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).

Kulap Vilaysack discusses her Seeso reality TV spoof “Bajillion Dollar Propertie$” and the documentary she's making about the search to find her biological father. Variety's Brent Lang reports on why and how the directors of the Han Solo spinoff movie were fired. And The Frame contributor Tim Grieving visits with the Los Angeles Percussion Quartet at Walt Disney Concert Hall to hear how they're reinventing what percussion is and could be.

'Time: The Kalief Browder story' recounts the tragic life and death of a teenager who was held a Rikers Island for years without being tried of a crime. The series' writer-director Jenner Furst puts his story into a larger context. Was Gal Gadot underpaid for starring in the smash hit “Wonder Woman?” The internet thinks so. Vulture's Kyle Buchanan helps us sort fact from fiction. Common Sense Media which rates movies and TV shows for language, violence, sex and drug use now assesses for gender stereotypes.

The new documentary, “Nobody Speak: Trials of the Free Press,” uses the Hulk Hogan/Gawker lawsuit to highlight the importance of freedom of speech — even when it’s tawdry; Singer/guitarist Benjamin Booker was in a rut in New Orleans, so he went to Mexico City to record his new album, "Witness"; Bloomberg entertainment reporter Lucas Shaw talks about Apple, Vice and Snapchat's plans to make original scripted programming.

Sofia Coppola has remade the 1971 film, "The Beguiled," which is a Civil War-era story set at a girls' boarding school in the South (starring Nicole Kidman); "Thumbprint" is an opera about a Pakistani woman who sought justice after she was gang raped in her village.

When Judd Apatow learned that Sony was releasing "clean" versions of R-rated and PG-13 movies — including two he produced — he was not happy. He tells The Frame why these edited films should have the filmmakers' consent; The Secret Sisters return to making music with their new album, "You Don't Own Me Anymore"; and we go for a run with the people in the new L.A. Film Festival documentary, "Skid Row Marathon."

Former Bravo network executive Andy Cohen now hosts two shows and has become a reality TV guru; corporations are being extra cautious about advertising in an age when opposition campaigns can quickly gain traction; after a long hiatus, the band Fleet Foxes is back.

Gabriela Cowperthwaite, who directed the documentary “Blackfish," moves to features with “Megan Leavey,” the true story of a Marine and her service dog; how the Los Angeles Film Festival distinguishes itself through a commitment to diversity; a music industry gathering in Mexico where talent from across Latin America gets showcased.

New York's Public Theater is getting heat over its production of "Julius Caesar" that depicts the Shakespeare character as Donald Trump; Tony Award-winning composers Benj Pasek and Justin Paul talk about their songs for 'Dear Evan Hansen'; director Lucia Aniello talks about her raunchy comedy, "Rough Night."

It's a rarity for a woman to direct a big budget, comic superhero movie, but Jenkins has torn down the walls with her critically-acclaimed box office smash.

Broadway will honor the best in theater on Sunday night at the 71st annual Tony Awards. But there's one group of performers who will not be recognized, despite the fact that they often make up the majority of the cast in a musical. The Ojai Music Festival highlights an arts collective from the South Side of Chicago that launched 50 years ago by giving the west coast premiere of an opera about the collective titled "Afterward."

“Beatriz at Dinner” is set at a dinner party in a Southern California mansion. The filmmakers and long-time collaborators open up about how they sought to use the setting as a means to unpack "casual racism," and comparisons between John Lithgow's character and Donald Trump.

Movie trailers are both art and advertising. A co-founder of the annual Golden Trailer Awards breaks down what goes into the making of a trailer and why they honor the best and the worst each year. And filmmaker Trey Edward Shults says that dealing with his father's death and his own fear of dying informed his new thriller "It Comes At Night."