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).

Comedian and art collector Cheech Marin walks the galleries of Frank Romero's retrospective with the artist himself; "Hacksaw Ridge" sound mixer Kevin O'Connell has 21 Oscar nominations but no win ... yet; political and topical ads are likely during the Academy Awards. Who's advertising and how are they hoping to benefit?

Melanie Lynskey felt a deep connection with her character in the Sundance hit, "I Don't Feel at Home in This World Anymore"; a federal judge issues an injunction against a law that prevented websites such as IMDb from publishing the birthdate of actors.

Jordan Peele (of "Key & Peele" fame) makes his film directing debut with the horror movie, “Get Out," which takes on racism in the creepiest fashion; John Horn debates how to improve the Academy Awards broadcast with his "Awards Show Show" podcast co-host, Kyle Buchanan, and TV mavens Alex Jung and Jen Chaney.

The Oscar-nominated movie "Lion" is based on the memoir of Saroo Brierly, whose unbelievable life story was turned into a two-hour film by screenwriter Luke Davies; an annual report on diversity in Hollywood makes a strong case that on-camera diversity is directly linked to box office and ratings success; the WGA honored the screenwriters of "Moonlight" and "Arrival."

The Oscar-nominated editors behind "Moonlight," Joi McMillon and Nat Sanders, discuss working with director Barry Jenkins, editing reality TV and making history at the Oscars; A new study from USC finds best picture Academy Award nominees rarely have characters over 60.; What are the trends for the current TV pilot season?

The Equal Employment Opportunity Commission is in settlement talks with all of the major movie studios after a lengthy investigation into how directors are hired in Hollywood. Is change coming? Then "La La Land" composer Justin Hurwitz reveals how he went about scoring the modern day movie musical that's become an Oscar favorite.

The off-beat show "Baskets" is much closer to the actor's own comic and storytelling sensibilities. He calls it a "slapstick drama"; Facebook is hoping to add more music content to its influential platform.

The latest Marvel TV series doesn’t look anything like a Marvel TV series. And that’s what show creator Noah Hawley had in mind for “Legion”; "4.1 Miles" is a documentary whose title refers to a small strip of the Aegean Sea where tens of thousands of migrants try to make the treacherous crossing.

The HBO documentary “Eagles of Death Metal: Nos Amis” recounts the band's experience in the Paris terrorist attacks; Sting collaborated with J. Ralph for the Oscar-nominated song, “The Empty Chair”; the Grammy Awards are like a car wreck: you can't look away.

French electronic music pioneer Jean-Michel Jarre — who's nominated for a Grammy this year — takes us on a journey through the past, present and future of the electronica genre; It's no accident that five of the last 10 films starring David Oyelowo were directed by women, including his latest, "A United Kingdom"; Hollywood studio execs and filmmakers may get a new relationship with China later this month.

Violin virtuoso Rachel Barton Pine proves that classical music and heavy metal have a whole lot in common. Solange Knowles breaks down her Grammy-nominated song “Cranes In the Sky" in a Song Exploder segment. And the Los Angeles City Attorney Mike Feuer is trying to put an end to one of the oldest scams in Hollywood- pay to play casting agencies.

Producer Dan Lin proved with "The Lego Movie" that he could make a critically and commercially successful film based on a toy. Now the pressure is on to do the same with "The Lego Batman Movie"; Dave and Pos of De La Soul reveal their innovative approach to making their latest album, which paid off with a Grammy nomination; can Warner Bros. help subvert the traditional way movies get distributed?