Welcome back to The Big​ To-Do. It’s May, and college graduation season is underway. The Bruins face elimination at the hands of the visiting Sabres in Game 6 of their playoff series tonight. Also in danger of closing out their (post)season, the Celtics are home to Philadelphia Saturday. Up 1-0, the Boston Fleet play host to the Ottawa Charge in their PWHL first-round playoff series Saturday. A bit later, “Saturday Night Live” returns, with Olivia Rodrigo doing double duty as host and musical guest.

The week’s streaming picks from the Globe’s Matt Juul all look good, but only one is super fun to say with a Boston accent. This week’s One Special Thing is a sculpture, presented in a way you almost certainly aren’t expecting. The arts brief section The Rundown includes a local angle on the long-running Broadway production of “Chicago.” And in case you missed it, the Globe’s Meredith Goldstein explains the “Love Letters” phone booth in the lobby of the main branch of the Boston Public Library. “The truth is, some people go in and cry about breakups, others cry about toxic workplaces,” writes the “Love Letters” columnist. “Joy abounds, too.”

Movies

“The Devil Wears Prada 2” reunites Meryl Streep with Anne Hathaway and earns 3 stars from Globe film critic Odie Henderson. Twenty years later, Streep’s Miranda Priestley “is still as mean as ever,” but not the villain — “the true big bad is capitalism.” Timely! “Miranda is given more depth this time, which softens her just a tad, but it forces the viewer to root for her success” and “gives journalists a bigger villain to hiss at and resent.”

Newton native B.J. Novak plays a juicy supporting role in “The Devil Wears Prada 2.” “Meryl Streep’s character is clearly the epitome of one type of perfectionism and belief set,” he tells the Globe’s Matt Juul. “And my character is, to great comic effect, the opposite.” They chat about the movie, Boston fashion, throwing out the first pitch at Fenway Park, and his second career as a children’s author.

Amy K. Jenkins’s documentary “Adam’s Apple” is “something more than a home movie.” It tells the story of the gender transition of her son Adam Sieswerda. “We wanted to show a story that was not sensationalized, and show the more regular rhythms of growing up and how trans lives are deserving of that,” he says. “The drama of ‘Adam’s Apple’ is really the lack of drama,” writes Globe critic Chris Vognar. ”Its natural sense of acceptance is almost radical.”

Olivia Wilde directs and stars in “The Invite,” a comedy centered on two couples — Wilde and Seth Rogen, and Penélope Cruz and Edward Norton. They’re thrown together at an awkward dinner party, a setup that’s Wilde’s “personal idea of a horror story,” she tells the Globe’s Matt Juul. “My dream situation is people going to see this movie and then going to dinner right after and arguing.”

The countless theories about the meaning of David Lynch’s “Mulholland Dr.” are “all off the mark.” Globe correspondent Steve Greenlee lays out an interpretation — riddled with spoilers for the 25-year-old classic — that will make your head spin even as it nods in agreement. “Everyone is informing it with their own psychological package,” says Lynch collaborator Mary Sweeney. “It means different things to different people.”

New England’s summer film festival season kicks off this month (reminder: it’s May) on Martha’s Vineyard and in Great Barrington. “From documentaries to films by new directors to nature-focused narratives, there’s a festival for everyone,” write Globe correspondents Gitana Savage and Annie Sarlin. They spotlight 16 events in five states extending into September.

TV & Streaming

Set on a New England island, the comedy horror series “Widow’s Bay” is “a great deal of fun.” Matthew Rhys plays the tourism-thirsty mayor, who’s got his work cut out for him, because the island is cursed. “There’s a cosmic evil at work here,” writes Globe TV critic Chris Vognar. “And much of the pleasure in ‘Widow’s Bay’ derives from the ways that most of the residents try to ignore or elide such evils.”

The fictional community at the center of “Widow’s Bay” is the backdrop for “a distinctly New England story.” Cast members and creator Katie Dippold chat with the Globe’s Matt Juul about the inspiration for the series, filming in Massachusetts, and much more. “I really wanted to tap into that Stephen King atmosphere,” Dippold says. “Places like Gloucester and Rockport, for me, just gave you that essence for free,” said Matthew Rhys.

“Beef” star Charles Melton’s mustache is “a prime example of facial hair as character, or at least character trait.” Facial hair is having a moment, and for a prime example, Vognar writes, look no further than Nick Offerman, who plays Chester Arthur in “Death by Lightning” and Jinx in “Margo’s Got Money Troubles.” “If there is ever a showbiz Facial Hair Hall of Fame, Offerman will get in on the first ballot.”

Music

The drama behind the BSO board’s decision to jettison music director Andris Nelsons may just be getting started. The magical phrase “obtained by the Globe” appears in Malcolm Gay’s story about “a leadership push to move past the crisis that erupted early last month.” And now Boston Pops conductor Keith Lockhart is chiming in. “I can’t blame people for having felt blindsided by it,” he said this week on GBH’s Boston Public Radio. Stay tuned!

Medieval church music by Tanya Donelly (Throwing Muses) and Chris Brokaw (Codeine)? “Early music and medieval music is something I’ve been interested in,” says Brokaw. An EP and two dates this weekend show off their “uncanny modern approximation of the polyphony of early music groups,” writes Globe correspondent Jon Garelick. “Donelly sings an ethereal throughline of melody while Brokaw weaves a separate guitar line along with an underlying drone ‘chant.’”

“Cover Stories,” at Cambridge’s BRIDGE Gallery, features “a selection of LPs whose cover photography resonates just as much as the tunes inside.” Think “Sticky fingers” and “Born to Run.” Some of the covers “add a new dimension to iconic images from music history, such as an original print of the photo used for the Ramones’ debut album, shot by Roberta Bayley,” Globe correspondent Victoria Wasylak writes for Sound Check.

“Live at the Rat,” recorded in September 1976, is “a document of songs about drugs, sex, and disregard for society.” The double album preserves a moment in the history of the late lamented Kenmore Square club (formal name: the Rathskeller), just as punk was finding a foothold in Boston. Globe correspondent Camille Bugayong tells the story.

Museums & Visual Art

Edmonia Lewis’s marble sculpture “The Death of Cleopatra” is on view at the Peabody Essex Museum — as a cardboard cut-out. This week’s One Special Thing “has the rare presence of artistic intent coupled with the pernicious forces of notoriety and fame,” writes Globe art critic Murray Whyte. “[I]ts journey is in many ways Lewis’s own,” across two continents and multiple decades. “Edmonia Lewis: Said in Stone” is up through June 7.

“Painters, Ports, and Profits: Artists and the East India Company, 1750-1850“ surveys ”a century of art (much of it beautiful) and history (much of it heinous).“ The show, at the Yale Center for British Art, “neither shies away from the company’s dark history nor lets that history overwhelm the exhibition,“ the Globe’s Mark Feeney writes from New Haven. “The balance between ‘painters’ and ‘ports and profits’ is judiciously maintained.”

Derrick Adams “doesn’t demand a deep dive. He wants you to be happy, to drink in the froth of visual joy he serves up.” “View Master‚” at the ICA, captures that joy. And “once you’re seduced by the good-time sheen, you’ll find yourself settling into the subtle depths of his evocative world,” writes Globe art critic Murray Whyte. “Much of the history of the depiction of Black subjects has rarely been so blissfully mundane.”

Theater

The musical “Swept Away” is “built on the time-tested premise that there’s a built-in power to tales of the sea, especially when they go wrong.” SpeakEasy Stage’s production is “a should-see, maybe even a must-see,” writes Globe theater critic Don Aucoin. “There’s scarcely a trace of irony or ambiguity here; hearts are fully visible on sleeves for the entire 90 minutes. Often, that’s a shortcoming. Here, it doesn’t matter a whit.”

Producer Jennifer Maloney-Prezioso, an Everett native, is part of the team that brought “Beaches, A New Musical,” to Broadway. “When I went to Iris Rainer Dart, who wrote the [1985] novel and held the rights for it, and said, ‘I want to turn this into a musical,’ my intention with her was that we weren’t just putting the [1988] film on stage,” Maloney-Prezioso says in a Q&A with the Globe’s Meredith Goldstein.

At just 25, Jaime José Hernández has gone from his hometown of Chelsea to the stage at The Huntington. “JJ is the real thing,” Loretta Greco tells Globe correspondent Terry Byrne, “a beautiful actor and a voracious student of theater who seizes every opportunity to grow.” She’s directing him in “Oedipus el Rey,” Luis Alfaro’s retelling of the Greek tragedy. “We are right in your face and things get really tense,” says Hernández. “I love that.”

In the face of considerable challenges, small and fringe theater companies “persist, with a combination of determination, creativity, and a commitment to the power of live storytelling.” Byrne takes the measure of the Boston-area scene, a diverse community with some important commonalities. The companies “serve as petri dishes for experimentation,” she writes. “By nurturing new work, they invest in the next generation of theater and prevent the art form from getting stale.”

Dance

The Alvin Ailey American Dance Theater’s annual visit to Boston has a local angle this year. “Difference Between” choreographer Matthew Neenan grew up in Weymouth and performed and studied with Boston Ballet. “Boston Ballet was our life for a good decade,” he says of himself and his two older sisters. “I think the memories will just pop up galore, and I can’t wait,” he tells Globe correspondent Annie Sarlin.

Books

“I can’t talk to Shakespeare, but I can talk to Stephen King,” says Caroline Bicks. The author of “Monsters in the Archives: My Year of Fear with Stephen King” did just that while researching her new book at the author’s Bangor home. “The power of really great horror writing like his is that it taps into your humanity and it makes you feel again,” she says in a wide-ranging Q&A with Kate Tuttle, who edits the Globe’s books section.

Booker Prize winner Douglas Stuart’s new novel, “John of John,” is “his finest work yet.” Set on a small Scottish island, the novel “explores a range of relationships — romantic, religious, erotic, familial — enriched by a dollop of melodrama,” Globe reviewer Hamilton Cain writes. “It’s among the most affecting father-son stories I’ve read.”

In “The Things We Never Say,” Elizabeth Strout’s “capacious empathy and rigorous attention to the nuances of human behavior and psychology are as evident as ever.” But the novel’s ripped-from-the-headlines plot — it’s set in 2024 — helps make it “one of Strout’s less successful works of fiction,” writes Globe reviewer Priscilla Gilman, “because the fiction seems to lose its bearings on the way to becoming parable or allegory.”

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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