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  • The television show Weeds returns for a new season, and creator Jenji Kohan has major changes in store for its drug-dealing soccer mom protagonist.
  • Renowned graphic artist Art Spiegelman knows a thing or two about controversial New Yorker covers. Speaking with Farai Chideya, Spiegelman defended the latest cover, which the magazine says satirizes misconceptions about Barack and Michelle Obama.
  • Romero Britto's bold outlines, bright colors and simple images appeal to children, public officials and art collectors. Britto says there's a reason his work is so popular: It makes people happy. But is it serious art?
  • Why do powerful black men still have to hide their sexuality? According to Terrance Dean, author of the new book Hiding in Hip-Hop, being gay in the scene means a life of denial.
  • A new anthology gives voice to a part of the gay community that is sometimes seldom heard. Thomas Glave takes listeners through his unique collection material, featured in "Our Caribbean: A Gathering of Lesbian and Gay Writing from the Antilles."
  • In conjunction with the Center for Book Arts exhibition "Mapping Correspondence: Mail Art in the 21st Century," avant-garde artist Martha Wilson discusses why mail can be art.
  • Host Guy Raz shares a quote about art inspired by Esbjorn Svennson's approach to jazz.
  • Samuel Langhorne Clemens, also known as Mark Twain, had some financial problems in his day and the museum dedicated to preserving his place in history has also fallen on hard times. His home in Hartford, Conn. could soon be closed to fans.
  • Light, temperature, and air pollution can wreck works of art. How do museums protect and preserve artistic and historic artifacts for the ages? Experts from the Getty Conservation Institute discuss the finer points of paint makeup and how to optimize conditions in museum galleries.
  • The creator of HBO's The Wire and a reporter for Rolling Stone discuss their latest endeavor, Generation Kill, the HBO seven-part series in which elite members of the Marine Corps confront the military bureaucracy in the midst of a new war.
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