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).

Now that the Academy Awards are behind us, how did Hollywood assess itself and what lessons will the industry learn going into 2016?; the executive producer of Samantha Bee's TBS show, "Full Frontal," on the 'unfiltered' and fearless tone of that late night show

OK Go takes its inventive music videos up a notch by shooting in an aircraft at zero gravity; 31-year-old comedian Quincy Jones, who has stomach cancer, used Kickstarter to finance his own stand-up special; Paco Delgado drew inspiration from singer Annie Lennox to design costumes for "The Danish Girl."

Author, religion scholar and TV consultant Reza Aslan adds talk show host to his credits with "Rough Draft"; Oscar nominee Lon Burden breaks down the sound design for a crucial scene in "The Revenant"; the toughest Oscars trivia contest happens at a pub in Santa Monica.

The Black Version is a group of improv performers who put an Afro-centric spin on mainstream movies; Leonardo DiCaprio sees environmental parallels between the 1820s when "The Revenant" is set and modern-day America; eligibility rules for the Oscars raise questions for the original score nominees.

Will this year’s Academy Awards be the tipping point for racial representation in Hollywood? Marc Bernardin of The Hollywood Reporter weighs in; The Song Exploder podcast takes apart a song with the band Clipping; "Inside Out" writer Meg LeFauve gets a Pixar education and now takes on Ms. Marvel.

USC's Institute for Diversity and Empowerment at Annenberg tracked the representation of women, people of color, and the LGBT community in film and television and found Hollywood is still "a straight, white boys club." Then co-star and co-creator of the HBO show 'Togetherness', Steve Zissis, mines his life-- failures and all-- for the show. And comedian Kamau Bell is excited to see Chris Rock turn #OscarsSoWhite into comic gold at the Academy Awards.

Comedian Paul Rust went from Iowa to working with his childhood heroes Judd Apatow and Paul Rubens, and now he's landed the Netflix series "Love," which comes out today. The Coen Brothers bring water ballet back to the big screen in "Hail, Caesar!" with the L.A. aquatic dance troupe Aqualillies. Also, we deconstruct the Oscar race for Best Picture with John Horn and Kyle Buchanan from The Awards Show Show.

Writer-director Robert Eggers' impressive feature debut is about witches in colonial New England; after camera assistant Sarah Jones was killed on a film set, her parents became advocates for production safety; the play 'Placas' tells the story of a man who escapes one of the world's most brutal gangs.

David Javerbaum created @TheTweetOfGod, which led to the hit Broadway play, "An Act of God," currently starring Sean Hayes; faced with low ratings, ABC fires network chief Paul Lee; singer-songwriter M. Ward revisits his early years in the Conejo Valley on his new album.

The producer of the Record of the Year Grammy talks about what went into making the dance hit, "Uptown Funk"; France's Academy Awards entry for Foreign Language Film was actually shot in Turkey by a Turkish-born filmmaker; Edward Gero played Supreme Court Justice Antonin Scalia in a show at Arena Stage.

Leonardo DiCaprio and Alejandro G. Iñárritu of "The Revenant" are among the filmmakers and actors on The Frame's annual Academy Awards preview. You'll also hear from Sylvester Stallone, Brie Larson, Bryan Cranston and many others.

Sylvester Stallone turned down the part of an ailing Rocky Balboa in "Creed" twice before agreeing to do it-- with the help of an acting coach. Now he's nominated for an Oscar. Grammy nominated musician Lianne La Havas finds inspiration in Jamaica. How only Kanye West could pack Madison Square Garden while playing an album off his laptop.