Welcome back to The Big To-Do. The weekend weather forecast looks brutal, starting with frigid cold and ending with snow — bundle up and be careful out there! The Patriots will ride out the storm in Denver, with a Super Bowl berth on the line in Sunday’s game against the Broncos. Before, during, or after, this is “the perfect time to snuggle up on the sofa with the latest movie and TV picks across streaming,” writes the Globe’s Matt Juul, who has the specifics. The Rundown, the Globe’s new arts briefs section, checks in with a self-described “big Red Sox boy” (it’s not who you think), Noah Kahan, and John Mellencamp. And newly minted Oscar nominee Teyana Taylor (“One Battle After Another”) hosts “Saturday Night Live,” with musical guest Geese.

Movies

Michael B. Jordan, center, in a scene from "Sinners." UNCREDITED/ASSOCIATED PRESS

Ryan Coogler’s “Sinners” shattered the record for Academy Award nominations yesterday with 16. Globe film critic Odie Henderson breaks down the major categories, including some big surprises, and particularly relishes “two glorious words” in the supporting actor category: Delroy Lindo. For the full list of nominees, click here.

Based on Helen Macdonald’s best-selling memoir, “H Is for Hawk” is a “well-acted yet muddled film.” Claire Foy stars as Helen, an academic grieving the loss of her father (Brendan Gleeson) who becomes obsessed with a goshawk named Mabel. “[F]lashbacks and overbearing music serve as this film’s emotional core, and the result rings false and superficial,” Henderson writes in a 2½-star review.

“Mercy” “plays like it was written as an AI system’s prompt response.” As “a desperate man trying to prove his innocence,” Chris Pratt “doesn’t have enough charisma to pull off making us root for such an unlikable character.” As an “AI-generated judge, jury, and executioner,” Rebecca Ferguson “imbues her character with charm and wit” — and still can’t help “Mercy” score more than 1 star from Henderson.

TV & Streaming

Tom McCoy (34, center) subbed out during a Boston Pride Hockey league game in Revere on Sunday. ANDREW BURKE-STEVENSON/FOR THE BOSTON GLOBE

“Could the popularity of ‘Heated Rivalry’ embolden LGBTQ+ pro hockey players to finally break the ice and step out of the closet?” The wildly popular series is very much on the radar of the pro hockey community, including NHL commissioner Gary Bettman. But the league has never had an out player, active or retired, and old attitudes die hard. The Globe’s Christopher Muther takes the measure of the phenomenon.

The subject of “Mel Brooks: The 99 Year Old Man!” “holds forth on a life and career dedicated to making people laugh as often and as hard as possible.” Judd Apatow and Michael Bonfiglio’s “superb” documentary “has a seamless flow and structure, toggling back and forth from Apatow’s conversations with Brooks to a wealth of secondary interviews, archive interviews, and clips,” Globe TV critic Chris Vognar writes.

Music

The Burren owners Tommy McCarthy and his wife, Louise Costello, pose during the Boston Celtic Music Festival at the Burren on Jan. 17. MATTHEW J. LEE/GLOBE STAFF

The Burren turned 30 this month, and the Boston Celtic Music Festival did double duty as a birthday celebration. Globe correspondent James Sullivan offers a look at three decades of music, community, and craic. “We’ve never wanted it to end, really,” says Tommy McCarthy, who owns the club with his wife and fellow musician Louise Costello. “It’s our life.”

Speaking of the Burren, it honors photographer Charles Daniels (1942-2024) with a fundraiser Tuesday. Daniels was known for his work with rock musicians but considered himself “first of all, a black-and-white street photographer,” says his life partner, Susan Berstler. Expect a slideshow of his work and a performance by Rolling Stones tribute act Beasts of Burden, Globe correspondent Victoria Wasylak writes for Sound Check.

The Jazz at Lincoln Center Orchestra with Wynton Marsalis, “the highest-profile large ensemble in jazz,” appears at Symphony Hall tonight. Alexa Tarantino, who plays alto and soprano saxophone, flute, and clarinet, is the first woman to be a full-time member of the ensemble. “[W]hen you’re a freelance musician you’re going from gig to gig,” she tells Globe correspondent Noah Schaffer. “Every day we have the opportunity to dig deep into this music.”

“Empty Hands,” Poppy’s new album, drops today, six or so years after the performer known for synth-pop veered into metalcore. “It’s kind of funny when people talk about it as if it was a sustainable career path,” the Boston native says of her early work. Writes Wasylak, “Her lamblike speaking voice, one of the few constants in her career, belies her ability to project a gurgling, near-guttural yowl on any number of the face-melters she’s recorded.”

Museums & Visual Art

Victoria Sambunaris, "Untitled (Hercules Gap), Ely, Nevada," 2004. VICTORIA SAMBUNARIS

The work in “Manifest Destiny,” at the Griffin Museum of Photography, “concerns landscape — as geology, of course, but also history, politics, commerce.” The show’s “single most striking image” is Craig Easton’s view of Monument Valley through a gift shop window, writes the Globe’s Mark Feeney. “There you have them, framed within a frame: geology, history, politics, and commerce — though maybe the last three are versions of the same thing?"

“David C. Driskell: Collector,” at the Portland Museum of Art, is “a who’s who of the Black Arts Movement of the 1970s, with Driskell as a central figure.” The revered artist and educator, who spent summers in Maine, was “a foundational force in the long, slow expansion of the American canon to include Black artists largely disregarded for centuries,” writes Globe art critic Murray Whyte. “The lineage was always there, he seems to say. It just took someone willing to see it.”

Theater

Dennis Trainor Jr. and Josephine Moshiri Elwood in "Job." BENJAMIN ROSE PHOTOGRAPHY

Max Wolf Friedlich’s “Job” takes “an overly familiar format and dynamic” — client in crisis visits a therapist — and “establishes a distinct identity of its own.” The play, about an online content moderator whose on-the-job meltdown went viral, is “extremely disturbing,” Globe theater critic Don Aucoin acknowledges. Marianna Bassham’s direction of the SpeakEasy Stage production “skillfully and steadily ratchets up the tension.”

The musical adaptation of “Some Like It Hot” “sashays its way” to Boston next week. Songwriters Marc Shaiman and Scott Wittman jumped at the chance to update the story. “We had grown up at a time when men were arrested for wearing women’s clothes, and a lot of our very dearest friends were part of the trans community,” Wittman tells Globe correspondent Christopher Wallenberg. “[I]n a way, ‘Some Like It Hot’ is our love letter to them.”

Williamstown Theatre Festival shifting to an every-other-year schedule is “jolting but not necessarily surprising.” It is “big news,” Aucoin observes, and what’s more, “The festival is not the only theater engaged in or pondering a struggle to reinvent itself.” First steps, under new creative director Jeremy O. Harris, include reconfiguring the number and nature of performances.

Books

The crowd at the annual Moby-Dick Reading Marathon. DREW FURTADO/NEW BEDFORD WHALING MUSEUM

As it has since 1997, early January brought the Moby-Dick Reading Marathon to New Bedford. Massachusetts poet laureate Regie Gibson helped the event kick off “like a rock concert,” and “legions of Moby mavens” kept the energy level up throughout. Globe critic Chris Vognar reports from the Whaling Museum, the Seamen’s Bethel, and — in spirit — the Pequod.

Beacon Hill is “the perfect backdrop for an exclusive, hidden world of power and privilege,” says author and neighborhood resident Karen Winn. Her new thriller, “The Society,” plumbs the secrets of an organization inspired by the Boston Athenaeum. “My creative wheels began turning, and I started to envision an influential secret society with roots in the opium trade,” Winn tells Globe correspondent Annie Sarlin.

“Vigil,” by George Saunders, finds a cancer-stricken oil tycoon in his final hours as “his river of thoughts cascades across the plot.” The “vibrant, fiendishly clever” novel by the author of “Lincoln in the Bardo” is “no less revelatory in its grasp of history and humanity, how and why our lives are shaped by politics that whorl around us,” writes Globe reviewer Hamilton Cain.

Today's newsletter was written by Marie Morris and produced by the Globe Living/Arts staff. Marie Morris can be reached at marie.morris@globe.com. Thanks for reading.

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