Linda Holmes

Because of a scheduling snafu this week, it's just me and Stephen Thompson sitting down with our sci-fi buddy Chris Klimek to talk about Alien: Covenant, the film that dares to ask: "Is it okay if I put this little thing in your ear? I promise it won't grow into something that will burst out of your chest."

Then, we move on to a visit with Selina Meyer and friends as another season of Veep finds the group out of office and loving it. Or ... not really loving it, more like tooth-grittingly enduring it until something else can be arranged.

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ARI SHAPIRO, HOST:

Now we're going to have the time of our lives.

(SOUNDBITE OF FILM, "DIRTY DANCING")

COLT PRATTES: (As Johnny Castle) What's your name?

ABIGAIL BRESLIN: (As Baby Houseman) Baby.

AUDIE CORNISH, HOST:

Oh, yes. Get out.

First, let me remind you: we've still got tickets to see us live in L.A. on June 15, where our fourth chair will be Shereen Marisol Meraji. We've got lots of good fun planned, since we figure everybody can use a night of good fun, so join us!

We've been known to enjoy a mix of the sublime and the ridiculous, and it's a week that's a little bit like that as we take on one of the best shows we've covered in a while and one of the most vexing movies.

You don't need me to tell you how much more television there is than there used to be, or how many more places you can find it. You don't need me to tell you that its population of creatively ambitious and idiosyncratic shows has grown enormously, as has its population of cheaply made UCSs – Undiscovered Channel Shows, where you learn that a show is entering its third season and only then do you realize that (1) it exists and (2) your byzantine cable menu actually does get that channel (although perhaps not in HD).

The first season of Master Of None, the thoughtful Netflix comedy starring Aziz Ansari and created by Ansari and Alan Yang, was one of the best pieces of comedy-drama to come out in 2015. Now, about a year and a half later, they're back with a second season that is even better, more ambitious, more creative and more moving than the first run was.

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.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.

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.

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