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CBS's new drama, The Unit, has been described as part Mission Impossible, part Desperate Housewives.

Actress and producer Lena Waithe picks her five favorite Tiny Desk concerts.

The legendary soul scene in Miami that had its heyday in the 1960s and 1970s is the subject of a new retrospective. Eccentric Soul: The Deep City Label the imprint that discovered Betty Wright, Paul Kelly, and Clarence "Blowfly" Reid.

Several recent DVD releases feature great black entertainers of the 20th century. For classical music critic Lloyd Schwartz, his favorites feature the great tap dance team of Harold and Fayard Nicholas.

Actress S. Epatha Merkerson just won the triple crown of television honors: an Emmy, a Golden Globe, and a Screen Actor's Guild award. To many Law and Order viewers, Merkerson will always be Lt. Anita Van Buren.

Actor Tommy Lee Jones also directs The Three Burials of Melquiades Estrada. It's the story of a man killed in Texas and a friend -- played by Jones -- who fulfills his wish to be buried in Mexico. Jones describes it a "journey" movie.

John Peterson was accused of turning his family farm into a haven for devil-worship, drugs, and orgies. But the flamboyant farmer eventually thrived by going organic. The Real Dirt on Farmer John tells his story.

Out of South Africa comes Tsotsi, one of five Oscar nominees for Best Foreign Language Film. The title means gangster in the slang spoken in Soweto township. The title character is a rough young man who finds hope.

Critic David Bianculli reviews three DVD box sets from different eras of television: Mr. Peepers, which starred Wally Cox as a high school science teacher, ran on NBC from 1952-1956; interviews from The Merv Griffin Show(1965-1986); and the fifth season package of HBO's Six Feet Under, which completed its run last year.

A group of filmmakers who oppose the Smithsonian Museum's plan to produce TV programs with Showtime Networks asks that the terms of the deal be made public. The Smithsonian has said the details are proprietary. Under the agreement, the joint venture has the right of first refusal to commercial documentaries that rely heavily on Smithsonian collections or staff. But the impact on even non-commercial filmmakers is unclear.