The Frame

The actor worked with filmmaker Cary Fukunaga and hundreds of non-professional actors to make "Beasts of No Nation;" Grantland's Andy Greenwald gives a status report on the new TV season; the Isango Ensemble transports Bizet's opera to a South Africa township.

Choreographer Twyla Tharp has kept her company and artistic vision going for 50 years with unflagging determination; after spending time in Ghana, ethnomusicologist Brian Shimkovitz scoured the continent and then launched the label, Awesome Tapes from Africa; author Salman Rushdie considers the literary merits of the rapper, Drake.

The actress' next role as a fighter for women's voting rights is in keeping with her activist profile in Hollywood; Kyle Eastwood has scored films for his dad, Clint, but he's made his own name as a jazz bassist and composer; saxophonist Phil Woods was a jazz great, but became known for his solo on a huge pop hit.

Deaf West Theatre's production of "Spring Awakening" started out in a small theater on L.A.'s Skid Row, and now it's on Broadway; Showtime's David Nevins kicks off our talks about the state of the TV industry; Stephin Merritt of The Magnetic Fields deconstructs a song from the band's new album in a new installment of Song Exploder.

Mark Pellington has applied his distinct style to music videos, feature films and now NBC's "Blindspot," about a woman whose tattooed body holds clues to crimes; Trevor Powers records as Youth Lagoon and his new album chronicles some personal losses; How do TV networks choose among streaming services?

Performer Geoff Sobelle has turned the Kirk Douglas Theatre into a warehouse of boxed-up memories; Carolina Miranda of the L.A. Times on the trend toward mega-galleries in Los Angeles; Charlton Heston's family will auction three works by Andrew Wyeth that the actor collected.

Los Lobos' Louie Pérez offers insights into the band's new album, "Gates of Gold"; Margaret Cho has become a role model for a new generation of Asian-American comedians; J.A. Micheline is glad Ta-Nehisi Coates will write some Black Panther comic books, but she says the industry has more work to do regarding diversity.

Playwright Rolin Jones reimagines Shakespeare's "Much Ado About Nothing," setting it in London's swingin' 1960s; Prince and the publishing house claiming a copyright to "Happy Birthday to You" both lose in court; Heidi Duckler Dance Theatre moves its soap opera dance-drama around L.A.

Box office hits such as "Bridesmaids" are being cited as part of an effort to push for more movies and TV shows by, for and about women; The Budos Band makes do as a part-time group; The new TV season is chock-full of new shows that were once feature films.

Emily Mortimer, Dolly Wells and their husbands and kids star in HBO's "Dolly & Em," but it's not about them; Diversity and gender equity were top of mind at the Emmy Awards; The Toronto International Film Festival supplied its annual dose of Oscar buzz.

Jill Soloway on the making of the "musicale finale" of "Transparent" — without actor Jeffrey Tambor; a group of up-and-coming film composers and indie directors convene at Skywalker Ranch for some intensive collaboration.

Jim Gaffigan is best known for his comedy, but can play a mean child kidnapper too; what the retirement of the head of the Rock & Roll Hall of Fame could mean for overlooked artists; singer/songwriter Lupita Infante carries on her grandfather's legacy.

The LA-based contemporary dance company BodyTraffic debuts new works; what The Black Keys concert fiasco says about the live music industry; how the prolific musician Alex G transforms his voice.

Executive producers Susannah Grant and Sarah Timberman on their Netflix adaptation of a true story about the search for a serial rapist; concerns in Aurora, Colorado about the themes in "Joker"; the band Trashcan Sinatras.

The actress talks about playing the iconic singer and actress Judy Garland; Emmys were a big night for Phoebe Waller-Bridge, not so good for the broadcast networks; our resident "Downton Abbey" nerds revel in their big weekend.

Television is exploding and it’s time to celebrate! Join The Frame's John Horn and L.A. Times TV critic Lorraine Ali as they break down the year in television and this year's Emmy-worthy shows.

Documentary filmmaker Irene Taylor Brodsky turns the camera on her 11-year-son and his effort to learn Beethoven's composition; Hollywood struggles to strike the right note of climate urgency; how sound becomes a character in the film, "The Sound of Silence."

The writer/director of the hit film talks about the making of the movie, and life as a woman director in Hollywood; "Bandersnatch" is not your average TV movie.

In the animated series from the people behind “Bojack Horseman” (Raphael Bob-Waksburg and Kate Purdy), there’s no horse, but there’s still an existential crisis; the play Mike Pesca on SNL's on- again, off-again casting of Shane Gillis; "American Mariachi" is a soundtrack for Mexican-American life.

The director and co-writer of the space epic talks about his new film, which stars Brad Pitt as an astronaut on a perilous mission; NBC announces plans for its streaming service, which will be called Peacock; Rhiannon Giddens talks about her affinity for country music.

The singer and songwriter has a new album and a new movie score coming up, plus a documentary about his time with The Band; Variety film critic Peter Debruge wraps up the Toronto International Film Festival.

Nick Offerman goes on tour; NYT TV critic deconstructs Donald Trump's TV character; Gay of Thrones and The Handmaid's Tale costumer go for Creative Arts Emmys; La Santa Cecilia plays in El Paso and "This Close" is a TV show created by and starring deaf people.