Spielberg drops: Eric Hynes, Wesley’s pal and former co-worker from Kim’s Video in New York City. They started their Spielberg conversation over 25 years ago as young cinephiles. On today’s episode, it continues. Together, they consider the evolution of aliens in Spielberg’s work, relive memorable onscreen sequences and think about the strength of the filmmaker’s more-than-half-century canon. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
“Obsession” is about a guy who makes a wish for a girl to love him “more than anyone in the entire world.” What follows is a classic horror movie trope: the girlfriend from hell. One of the movie’s tag lines is “be careful who you wish for.” And younger audiences are flocking to see “Obsession,” making it a genuine Gen Z phenomenon. The film’s writer-director-editor, Curry Barker, is also part of that generation. The 26-year-old, who had previously been making content for YouTube, is now responsible for a film that has made over $230 million (so far) on a budget of $750,000. Hollywood has taken notice. Barker has been offered an eight-figure deal for his next movie, sight unseen. For Wesley Morris, the success of “Obsession” raises a bigger question about relationships today: Is this how the young folks think about love—as something that should appear instantaneously, without effort, but might also ruin their lives? With all this in mind, Wesley invited Angelica Jade Bastién, a pop culture critic with New York Magazine, onto the show to ask, “Are the kids all right?” Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Each spring, in the months leading up to the Tony Awards, Wesley Morris tries to see as many Broadway shows as he can. And this season’s spree (including “Ragtime,” “Cats: The Jellicle Ball,” “Proof,” “Dog Day Afternoon” and “Giant") left him with the question: Where are the challenging shows? There were some great performances, but the productions seemed designed to reflect his values and make him feel good. Doesn’t the best theater raise uncomfortable questions, and not give clear answers? Shouldn’t the shows vying for Broadway’s top awards be a bit more difficult ? To work through these feelings, and to help wrap his head around this season, Wesley invites Helen Shaw, The Times’s chief theater critic, to compare notes. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
A list, according to The Times’s co-chief restaurant critic Ligaya Mishan, can be a way “to make sense of chaos” and to also “destabilize the current order.” Her list of “the 100 Best Restaurants in New York City in 2026” takes that spirit to heart. A taco truck in Queens (Birria-Landia) serving $5 consommé sits alongside a Caribbean fine dining spot in Manhattan (Kabawa) with a $145 tasting menu. Ligaya makes a compelling argument that imaginative, ambitious, delicious food can be found at every price point and in every corner of this city. On today’s episode, Wesley talks with Ligaya about how she put together such an expansive and inclusive list. They dig into a few of her greatest meals, wrestle with some readers' discomfort with having casual spots ranked next to fine dining restaurants and, most of all, celebrate the culinary wonder that is New York City. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
The “Late Show with Stephen Colbert” ends this week. When CBS announced the show’s cancellation last summer, the network said in a statement that it was “purely a financial decision against a challenging backdrop in late night.” There’s still some debate around what happened and why, but for Wesley Morris, the demise of the long-running franchise brought up feelings about another late-night show: “Saturday Night Live.” Maybe, after 51 years, “S.N.L.” should end too. So Wesley invited Jason Zinoman, a Times critic at large, to discuss “S.N.L.” and the beleaguered state of late-night television. What is worth saving? Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Wesley Morris liked “The Devil Wears Prada 2” more than he thought he would. He didn’t need this sequel, but it captures the spirit of the original well enough. Miranda and Andy, played by Meryl Streep and Anne Hathaway, are the same. Miranda still queen and Andy still a grunt. But this time around Andy is a grunt with a staff and a little bit power. She moved on up! This got Wesley to thinking: What happened to the stories about working class people? Ones about folk with basic, common man smarts being just as good (if not better) than elites at the top? Blue collar workers and the middle class used to dominate the screen. Now their bosses are taking center stage. And so, Wesley looks back on how one onscreen trend led to the other. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.
The public outrage was inevitable. The New York Times Magazine published a list of the 30 greatest living American songwriters. Two hundred and fifty music insiders submitted ballots. Six Times music critics and writers sorted through it all to get to 30. For Wesley Morris, it was both daunting and thrilling. Luminaries like Bonnie Raitt, George Clinton, Lin-Manuel Miranda and Mariah Carey submitted ballots. How to honor those submissions while narrowing down and exercising a critic’s judgment? Nearly 6,000 comments later, one thing is clear: Everybody’s a critic. Many are asking the nagging question, “How can you leave out so-and-so?!” Our critics included! So, Wesley invites a few of the project’s participants, Jon Caramanica and Joe Coscarelli, the hosts of “Popcast,” and Sasha Weiss, a deputy editor of The Times Magazine, to rehash it all out. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
“Michael,” the new Michael Jackson biopic, knows what it’s doing. That’s clear from the opening shot: high-water pants and white socks pushed down to a pair of black penny loafers. It’s appealing to a very specific version of our memories of Michael Jackson. The version some of us prefer to hold onto. But in doing so, it avoids the truth. Our qualms with the King of Pop? Forget about that. Be horrified by Joe Jackson’s abusive parenting. Where’s Janet Jackson and Diana Ross? Nevermind them. Look, it’s Bubbles the chimp! The child molestation allegations? Eh, let’s just play another No. 1 hit instead! Besides, moviegoers are not complaining. “Michael” crushed box office records. With the best opening weekend for a biopic ever, it’s a hit. None of this comes as a shock to Wesley Morris, but he’s left with some complicated feelings. His pal, the film curator Eric Hynes, shares these feelings, too. Together, they review the movie and wrestle with the Michael Jackson biopic that could have been. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Wesley loves Zendaya. The actress caught his eye as the charming but drug addled Rue in HBO’s “Euphoria.” But he thinks Hollywood hasn’t cast her in roles worthy of her considerable gifts. So when Zendaya showed up in the movie “The Drama” as a young Black woman with a secret from her past that threatens to derail her engagement to Robert Pattinson’s character, Wesley was cautiously optimistic. Here were two of Hollywood’s finest in a complex, high stakes, love affair — one made even more interesting by its interracial realities. But the movie inexplicably dodges the question of race. So Wesley invites Gina Cherelus, who covers dating and culture at The New York Times, to help him unpack "The Drama" — what it knows, and doesn’t, about what it’s up to. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher . Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Ranking source
Apple Podcasts rankings via the Mato Topic Intelligence Platform.
Observed September 19, 2026. Cached outside the daily freshness window; the positions keep the date they were taken on.
Apple and Apple Podcasts are trademarks of Apple Inc., registered in the U.S. and other countries.
Pairs with
Bring this source into Mato to read its transferable patterns, then turn them into an original show for your own audience.