Arts

For 50 years, Spanish-speaking TV viewers have tuned into the weekly variety show Sábado Gigante. Host Don Francisco commands a festive live audience in Miami, with celebrity interviews, musical performances, goofy sidekicks and scantily clad dancers. The three-hour show is broadcast throughout the Americas.

We've been looking at how technology has totally changed what it means to watch television or a movie. One of the biggest changes has been in demand — people want a baseball game — on their smartphone, wherever they are, right now. They want to pull up a video and stream it — on their laptop or phone, immediately, with no wait.

Cinematic crooks could learn a thing or two about their profession from the movies. The last score, the double cross, the vengeful boss who wants his money back: Audiences have seen enough of these well-worn tropes that it's reasonable to expect a modern character would be casually familiar with them. In other words, even dopey dad and high school teacher Walter White in Breaking Bad and the wannabe gangster teenagers in Gomorrah have seen Scarface, no matter that they didn't take the violent story of a drug lord's rise and fall as a lesson in what not to do.

What if you woke up one day to find that you were someone other than whom you thought you were? Upping the ante, what if that someone belonged to the tribe you'd been raised to think of as Enemy No. 1?

Early in writer-director Coley Sohn's debut feature, Sassy Pants, Bethany Pruitt (Ashley Rickards) goes into her closet for something to wear and pointedly reaches past a sea of pink items for a plain gray sweatshirt. It's a simple and evocative image that not only demonstrates her mood in that moment, but also says something about her life: This isn't a modern teen girl's closet, but that of a doll, forced into a confectioner's nightmare of girlish pink every day to satisfy some higher power's notions of sweet femininity.

Near the end of the 19th century, an 8-year-old Polish Jewish violin prodigy moved to the capital of European classical music: Berlin. Bronislaw Huberman was more than accepted. He was hailed throughout the continent and endorsed by one of his favorite composers, Johannes Brahms. Yet Huberman is now best known for leading an exodus from Europe, a story told by Josh Aronson's documentary Orchestra of Exiles.

The fun to be had in Fun Size, a 'tween comedy featuring Victoria Justice of the Nickelodeon TV series Victorious, is neither gigantic nor minuscule; it's just about fun size, which is probably enough. And if you think that movies aimed at young adults are automatically less sophisticated than those made for alleged grown-ups, bear in mind that Fun Size is the only comedy in recent memory to feature a Ruth Bader Ginsburg joke. You won't find any of those in the Hangover movies' bag of tricks.

The backpacking protagonists of The Loneliest Planet are experienced world travelers, but also wide-eyed kids. Nica (Hani Furstenberg) and Alex (Gael Garcia Bernal) have recently arrived in the foothills of Georgia's Caucasus Mountains, where they frolic with local children. Even what we see of the couple's lovemaking is mostly horseplay.

David Mitchell's epic philosophical novel Cloud Atlas was widely considered unfilmable — even by its author — when it came out in 2004. That's because the book's ornate structure, with stories nested inside stories across five centuries, seemed too complicated to be taken in quickly in a movie. But those complications were what attracted The Matrix's Andy and Lana (nee Larry) Wachowski, and Run Lola Run's Tom Tykwer to the project. Turning complexity into cineplexity is kind of what they do.

The presidential candidates may not be talking much about Guantanamo Bay, but the U.S. detention center there has been at the forefront of Michelle Shephard's mind for the last decade. The national security correspondent for the Toronto Star has traveled to Guantanamo Bay, Cuba, more than two dozen times; she even got enough stamps on her Guantanamo Starbucks card for a free latte.

Before his 2010 installation for the Tate Modern's Unilever Series, in which the former London power station-turned-art museum annually commissions a work for its cavernous Turbine Hall, Chinese dissident artist Ai Weiwei said, "I try not to see art as a secret code." He then filled the hall with 100 million handmade porcelain sunflower seeds.