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New TV shows, museum openings, film releases and concerts — it’s a lot to keep track of. Let us help you. For the week of Nov. 26, seven events in New York and elsewhere not to be missed:
Dec. 1; u2.com.
Most rock ‘n’ roll bands either split up or accept their fate as nostalgia acts long before they reach the 40-year mark. Yet U2, founded in Dublin in 1976, persists in seeking out a place in the current. Even as the group toured this year to celebrate its career-defining 1987 album “The Joshua Tree,” it was testing and tweaking songs from a new studio LP, “Songs of Experience,” out Friday, Dec. 1.
The title completes the William Blake allusion of U2’s 2014 release, “Songs of Innocence,” a subtle, poignant work whose music was overshadowed by an ungainly rollout. In interviews, the band has suggested that the new album is more overtly topical, with songs about electoral shocks and threats to democracy. It also has room for high-flying romantic declarations like the single “You’re the Best Thing About Me.” As Bono recently told Jon Pareles in The New York Times, “Joy is an act of defiance.” SIMON VOZICK-LEVINSON
Nov. 29-Dec 31; nycitycenter.org.
Though less seasonally themed, Alvin Ailey American Dance Theater’s annual five-week run at New York City Center is on par with “The Nutcracker” for beloved holiday dance traditions.
Opening Wednesday, Nov. 29, this year’s lineup includes world premieres by the Spanish choreographer Gustavo Ramírez Sansano and the Ailey dancer Jamar Roberts, as well as new productions of Twyla Tharp’s “The Golden Section,” Jawole Willa Jo Zollar’s “Shelter” and Talley Beatty’s “Stack-Up.” Mr. Sansano’s work for the company, “Victoria,” will debut on Saturday, Dec. 2. Working with an adaptation of Beethoven’s Seventh Symphony by the composer Michael Gordon, Mr. Sansano channels his slinky, high-velocity style in this exploration of conflict and solidarity, depicting the triumph of good over evil.
“Victoria” appears on a mixed bill that includes another ode to communal strength in the face of affliction, Ailey’s “Revelations,” with live music. Besides the Dec. 2 performance, there will be many more chances to catch that classic this season. SIOBHAN BURKE
Dec. 1; netflix.com.
“The distinction between the past, present and future is only a stubbornly persistent illusion,” Albert Einstein wrote, and those words open “Dark,” Netflix’s first German-language original series, starting Friday, Dec. 1.
Children vanish, dead birds rain from the sky and people whisper about horrible events from decades earlier as four families cross woods in the shadow of a nuclear power plant and find themselves propelled through a glitch in the matrix that links 2019 to 1986.
With its time-warp soundtrack and allusions, this 10-part thriller has drawn comparisons to the streaming service’s mega hit “Stranger Things” — though its creators, Baran bo Odar and Jantje Friese, delightedly insisted otherwise when the series debuted at the Toronto Film Festival in September. “Dark” also resurrects the anxiety and sorrow that permeated Mr. Odar’s compelling first feature, “The Silence,” in which two girls go missing in the same way at the same place 23 years apart. KATHRYN SHATTUCK
Through Feb. 25; metmuseum.org.
His latest trick is drawing on an iPad. But the 80-year-old, Yorkshire-born artist David Hockney has been bringing a cheerfully mercenary élan to figurative painting for the better part of six decades.
Whether in nearly life-size portraits of friends, slightly unnerving scenes set around articifial-blue SoCal swimming pools or moments of homoerotic intimacy — a subject he began tackling with forthright confidence well ahead of the societal curve — Hockney always finds a way to wrap formal painterly concerns into finely observed shades of emotion.
This full-scale retrospective at the Metropolitan Museum of Art, organized with the Tate in London and the Pompidou in Paris, opens Monday, Nov. 27. WILL HEINRICH
Nov. 29-Dec. 2; bam.org.
Seventeen days. That’s how long the nameless woman at the center of Haruki Murakami‘s hypnotic short story “Sleep” has been awake. It isn’t insomnia, though; she’s not even tired. A 30-year-old, stay-at-home mother, she has lost herself in an existence of such lulling routine that she can keep it up now without anyone — not her husband, not their young son — noticing that her mind has gone elsewhere. In the hours she’s gained, she devours “Anna Karenina,” then reads it again.
“Haruki Murakami’s Sleep,” a stage adaptation by Naomi Iizuka, directed and devised by Rachel Dickstein for the Brooklyn theater company Ripe Time, trades Mr. Murakami’s muffled alienation for high design and intense atmospherics, including an original score performed live by NewBorn Trio. Starting Wednesday, Nov. 29, at BAM Fisher as part of the Brooklyn Academy of Music’s Next Wave Festival, the play has a slippery, shifting sense of reality. A woman’s mind unravels, and with it her life. LAURA COLLINS-HUGHES
A divorcing Russian couple eager to move on with their lives — Zhenya with her affluent older lover, Boris with his pregnant young girlfriend — viciously quarrel over who will take Alyosha, the 12-year-old son neither wants.
But when he vanishes after overhearing their fight, Zhenya (Maryana Spivak) and Boris (Alexey Rozin) are thrust together in the search for Alyosha (Matvey Novikov) in Andrey Zvyagintsev’s heart-wrenching “Loveless,” which begins a weeklong Oscar-qualifying run in New York and Los Angeles on Friday, Dec. 1, before a wider opening in February.
Juxtaposing icy bleakness — a length of police tape and streaks of blood are the few colors in an ocean of gray — against the golden hues of an aspirational society, Mr. Zvyagintsev captures the devastating emotional violence inflicted by one generation on the next amid reports of war in Ukraine and a pending apocalypse. But for the ghostly Alyosha and his neglectful, raging parents, the cataclysm has already arrived. KATHRYN SHATTUCK
Nov. 28; bacnyc.org. Nov. 30; roulette.org.
The outpouring of grief and warm remembrances in the wake of the composer Pauline Oliveros’s death last year clarified her centrality to the history of experimental music: Her radical philosophy of Deep Listening changed how we hear music.
When she died, Oliveros’s opera “The Nubian Word for Flowers” — a collaboration with her spouse, the writer and performance artist Ione — was left incomplete. On Thursday, Nov. 30, this haunting, multimedia meditation on colonialism and diaspora will have its premiere at Roulette, in a collaboration among Experiments in Opera, the International Contemporary Ensemble and the organization Ministry of Maat.
And for those unable to attend the premiere, on Tuesday, Nov. 28, the Baryshnikov Arts Center will host a salon evening featuring excerpts from the opera and a discussion of the work’s posthumous realization. WILLIAM ROBIN