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To Do: December 30, 2015–January 13, 2016

Twenty-five things to see, hear, watch, and read.

1. Watch Taylor Swift: The 1989 World Tour Live
Please welcome to the stage …
If you weren’t able to score tickets to Taylor Swift’s blockbuster “1989” tour, you can now watch the concert from the safety and comfort of your own home. Directed by Jonas Akerlund, the film obviously features a staggering number of guest stars from Swift’s ever-expanding #squad, including the Weeknd, Justin Timberlake, Alanis Morisette, and, yes, Mick Jagger. —Lindsay Zoladz
Streaming on AppleMusic.

2. Watch Being Evel
Documenting a daredevil.
Johnny Knoxville produced this loving, fast-paced, fascinating tribute to the No. 1 deranged stuntman of the ’70s, Evel Knievel. It manages to capture the magnetism of the man who held so many ’70s schoolchildren’s imaginations hostage without downplaying his dark side. —Matt Zoller Seitz
History Channel, January 2 at 9 p.m.

3. See Yoko Ono’s The Riverbed
Conceptualism given flesh.
OMG! I like Yoko Ono! Finally! I admired her as a leading figure in early conceptualism and deplored her relegation to “rock-star wife.” But her work struck me as merely poetic, treacly wishing-minimalism spiced with a little language. This double show gives us the powerful force of material, presenting broken cups and saucers she has visitors reassemble, and we behold her tremendous way of breaking things and having others put them together; a healing minimalism. —Jerry Saltz
Galerie Lelong (through January 29) and Andrea Rosen Gallery (through January 23).

4. See Marjorie Prime
A few zillion pixels.
Fifty years or so hence, artificially intelligent companions help the elderly and the grieving hold on to what they loved. But Jordan Harrison’s startling and profound new play, featuring the sublime Lois Smith in an excellent ensemble cast, isn’t as interested in technological fantasy as it is in exploring the deepest human questions. —Jesse Green
Playwrights Horizons, through January 24.

Classical Music
5. Hear Eric Owens at the New York Philharmonic
A velvety voice.
The charismatic tuba-voiced bass-baritone is a well-traveled Wagnerian, but he’s not yet sung Wotan, chief of the gods (he’ll inaugurate the role in Chicago next season). In the meantime, he offers a teaser, singing the final scene of Die Walküre, plus a few Strauss songs. —Justin Davidson
David Geffen Hall, January 7, 8, 9, and 12.

6. Read Ruth Wariner’s The Sound of Gravel
A memoir of Mormons in Mexico.
Spare, precise prose lifts what could have been a mawkish misery memoir — about a wretched childhood in a fundamentalist Mormon redoubt — into an addictive chronicle of a polygamist community that bred helplessness, dependency, and fear. —Boris Kachka
Flatiron, January 5.

7. Listen to Late Nights: The Album
Let Jeremih direct you to the nearest bedroom.
After years of delays and alleged label conflict, Jeremih finally dropped his third album. It includes hits like “Don’t Tell ’Em” and recent freebies like “Oui,” but it’s also stacked with new bedroom bangers, potential club slappers, and more sentimental tunes that point to Jeremih’s versatility as both a vocalist and the future of R&B.
Def Jam.

8. See Big Dance Theater
A five-part dance party.
Annie-B Parson has wittily choreographed some of the more imaginative theater here lately (Here Lies Love, Lazarus). But her groundbreaking company with Paul Lazar is still producing inventive new work, like Big Dance: Short Form: an intimate twist on the traditional repertory program, with a birthday party smack in the middle. —Rebecca Milzoff
The Kitchen, January 6 through 16.

9. Watch the 73rd Annual Golden Globe Awards
For more than just tipsy speeches.
Everybody makes fun of the Hollywood Foreign Press Association, and when they do things like hand out legacy awards, who can blame them? But if you look at the Golden Globes with a statistician’s eye, it’s amazing how often they recognize talent long before the Emmys or the Oscars do. —M.Z.S.
NBC, January 10 at 8 p.m.

10. See Curators’ Choice
Eight out of eight.
The Museum of the Moving Image is screening eight of 2015’s best films that you might have missed — a great last chance to see Laurie Anderson’s exquisite meditation on life and death Heart of a Dog; the penetrating, intimate Listen to Me Marlon (the best film about an actor, ever); and The Mend, a rollickingly free-form odyssey about two mismatched brothers staggering through the night in search of a shred of meaning. —David Edelstein
Museum of the Moving Image, January 1 through 10.

11. See Ilya & Emilia Kabakov: New Paintings
Old-school perestroika, made new.
The original Russians are back: the husband-and-wife team who in the ’80s blew the lid off Soviet artistic repression and began showing internationally to great acclaim. They’re here in fine form, with rooms of huge quasi–Social Realist paintings. —J.S.
Pace Gallery, through January 23.

12. Listen to Preludes
A pianistic play.
Dave Molloy’s Natasha, Pierre and The Great Comet of 1812 (which comes to Broadway next year starring Josh Groban) took on Tolstoy; his follow-up Russian fantasy, Preludes, leapfrogged to Rachmaninoff. I didn’t care for the show itself, but oh, the music! The original cast album captures the gorgeous score in all its Romantic glory. —J.G.
Ghostlight Records, January 8.

13. See Les Pêcheurs de Perles
A little-seen gem.
When Georges Bizet wrote Carmen, he ensured that everything else he composed would be forgotten. Well, almost everything: the ecstatic “Pearl Fishers Duet” has endured as opera’s ultimate buddy number. The work hasn’t been seen at the Met in over a century, but it returns on New Year’s Eve in a Penny Woolcock production, starring Diana Damrau as the hot Hindu priestess Leïla. —J.D.
Metropolitan Opera, December 31 through February 4.

14. Watch Mad Max: Fury Road
Statuette-season prep.
As it racks up year-end awards, it’s worth restating: George Miller’s fourth Mad Max film really is a monumental achievement, a great action movie that also happens to be a stylized, subjective nightmare and a surprisingly detailed vision of the future. Not a frame is wasted in Miller’s portrait of a twisted new civilization being born from the ashes of the old. —Bilge Ebiri
Streaming and on demand.

15. Watch Shameless
Six seasons in and still great.
The Gallaghers can’t seem to stop getting in trouble, but Emmy Rossum’s compassion and charisma as Fiona keep the never-ending dysfunction from turning into melodrama. Just when you think she should collapse under the weight of teen pregnancy, mental illness, and criminal kids, she soars.
Showtime, January 10 at 9 p.m.

16. See Erik Parker’s Undertow
His most meticulous work yet.
Wild-style full-blown phosphorescent color attacks the eye, dancing retinal circles around it, conjuring optical genies out of the cartoon characters who people Erik Parker’s new paintings. Graphic electricity surges through this new work. —J.S.
Paul Kasmin Gallery, through January 23.

17. Read The Verdict
Nick Stone continues to wow.
A British-Haitian writer on sabbatical from more gruesome fare (the Max Mingus trilogy), Stone intertwines the personal and procedural, the past and the present, with a facility that has critics invoking the holy name of Grisham. His latest begins when foundering legal clerk Terry Flynt finally lands a big case, only to find himself defending a millionaire and ex-friend who betrayed him years ago. —B.K.

18. See Janis: Little Girl Blue
Come on, come on and watch it.
It’s been a banner year for great documentaries about some of music’s most tortured female souls, like Liz Garbus’s harrowing What Happened, Miss Simone? and Asif Kapadia’s wonderfully intimate Amy. Equally deserving of mention is Amy J. Berg’s aching, compassionate portrait of Haight-­Ashbury’s wildest child. The performance footage of Joplin is predictably electric, but the secret ingredient is the inspired narration by singer-songwriter Chan Marshall (a.k.a. Cat Power). —L.Z.
In theaters (and on PBS in early 2016).

19. Watch Transparent
The Pfeffermans are back.
No sophomore slump here: Jill Soloway’s magical, radical dramedy returns with even more power and purpose than the impressive first season. How many other shows include an Indigo Girls concert and a Nazi raid in Weimar-era Berlin in the same half-hour? —Margaret Lyons
Amazon Prime.

20. See Livestrong
Christopher Chiappa’s makin’ breakfast.
Chiappa’s installation of fried eggs looks good enough to eat, but they’re the result of a refined process of casting, pouring, sanding, and painting plaster. In this gallery invasion, sunny­side-up yolks are everywhere, climbing the walls, seeming less benevolent the longer you look. —Wendy Goodman
Kate Werble Gallery, through January 9.

21. See American Dance Machine for the 21st Century
Many singular sensations.
The “living archive” of musical-theater dance is back with an encyclopedic program running from the Oklahoma! dream ballet to Tommy’s “Pinball Wizard.” Look out for New York City Ballet’s Georgina Pazcoguin, a stunner in Jerome Robbins’s “Mr. Monotony” and taking on Chita Rivera’s role in Jack Cole’s “Beale Street Blues.” —R.M.
Joyce Theater, through January 3.

22. See Chimes at Midnight
One of Welles’s best.
Orson Welles’s patchy, jagged, and magnificent 1965 box-office bomb is arguably his greatest film. It’s shaped around Falstaff, the immense, hoary, drunken knight just off to the side of the action in Henry IV, Parts 1 and 2, whom Welles called “one of the only great characters … He’s just shining with love; he asks for little, and in the end, of course, he gets nothing.” It’s Welles’s favorite theme: brutal corporate efficiency (here via Prince Hal) vanquishing the Romantic past. —D.E.
Film Forum, January 1 through 12.

23. See Berlin Metropolis: 1918–1933
Before the fall.
As the political weather shifted in Germany, turmoil gave way to a jazz energy that lent Weimar Berlin a nearly New York feel. See how those spasms played out across painting, sculpture, photography, architecture, and fashion.
Neue Galerie, through January 4.

24. Hear A Sunny Day in Glasgow
They’re actually from Philly.
The fuzzy dream-pop band makes songs that sound like aural watercolors — distorted guitar tones, moody synths, gleeful harmonies softly bleeding into each other. This show is a week after Christmas, but cross your fingers for their eerie, pitch-shifted cover of “All I Want for Christmas Is You.” —L.Z.
Rough Trade, January 2.

25. See Sell/Buy/Date
A work-in-progress (and affordable, too!).
Sarah Jones’s terrific Bridge & Tunnel hit Broadway in 2006 but was a more astonishing discovery Off Broadway in 2004. Why not catch her latest one-woman-many-character play — this one about sex trafficking — before it heads to the Manhattan Theatre Club in October? —J.G.
New York Live Arts, January 6 through 16.