The Frame

The bassist for the Red Hot Chili Peppers has a new memoir that recounts his days before he met his bandmates in high school; the Grammy nominations make history, but could still use some improvement.

The 19-year-old filmmaker shot the movie while he was still in high school, and it won him awards at the Tribeca Film Festival; the U.S. Justice Dept. may allow studios to once again own movie theaters; the comedians who warm up TV studio audiences.

The writer/director strives for a sense of sisterhood in all her projects; Louie C.K.'s return to the stage; comedian Gabriel Iglesias reunites with an influential high school teacher of his.

Lena Waithe and Melina Matsoukas want “Queen & Slim" to make an impact on the culture as a form of protest art; Congressman Julian Castro questions in Hollywood is engaged in "systemic exclusion" of Latinos; "Ford v Ferrari" director James Mangold; "Scandalous" doc tell story of National Enquirer

Director Trey Edward Shults and actress Taylor Russell talk about their drama focused on an African-American family; Taylor Swift's ongoing battle for her early music; Josh Homme's "Desert Sessions."

The actor takes on a new challenge for Lauren Yee's play at The Pasadena Playhouse; the Country Music Association Awards and a dichotomy in country music; the composers of "Dickinson" use modern music for the classic tale.

Mark Landsman's documentary looks at the roots and the modern history of the notorious tabloid; Anna Waronker and the revival of the band That Dog; Song Exploder with Raphael Saadiq.

Daniel J. Jones, the Senate investigator who uncovered the CIA's use of torture in the wake of 9/11, talks about the movie based on his work, in which he's played by Adam Driver; Disney's new streaming service got off to a shaky start because of tech issues; Sam Beam of Iron & Wine and Joey Burns from Calexico have teamed up for another album.

The director and co-writer talks about making a movie that's more than just racing scenes; the Congressional Hispanic Caucus meets with Hollywood execs about representation; veterans turn to ancient Greek dramas to tell their own stories.

Mark Ruffalo wants to make movies that make a difference and make Marvel films too; "Honey Boy" director Alma Har'el on how she and Shia LaBeouf bonded; Nell Scovell confronts David Letterman; How "Moonface" was made; Writer Nell Scovell confronts her old boss, David Letterman.

Spoken word artist Alex Alpharaoh was brought to the U.S. from Guatemala as an infant. His journey to becoming a DACA recipient in these uncertain times is told in his new solo stage show.

From the start of his career, Noah Baumbach has been fascinated with family dynamics. His new movie, “The Meyerowitz Stories (New and Selected),” centers around a domineering patriarch played by Dustin Hoffman. Baumbach talks about exploring the relationships between adult children and their father, and the legacy of family myths.

Simmonds stars in the new film, "Wonderstruck" and Harvard is featured in the Deaf West Theatre production of "Our Town"; Netflix will spend $8 billion on content in 2018; low budget horror films like "Happy Death Day" are a bright spot for movie studios.

Mexican jazz drummer Antonio Sánchez has made a career of composing for film ("Birdman") and TV ("Get Shorty"). His new album is called "Bad Hombre"; WSJ reporter Ben Fritz discusses the Weinstein Company's possible sale to Colony Capital; Film producer Emily Best on the power dynamics that foster a culture of abuse in Hollywood.

"Lore" creator Aaron Mahnke reveals how he adapted his horror legend podcast into a new Amazon TV show; country music artist Jason Aldean performed last night for the first time since the Las Vegas shooting. We hear from one person who was at the show; and New York Times film critic Manohla Dargis puts the Harvey Weinstein story of alleged sexual misdeeds into the context of Hollywood history which has kept men in positions of power, women marginalized and many silenced.

Why did Ronan Farrow, a reporter for NBC News, publish his story about Harvey Weinstein in The New Yorker?; over the past 25 years, Geoff Elliott and Julia Rodriguez-Elliott, co-producing directors of A Noise Within, have built a respected, classical repertory company from the ground up; musician Rostam breaks down a song from his first solo album since leaving the band Vampire Weekend.

Agnes Varda and JR travel through their native France to photograph their fellow citizens in the documentary, "Faces Places"; IMAX is trying to lure audiences to its new virtual reality experience centers; experimental opera director Yuval Sharon is among this year's MacArthur Fellowship honorees.

Published reports of Harvey Weinstein's predatory behavior spotlight the non-disclosure agreements that prevent whistleblowers and victims from telling their stories; Brandon Micheal Hall is the lead in ABC's new comedy "The Mayor." He's happy to combine politics and rap in his first big acting gig.

Veteran actor Joe Morton talks about his stage portrayal of the late comedian and activist, Dick Gregory; producer Amy Ziering, whose documentary "The Hunting Ground" was distributed by The Weinstein Company, wants to make a film about sexual harassment in Hollywood; can The Weinstein Company survive without Harvey?

The published report of Harvey Weinstein's history of sexual harassment begs the questions: How did his behavior go unchecked for so long? And how are Democratic politicians trying to distance themselves from Weinstein?; Larry David's "Curb Your Enthusiasm" once helped exonerate a murder suspect. The story is told in the documentary, "Long Shot."

Filmmaker Brett Morgen's "Jane" uses never-seen footage that National Geographic had stored for decades; there are more than usual women among this year's nominees for the Rock and Roll Hall of Fame; from Amish country to Hollywood, and classical piano to Dolly Parton: the evolution of singer-songwriter Our Lady J.

Lukas Nelson learned a lot from his dad, Willie, but he's making his own musical way; David Geffen has pledged $150 million for the planned new building at the L.A. County Museum of Art; movie studios are increasingly trying to limit what critics can divulge in a review.