The Frame

Eleanor Coppola writes and directs her first feature film 'Paris Can Wait.' She opens up about her marriage with Francis, her daughter Sophia, and her lifelong struggle to find artistic fulfillment. An LA actor takes his Trump impersonation into the land of improv. A star-studded cast in NY engages in "documentary theater" with a reading of the play “All the President’s Men?”

Yes, there is too much TV content these days, but the field is winnowing; Graham Nash says he's found a new life at the ripe young age of 75; Diane Rodriguez's play, "The Sweetheart Deal," looks at labor politics and personal sacrifice in California, circa 1970.

Actress Mary Elizabeth Winstead has coveted a part in FX's "Fargo," and she finally got her wish in the current third season; Summer will bring the usual slate of remakes and sequels, but there are also some promising original films on the horizon.

Now that ABC is resurrecting "American Idol," we discuss why the network would do such a thing; how will TV networks prove that they're still the best place for advertisers to spend their ad money?; playwright Dan O'Brien tells us how he created a play out of his family’s history of betrayal, isolation and secrets.

A new documentary aims to give proper credit to storyboard artist Harold Michelson and his researcher wife, Lillian; John Oliver once again goes after the FCC over net neutrality debate; San Miguel Perez recorded his debut album in L.A. with help from Colin Hay of Men at Work.

“The Lost City of Z,” writer/director James Gray talks about how he approached adapting the source book for the screen; Facebook announced it’s shutting down its in-house virtual reality studio; “The Circle” director James Ponsoldt about his film and his own social media habits.

Does the Netflix series, “13 Reasons Why,” glorify teen suicide? How can the streaming service better warn audiences about sensitive topics?; Why Frank Lloyd Wright’s Hollyhock House in L.A. was built for theater but didn't stage a play until now; Brett Berns makes "Bang! The Bert Berns Story," a documentary tracking his father's legendary career in the music business.

Debra Winger co-stars in the new movie "The Lovers" with Tracy Letts. It's the kind of character-driven film that Hollywood movie studios might have made in the 1980's when Winger was racking up Oscar nominations. She reflects on the changing business and her place in it. Hulu made news today at the Newfronts with streaming deals for "This is Us" and "Atlanta" and their live TV bundle.

Justin Simien reflects on how the 2016 election factored into the TV version of "Dear White People"; a tentative deal has been reached between the Writers Guild of America and TV/film producers, averting a strike; bass saxophonist Colin Stetson on the intricate method for recording his latest album and the physical demands of his sound.

In the new documentary "Risk," Oscar-winning filmmaker Laura Poitras grapples with unexpected contradictions about Julian Assange and Wikileaks. And as talks between the WGA and AMPTP come close to an end, the creators of two new TV shows, "Dear White People" and "Downward Dog," weigh in on what a strike could mean.

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).

Two prominent music critics look at where the orchestra has been and where it's heading; filmmaker Sandi Tan looks for a lost film of hers in "Shirkers."

Aoife O'Donovan, Sarah Jarosz and Sara Watkins all have successful individual careers, but decided to combine forces for their folk-Americana trio; how is "House of Cards" concluding without Kevin Spacey?; MOCA puts the spotlight on influential painter and film critic Manny Farber.

"The Good Place" creator Michael Schur and writer Jen Statsky talk about making a sitcom that takes on ethics and philosophy; as the Trump Administration reportedly considers rolling back civil rights protections for trans people, we revisit The Frame's 2017 roundtable discussion on transgender representation on television.

The award-winning Broadway smash with music and lyrics by Benj Pasek and Justin Paul finally arrives in Los Angeles; how deep are Saudi Arabia's tentacles in American museums?; the Berlin-based performance group, Gob Squad, examines how we cope with aging.

The mezzo-soprano had a promising hoops career, but then she discovered singing; Netflix buys a huge production studio in Albuquerque; Janelle Monáe breaks down her song, "So Afraid."

She's a rare female minority show-runner, but her main goal is to let the mom character have some fun; how are immigrants depicted on TV?; the L.A. Master Chorale takes its show on the road.

Actor Peter Dinklage and filmmaker Sacha Gervasi on making "My Dinner With Hervé," about the French actor Hervé Villechaize; how do "The Conners" fare without Roseanne? L.A. Times TV critic Lorraine Ali shares her thoughts.

Muslim comedian Mo Amer once sat next to Eric Trump on an international flight. That's just one of many stories in his Netflix special "Vagabond." In the wake of Jamal Khashoggi's disapperance, Hollywood rethinks its relationship with Saudi Arabia. Plus, how Dieter Ruehle came to be the Dodgers' organist.