The Frame

Taylor Mac is the theater artist, drag performer, MacArthur fellow and creative mind behind a 24-hour-long retelling of American history through popular songs; was James Levine allowed to remain in power at the Metropolitan Opera because of "maestro worship"?

Boots Riley of the hip-hop group The Coup talks about his directing debut, "Sorry To Bother You" – a satire about race in America; “High Maintenance” co-creator Katja Blichfeld says she and fellow co-creator Ben Sinclair kept the show intact despite their breakup; the massive SxSW tech, film and music fest is underway in Austin.

"A Wrinkle In Time" author Madeleine L'Engle mixed spirituality and science in her controversial book, now it's a big Disney movie; filmmaker Alma Har'el challenges the advertising business to hire more women to direct commercials; Spotify promises to expand your musical choices, but does it?

Hiro Murai had only directed music videos when Donald Glover tapped him to direct "Atlanta"; Amy Adrion's documentary, "Half the Picture," takes an empowering view of women in filmmaking; Tom Brosseau's latest album is titled "Treasures Untold."

The company that produced "The Wolf of Wall Street" is fined $60 million in embezzlement case; Shawn Colvin's new album is made for kids and their parents; Quiara Alegría Hudes' trilogy of plays gets a first-ever simultaneous staging.

Aparna Nancherla manages to find comic relief in her own depression and anxiety; how to fix an Academy Awards broadcast that hit an all-time ratings low; Tamar-kali's score for "Mudbound" is "the blood beneath the mud."

From the diversity seen on the red carpet and onstage, to the pointed messages delivered during the ceremony, the movie industry is at a tipping point.

We take one last look at the nominees and the larger cultural and political issues surrounding the ceremony; talent agencies have been in the middle of Hollywood's abuse scandals. Maha Dakhil talks about what role the agencies should play to protect their clients.

Wall Street Journal reporter Ben Fritz's book, “The Big Picture: The Fight for the Future of Movies,” examines the fallout from Sony's computers being hacked; Spotify seeks cash infusion as it prepares to sell stocks in the company; the Independent Spirit Awards take place on the eve of the Oscars.

John Horn & Rebecca Keegan of Vanity Fair look at key Academy Award nominees in a year that saw significant contributions by women. And, at least this year, it's not #OscarsSoWhite.

Spoken word artist Alex Alpharaoh was brought to the U.S. from Guatemala as an infant. His journey to becoming a DACA recipient in these uncertain times is told in his new solo stage show.

From the start of his career, Noah Baumbach has been fascinated with family dynamics. His new movie, “The Meyerowitz Stories (New and Selected),” centers around a domineering patriarch played by Dustin Hoffman. Baumbach talks about exploring the relationships between adult children and their father, and the legacy of family myths.

Simmonds stars in the new film, "Wonderstruck" and Harvard is featured in the Deaf West Theatre production of "Our Town"; Netflix will spend $8 billion on content in 2018; low budget horror films like "Happy Death Day" are a bright spot for movie studios.

Mexican jazz drummer Antonio Sánchez has made a career of composing for film ("Birdman") and TV ("Get Shorty"). His new album is called "Bad Hombre"; WSJ reporter Ben Fritz discusses the Weinstein Company's possible sale to Colony Capital; Film producer Emily Best on the power dynamics that foster a culture of abuse in Hollywood.

"Lore" creator Aaron Mahnke reveals how he adapted his horror legend podcast into a new Amazon TV show; country music artist Jason Aldean performed last night for the first time since the Las Vegas shooting. We hear from one person who was at the show; and New York Times film critic Manohla Dargis puts the Harvey Weinstein story of alleged sexual misdeeds into the context of Hollywood history which has kept men in positions of power, women marginalized and many silenced.

Why did Ronan Farrow, a reporter for NBC News, publish his story about Harvey Weinstein in The New Yorker?; over the past 25 years, Geoff Elliott and Julia Rodriguez-Elliott, co-producing directors of A Noise Within, have built a respected, classical repertory company from the ground up; musician Rostam breaks down a song from his first solo album since leaving the band Vampire Weekend.

Agnes Varda and JR travel through their native France to photograph their fellow citizens in the documentary, "Faces Places"; IMAX is trying to lure audiences to its new virtual reality experience centers; experimental opera director Yuval Sharon is among this year's MacArthur Fellowship honorees.

Published reports of Harvey Weinstein's predatory behavior spotlight the non-disclosure agreements that prevent whistleblowers and victims from telling their stories; Brandon Micheal Hall is the lead in ABC's new comedy "The Mayor." He's happy to combine politics and rap in his first big acting gig.

Veteran actor Joe Morton talks about his stage portrayal of the late comedian and activist, Dick Gregory; producer Amy Ziering, whose documentary "The Hunting Ground" was distributed by The Weinstein Company, wants to make a film about sexual harassment in Hollywood; can The Weinstein Company survive without Harvey?

The published report of Harvey Weinstein's history of sexual harassment begs the questions: How did his behavior go unchecked for so long? And how are Democratic politicians trying to distance themselves from Weinstein?; Larry David's "Curb Your Enthusiasm" once helped exonerate a murder suspect. The story is told in the documentary, "Long Shot."

Filmmaker Brett Morgen's "Jane" uses never-seen footage that National Geographic had stored for decades; there are more than usual women among this year's nominees for the Rock and Roll Hall of Fame; from Amish country to Hollywood, and classical piano to Dolly Parton: the evolution of singer-songwriter Our Lady J.

Lukas Nelson learned a lot from his dad, Willie, but he's making his own musical way; David Geffen has pledged $150 million for the planned new building at the L.A. County Museum of Art; movie studios are increasingly trying to limit what critics can divulge in a review.