As Cupid takes aim this week, a look at how sex and sexuality are handled — and mishandled — on-screen. Kurt Andersen speaks with Slate’s Jeffrey Bloomer on depictions of first-time sex. Intimacy-scene consultant Alicia Rodis describes how she helps actors who are virtual strangers seem like they are deeply and lustilly in love during sex scenes. Desiree Akhavan’s show “The Bisexual” takes on what she sees as an anti-bisexual bias, a bias she demonstrates with clips from shows including “Sex and the City” and “Orange is the New Black.” Plus a look back at how “Reality Bites,”which hit theaters 25 years ago this week, helped channel the Gen X zeitgeist.

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An hour on country music: past, present and future. Nashville-based music reporter Jewly Hight gives Kurt an update on how women artists in country music are forging new paths in an industry that’s become unwelcoming. Dolly Parton reflects on her long career. Willie Nelson shares an Aha Moment about the song that changed his life. And the incomparable Dwight Yoakam performs live in studio.

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In 2015, an autistic boy disrupted a performance of The King & I on Broadway, reacting loudly to a scene where a slave is whipped. He and his mother were asked to leave the theater.

After the performance, one of the actors from the ensemble posted a reaction to the incident on Facebook. He wrote: “When did we as theater people, performers and audience members become so concerned with our own experience that we lose compassion for others?”

The Facebook post went viral.

What’s interesting is that Broadway was kind of responding the King & I incident even before it happened. Theater leaders were working to create a safe environment for families with autistic children — a place to enjoy art free of discrimination — with special autism-friendly performances at musicals and plays.  

“It just takes away all the stress of taking her to a typical show where, you know, she might yell a little too loud or clap a little too loud or want to jump up and down and it may not be acceptable,” says Carmen Mendez, whose daughter is autistic. “Here she can be herself.”  

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Natasha Wimmer, whose translations of Roberto Bolaño are extraordinary, tells Kurt Andersen about her rules of the road. Plus, the play “Behind the Sheet” helps to expose and reassess J. Marion Sims, a pioneer in gynecology whose advances came at the expense of the slaves on whom he conducted brutal experiments. And Kurt talks with artist Jessica Campbell, who for her first solo exhibit  created work almost exclusively out of carpet.

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An hour on continuing innovations in American dance. Choreographer Donald Byrd uses dance to illuminate what it means to be black in America. Elizabeth Streb speaks with Kurt Andersen about how she defies gravity with her “extreme action” techniques. And how the salsa pioneers Celia Cruz and Johnny Pacheco got the world on its feet. 

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On this Studio 360 extra, we’re sharing a great new podcast called Aria Code. Produced by WQXR and the Metropolitan Opera, it features singers and other thinkers decoding the magic of a single piece from an opera, followed by the music uninterrupted.

In this episode, host Rhiannon Giddens and her guests reflect on the Biblical story of Samson and Delilah, the trope of the femme fatale, and how composer Camille Saint-Saëns created this unforgettable moment that sounds as if Dalila’s slowly removing her clothing, one note at a time. Plus, you'll hear mezzo-soprano Elīna Garanča sing the complete aria from the Metropolitan Opera stage.

This podcast was produced by The Metropolitan Opera and WQXR.

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Thanks to a new exhibit at the Guggenheim, the art world is rediscovering Hilma af Klint. How was this Swede so ahead of her time, and will she finally get her due? Lee Israel’s memoir about forging letters by famous writers, “Can You Ever Forgive Me?,” is now a terrific movie starring Melissa McCarthy. Israel died in 2014, but here she is in an interview with Kurt Andersen in 2008, where she talks about how — and why — she decided to start impersonating the likes of Dorothy Parker and Noël Coward. When Shane McCrae was a depressed teen in the ’90s, he found inspiration and hope in the strangest of places: the poetry of the famously tragic Sylvia Plath. 

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The story of “Doug,” the Nickelodeon cartoon from the ’90s that used a minimalist approach but had a profound impact on young viewers. Kurt Andersen talks with Rina Banerjee, who makes enchanting installations and who is the subject of a retrospective show at just 55. And the breathtaking backstory and staging for “The Jungle,” the play that replicates an Afghan restaurant in a migrant camp.

This episode is brought to you by Doctors Without Borders. Donate today at doctorswithoutborders.org.

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John August, the host of Scriptnotes, explains his approach to screenwriting.

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Some of our favorite stories from the past year. First, Kurt Andersen speaks with Daniela Vega, who delivered a stunning performance in "A Fantastic Woman." Casey Trela is a musician in Los Angeles with a Kafkaesque day job: he watches movies and TV shows over and over and over again looking for the tiniest production glitches. Lauren Groff has a complicated relationship with her adopted state, and nowhere is that more evident than in her recent short story collection, “Florida.” And an oral history of how, in ’90s New York,  hip-hop pirate radio station WBAD rose — and fell.

This episode is brought to you by Doctors Without Borders. Donate today at doctorswithoutborders.org.

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