Billy Corgan sits down with Anthony Michael Hall (Sixteen Candles, The Breakfast Club, Weird Science) for a funny, honest conversation about fame, failure and five decades in Hollywood.

Hall traces his start to a music-filled home and childhood auditions that began as an after-school hobby. He talks about growing up on movie sets, living near the Ferris Bueller’s Day Off house and staying determined through a 15-year stretch when work was scarce. He also looks back on two John Hughes films he passed on and an unexpected call from Stanley Kubrick about Full Metal Jacket.

From The Breakfast Club and Weird Science to Tim Burton, a rough SNL season, a surprise Lorne Michaels story and a moon-landing rabbit hole, the conversation wanders through ’80s nostalgia, the odd realities of show business and quieter reflections on fathers.

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"He didn’t fire us. He freed us.”

Billy Corgan welcomes legendary songwriter and producer Jimmy Jam to The Magnificent Others. Jimmy explains how he and Terry Lewis broke Prince’s rule against producing artists outside The Time and how getting fired opened the door to one of music’s most successful partnerships.

Jimmy shares how he got his first professional gig at 12, filling in for a drummer in his father’s band—and how his mother made sure he was paid like a pro. He recalls meeting Terry as a teenager and bringing their different musical tastes together. With Janet Jackson, Jam and Lewis built Control around her experiences and attitude, helping her become an active voice in her music. Jimmy also explains how their “funky bottom, pretty top” sound evolved, why young artists need skills beyond singing and social media, and why AI should come with clear labeling, permission and compensation for creators.

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What happens when a rock legend stops being just “the drummer from The Police” and spends decades chasing every other creative obsession?

Stewart Copeland and Billy Corgan skip the greatest hits and tumble down the Rumble Fish rabbit hole with Francis Coppola. They revisit the “hell on earth” final Police sessions and unpack why band therapy involved incense and a lot of gazing into each other’s eyes.

Also on the menu: a prison-themed song with a very John Waters title, a horse incident (Stewart insists the record be corrected), an opera that got shredded by critics, a night in a Zaire jail, and a German superfan with questionable priorities. Then it gets thoughtful: the strange weight of the rock-star “avatar,” what AI means for the musical middle class, and what happened when Stewart’s son built a digital version of him.

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