The Frame

Actor Jeffrey Wright produced the HBO film about a group of veterans using art to help heal their psychic wounds; L.A. Times TV critic Lorraine Ali looks at the late-night shows on election day; an exiled Iranian film composer makes his presence felt back home.

"They'll Love Me When I'm Dead" is Morgan Neville's insightful documentary about the ambitious film that Welles was unable to finish; taking a motorcycle ride with cast members from "Mayans M.C."

The story of the Colorado senator's ill-fated campaign to become the Democrats' 1988 presidential candidate is dramatized by director/co-writer Jason Reitman; NBC is being criticized for its decision to air an inflammatory anti-immigration ad.

The actor talks about his transformation into Queen's flamboyant singer in the new biopic; Netflix is amending its policy and will now release films in theaters before they hit the streaming service.

Comedy writers Merrill Markoe and Megan Koester talk about the making of their audiobook; Claire Warden on being an "intimacy director" on TV and movie sets; music veterans Dave Alvin and Jimmie Dale Gilmore celebrate their roots on the album, "Downey to Lubbock."

The filmmaker no longer sits in the director's chair, but he still composes the music for his frightful franchise; the scary voice of a four-year-old in "It"; and is the TV content boom leading to more stunt performer injuries and deaths?

Joel Edgerton talks about directing his adaptation of a memoir about a boy (played by Lucas Hedges) whose parents (Nicole Kidman and Russell Crowe) won't accept his homosexuality; can politicians play any music they want at rallies?; Jadis is prop store in Santa Monica like no other,

Eli Horowitz and Micah Bloomberg created "Homecoming" as a scripted, fictional podcast, and now they're overseeing the Amazon TV version; the movie ratings system has existed for 50 years, but it has occasionally been plagued by inconsistencies.

The new documentary examines the relationship between art, money, success and notoriety; “Delusion: The Blue Blade" is an immersive theater production described by its creator as "Indiana Jones"-meets-"Blade Runner."

Game designer Ben Esposito takes a user-friendly approach to examine L.A.'s changing neighborhoods; does NBC's Megyn Kelly have a future in TV?; the past, present and future of the L.A. Philharmonic (part 2).

“GLOW” (Gorgeous Ladies of Wrestling) is a new Netflix series loosely based on women’s wrestling from the 1980s. Creators Liz Flahive and Carly Mensch reveal some behind-the-scenes stories from the set; Kirsten Tan's debut film, "Pop-Aye," is a road movie where the buddies on the surreal journey are an aging architect and his long lost elephant.

Filmmaker Edgar Wright has made an action movie that revolves around an extensive playlist of pop, rock and R&B songs; the National Geographic channel presents "Earth Live," a real-time special broadcast from six continents.

Writer-director David Lowery had a tiny budget for "A Ghost Story," but he managed to attract Casey Affleck and Rooney Mara to the cast; Errol Morris is known for his serious documentaries, but he switches gears with The B-Side," a profile of photographer Elsa Dorfman.

Jay-Z's new album, "4:44," may be a hit, but the business model behind his music streaming service Tidal is in question; Two leaders of Outfest — the Los Angeles LGBT film festival — discuss how far has event has come and the history of queer cinema in Hollywood; How the New York Times became an outlet for documentary filmmakers.

Comedian Hasan Minhaj is doing more with his stand-up act than just making people laugh. He’s representing a vision of America. With the release of the album "The Hamilton Instrumentals," super fans like the people behind Hamiltunes LA get their wish. And keyboardist Benmont Tench, plays his ode to LA in the backseat of a car.

Two music supervisors who work on TV shows like "Fargo" and "Breaking Bad" say they love what they do but they discourage others from going into the field. And 50 years later, a new book looks at the legacy of the Summer of Love.

This year, the Emmy Awards will finally recognize music supervision. In the first of a two-part interview, John Horn chats with Maggie Phillips (“Fargo”) and Thomas Golubic (“Breaking Bad”) about their work; Andrew Jay Cohen makes the leap from writing to directing with “The House,” a comedy starring Will Ferrell and Amy Poehler.

“The Big Sick” tells the true story of how comedian Kumail Nanjiani and writer Emily V. Gordon became a couple; The Academy of Motion Picture Arts and Sciences invited a record 744 actors, writers, directors and other movie industry workers; Ginnifer Goodwin and Allen Leech star in “Constellations," a play that combines a love story with physics.

Writer-director Jeff Baena turned a series of 14th-Century novellas set in a convent into a bawdy sex comedy; The Kronos Quartet is expanding the repertoire of contemporary music for string quartets; American movie studios benefit from taking on Chinese partners.

Paul Dano stars in “Okja,” the story of a seemingly benevolent conglomerate working to help feed the world through genetically modified animals. Dano speaks about the issues raised in the film, and about working with director Bong Joon-Ho; The Arroyo Seco Weekend attracted about 24,000 people for each day of the two-day music festival on the grounds of the Rose Bowl. Two L.A. Times music writers have different takes.

Broken Social Scene wants to make music memories. They talk about their love of festivals and bringing music "to the people." And Pasadena City Councilmember Steve Madison says why he wanted to bring music to his city with the Arroyo Seco Weekend. And where are all the film scoring jobs going these days? Two people in the industry tell us why California needs to include film scoring in its production incentive program.

Coal magnate sues John Oliver for defamation just days have the HBO host's scathing "Last Week Tonight" segment. The tumultuous love story of Frida Kahlo and Diego Rivera is now a bilingual opera called "Frida." And two of the lead actors in the play "The Pride" open up about the personal and political reasons they wanted to tell this story of gay men in love.