Linda Holmes

On this week's show, we have probably the biggest tonal difference between our first and second segments in our history, so stay with me.

The first thing comedian Chris Gethard says in his new special, Career Suicide, is that he started seeing his current psychiatrist in 2007, but only started dating the woman who's now his wife in 2012. His doctor — named Barb — is the framing device for an hour and a half of discussion about depression, anxiety, telling people you have depression and anxiety, and what it is that people need and ask from one another.

First up, let me mention this: one big piece of news out of this week's show is that we announced a live show at the Bell House in Brooklyn on June 6. Tickets will be on sale May 9, and we've been known to sell out pretty quickly sometimes, so be there at noon on Tuesday the 9th and grab your tickets!

Last year, the Tony Awards were swamped, particularly in the minds of many who only follow theater casually, by the phenomenon that was Hamilton. It got 16 nominations, it seemed like (and was) a lock to win many of them, and every other Tony story struggled to get a little bit of sunlight.

We're always excited for the beginning of summer movie season. Despite the fact that it's almost guaranteed to contain some major disappointments and jarring disasters, we often find goofy fun, sharp writing and new stars blowing up (sometimes literally) our cinematic seasons.

The first thing you may notice about Great News, a comedy premiering Tuesday night on NBC, is its similarities to 30 Rock. Here, a news producer named Katie (Briga Heelan) has her work life disrupted when her boss (Adam Campbell) hires her loving but overbearing mom (the great Andrea Martin, late of SCTV and truckloads of comedy since then) as an intern at the station. And while the focus is news rather than late night, the frustrated goofball at the center of a constantly careening television production has a familiar tone.

The first thing you should know about this week's show is that PCHH regular Glen Weldon has a strict rule against seeing Fast And The Furious movies, and while he would have waived it if he absolutely had to, we fortunately had willing correspondents in beloved fourth chairs Gene Demby and Chris Klimek, so they joined me and Stephen Thompson for our first segment.

It's not just Hamilton.

Musicals have always had a built-in advantage as cultural products. Individual songs can translate and build interest via cast albums or Tony telecasts in a way that's very difficult for plays to emulate. A lot of kids grow up on musicals like Grease and Annie -- and, yes, now Hamilton — while early introductions to plays, however great, might make them seem impenetrable or like homework. (I'm looking at you, William Shakespeare, and doing so lovingly.)

Note: This piece discusses the plot details from the sixth-season premiere of Veep.

Our team is just back from a wonderful live show in Chicago — thank you all for coming! — with W. Kamau Bell as our special guest and Sam Sanders in our fourth chair. (Both were wonderful.) We'll have audio from that show in your feeds later, but this week, we've got a special edition.

First up, we bring you a segment Glen Weldon did with our buddy Gene Demby of Code Switch about diversity in comics. It originally aired on the Code Switch podcast, but we thought we'd bring it to you here as well.

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