Information Density: Howard Stern – Signal Evidence & AI Readability

[H1] Weird Al Returns to the Stern Show
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Wrap Up Show
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Lisa Ann Walter Talks “Parent Trap 2”

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Here Now
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Howard Stern Presents: Jack Antonoff & Bleachers

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The Broadway King
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Nathan Lane Stops by the Stern Show

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Stern Show Archives
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Click Here to Request Your Favorite Show Moment

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Hey Now!
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Howard’s Greatest Interviews Head to YouTube

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They Got You
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Howard Stern Presents: Tedeschi Trucks Band

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Watch Nikki Glaser’s 2025 Interview!

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Fly on the Wall
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David Spade Returns to the Stern Show

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Watch benny blanco’s 2024 Interview!

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Matter of time
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Eddie Vedder Returns to the Stern Show

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Special Report
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What Do Women Really Want for Valentine’s Day?

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James Taylor Played Banjo on ‘Old Man’

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[H1] VIDEO: Lisa Ann Walter Shares the Surprising Way She Heard About a ‘Parent Trap’ Sequel
[H2] "Abbott Elementary" star tells Wrap Up Show co-host Jon Hein how she learned a follow-up to her 1998 classic might be in the works
May 14, 2026

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When Lisa Ann Walter stopped by the Wrap Up Show on Monday, she had plenty to discuss with hosts Gary Dell’Abate and Jon Hein, from the success of her hit series “Abbott Elementary” to the time she took her 6-year-old to see Howard’s movie, “Private Parts.” However, it was her update on a potential “Parent Trap” sequel that really caught the guys’ attention.
According to Lisa, she didn’t hear about the project through her agent, but rather while attending the premiere of “Freakier Friday” with co-star Lindsay Lohan. “They came up to me and said, ‘So, did your people talk to you yet?'” Lisa recalled of the encounter with producers. “And they were like, ‘You’re gonna, you know, get the offer to reprise Chessy in Parent Trap 2.'”
While nothing is official yet, Lisa told Jon and Gary she is more than open to returning to the role that has earned her a whole new generation of fans. “The fact that you could be loved from something that you’ve done… and people to this day come up to me,” she said, noting that even the young cast of “Heathers the Musical” constantly quotes the film to her. “It’s so wholesome. It makes me feel so happy.”
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[H1] VIDEO: Jack Antonoff on Working With Taylor Swift, Falling for Margaret Qualley, and Why ‘We Are Young’ Almost Ended Up on Jay-Z & Kanye West’s ‘Watch the Throne’
[H2] Superstar record producer and rock front man makes his Stern Show debut alongside his band Bleachers, which performs a track off their new album “Everyone for Ten Minutes”
April 28, 2026

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Jack Antonoff’s visit to the Stern Show on Tuesday morning functioned as both a celebration of his band Bleachers’ fifth studio album, “Everyone for Ten Minutes,” and a remarkably unfiltered look at the path he took to become one of modern music’s most influential figures. The superstar record producer and rock frontman these days has more Grammy wins than he has fingers, but his conversation with Howard revealed how one of his earliest triumphs almost became someone else’s Diamond-certified hit.
Before it was a generation-defining anthem for Jack’s previous band, fun., and featured artist Janelle Monáe, the track was originally destined for Jay-Z and Kanye West’s quintuple-platinum 2011 collab “Watch the Throne.”
“We made the song and the guy who produced it with us, [Jeff Bhasker,] was working on the Kanye and Jay-Z album. He played it for them, and they were like, ‘We’re taking this.’ We were like … ‘This is great! Please take it!’” Jack told Howard with a smile. “We’re made,” he recalled thinking at the time. “We’re gonna get our song on this huge rap album.”

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But the excitement was short-lived. “A week or so before it comes out, they cut it. We were devastated,” the New Jersey-native explained, adding, “So, Jay-Z and Kanye did a version for ‘Watch the Throne,’ which to this day I have never heard.”
Everything worked out in the end, of course, when fun. released “We Are Young” and the track exploded. “Turns out to be the best thing ever,” he told Howard. “Something just happened with that song … It went from doing nothing to selling like 400,000 copies in that week.”
[H3] Big Swift Synergy & the Art of the “Rant Bridge”
The discussion inevitably turned to Jack’s decade-long creative partnership with Taylor Swift, which spans from before her “1989” era through her record-breaking album “The Tortured Poets Department.”
Antonoff told Howard he met Swift in Germany. “I was like, ‘You’re my people,’ and then we started sending music back and forth,” he said of their early days, adding “I sent her a track I had made and then quite quickly, as she can do in like five minutes, she sends back lyrics and melody.”
Howard was curious to hear about a unique part of their songwriting process Jack calls the “rant bridge,” which he and Swift used to craft hits like “Cruel Summer.” “You spend a whole song — verse and chorus — you know, being super poetic and dancing around something… and then you get to this bridge, and you just crash the fuck out,” Antonoff said. “At that point you’ve earned it, so it’s almost like you can be so free. It’s something that I feel like is one of our very special things… We kind of egg each other on.”
While Jack worked on much of Swift’s recent catalog, he didn’t produce her latest album, “The Life of a Showgirl.” As Jack told Howard Tuesday morning, he’s completely cool with it. “I understand that need to have different collaborators,” he said, emphasizing that their bond transcends any single album. “The friendship is very deep. You live an amazing, artistic life together in that room and then it lives on.”
Howard’s chat with his guest covered a ton of ground, from Jack’s New Jersey upbringing and his high school relationship with Scarlett Johansson to experiencing love-at-first sight after meeting his wife, award-winning actress Margaret Qualley. It also contained several twists and turns, including a moment that changed how Howard listens to the Beatles to a surprise appearance in the studio from Jack’s father, Rick Antonoff, who attended Boston University at the same time as Howard. Ultimately, the conversation served as prelude to a riveting performance from the frontman’s band Bleachers, which joined Jack in the studio and treated Howard and his listeners to an energetic performance of their latest single “The Van.”
Catch more of the conversation (below).
[H3] Falling in Love With Margaret Qualley
[H3] What He Learned From Grief
[H3] On the Beatles’ “Happiness Is a Warm Gum”
[H3] Bleachers “the van”
Bleachers new album “Everyone for Ten Minutes” is available May 22.

[H2] VIDEO: Nathan Lane Talks ‘Death of a Salesman’ Revival and Making ‘The Birdcage’ With Robin Williams

[H1] VIDEO: Nathan Lane Talks ‘Death of a Salesman’ Revival and Making ‘The Birdcage’ With Robin Williams
[H2] Acclaimed actor sits down with Howard for a wide-ranging career retrospective

April 21, 2026

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Nathan Lane’s visit to the Stern Show on Tuesday functioned as much as a career retrospective as a promotional stop for his lauded Broadway revival of “Death of a Salesman.” While Lane discussed the complexities of inhabiting Willy Loman for eight shows a week, his captivating conversation with Howard quickly opened up into a remarkably candid reflection on his own life and the hurdles he cleared to reach the marquee.
The accomplished actor traced a path from a challenging upbringing — marked by the early loss of his father — to his 1982 Broadway debut alongside George C. Scott. He also answered Howard’s questions about his Tony-winning turn in Mel Brooks’ treasured musical “The Producers” and the 2022 Emmy he nabbed for guest starring on “Only Murders in the Building.” The discussion inevitably turned to Mike Nichols’ groundbreaking 1996 film “The Birdcage,” starring Lane and legendary funnyman Robin Williams. A hit with critics and moviegoers alike, the film is celebrated for being one of the first mainstream movies to center its story around a gay couple. But as Nathan explained it Tuesday morning, Robin very nearly starred in the film opposite someone else. One of Lane’s eventual “Only Murders” co-stars, in fact.
“It was supposed to be Steve Martin and Robin,” he told Howard. “Robin was going to play the [more flamboyant] part I played, [but] Steve had another commitment and Robin thought because he had played ‘Mrs. Doubtfire’ he should play the more subdued role — and that’s why the part opened up.”
Lane wasn’t exactly a movie star at that point in his career, and he told Howard he’s forever grateful that Williams — who could’ve picked anyone he wanted to replace Martin after he dropped out — chose to work with him. “[‘The Birdcage’] was an enormous break for me, and it was certainly the biggest role I’d ever played in a film by that point,” Nathan said before adding that it ultimately didn’t open up as many doors for him in Hollywood as he would’ve hoped.
“I had an agent at the time. He was bald, he had a big mustache and tinted aviator glasses. He looked like the maître d’ in some S&M bar in the Village,” he recalled. “I remember I was about to re-sign with him, and I said, ‘Gee, I was hoping maybe more film work might come my way after “The Birdcage.”’ And he said, ‘Well, maybe if you weren’t so open about your lifestyle it would have.’”
“At that point, I was out but I wasn’t out as a ‘public figure,’” Nathan told Howard, explaining he was reluctant to discuss his sexuality during the press tour in part because he didn’t want that story to detract from the film he and his colleagues had made.
“The jig was up and I should’ve just been brave enough and said it, but I didn’t,” he continued before reflecting upon a joint appearance he and Williams made on “The Oprah Winfrey Show” in 1996: “There was a moment where I thought I could have said it, but again I just wasn’t emotionally prepared and emotionally mature enough to deal with it — and Robin sort of protected me.”
“It took a couple of years before I was ready to talk about it,” he added. “And then people were like, ‘Yeah, well, it’s old news.’”
Nathan’s appreciation for his “Birdcage” co-star didn’t end there. “[Robin] was the kindest, most generous soul … No one could’ve been more supporting and loving,” he said. “He loved that, if he improvised, I could go with him where he wanted to go — and he was the greatest.”
Check out the videos (below) for more of the actor’s epic sit-down with the King of All Media — including the story behind Nathan (born Joseph Lane) adopting a stage name and the serendipitous saga of how he met Devlin Elliott, his husband of over 10 years.
[H3] Meeting His Husband
[H3] Coming Out to His Family
[H3] Why He Changed His Name
See Nathan Lane in “Death of a Salesman” at Broadway’s Winter Garden Theatre now through Aug. 9.