Greta Gerwig’s “Barbie” dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling and three of its original songs.

It was closely followed by its release date and meme companion “Oppenheimer,” which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.

The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.

Films nominated for best motion picture drama included “Oppenheimer,” Martin Scorsese’s “Killers of the Flower Moon,” Bradley Cooper’s “Maestro,” Celine Song’s “Past Lives,” Justine Triet’s “Anatomy of a Fall” and Jonathan Glazer’s “The Zone of Interest.”

In the best motion picture musical or comedy category, “Barbie” was joined by “Air,” “American Fiction” “The Holdovers,” “May December” and “Poor Things.”

Yorgos Lanthimos’ “Poor Things” and Scorsese’s “Killers of the Flower Moon” both received seven nominations each. “Poor Things” saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, Tony McNamara for screenplay and Jerskin Fendrix for score. “Killers of the Flower Moon” got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.

“Barbie” tied for second-most nominations in Globes history with “Cabaret,” from 1972. Robert Altman’s “Nashville” remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.

“Succession” was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin.

The box office achievement category nominated eight films, including “Taylor Swift: The Eras Tour,” “The Super Mario Bros. Movie,” “Oppenheimer,” “Spider-Man: Across the Spider-Verse,” “Mission: Impossible -Dead Reckoning,” “John Wick: Chapter 4” and “Guardians of the Galaxy Vol. 3.” Several years ago the Oscars attempted to add a similar “popular film” category, but it proved to be an immensely unpopular decision and was scuttled amid backlash.

As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy “No Hard Feelings” for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (“The Color Purple”), Natalie Portman (“May December”) and Alma Pöysti (“Fallen Leaves”).

“The Color Purple” was expected to do better with the Golden Globes. The adaption of the stage musical got only two nominations total for Barrino and Danielle Brooks for her supporting performance.

Cord Jefferson’s comedy “American Fiction” also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.

Sofia Coppola’s widely acclaimed “Priscilla” got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for “Nyad,” Sandra Hüller for “Anatomy of a Fall,” Greta Lee for “Past Lives” and Carey Mulligan for “Maestro.”

The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut “Past Lives,” alongside Nolan, Scorsese, Cooper and Lanthimos.

Netflix got the most nominations overall, with 13 total for a slate which included “Maestro,” “May December” and “Rustin,” followed by Warner Bros., which made “Barbie,” “The Super Mario Bros. Movie” and “The Color Purple” with 12.

Ridley Scott’s “Napoleon” was not nominated at all. Instead, its star Joaquin Phoenix was recognized for “Beau is Afraid” in the lead actor comedy/musical category, with Wright, Matt Damon (“Air”), Nicolas Cage “Dream Scenario,” Timothée Chalamet (“Wonka”) and Paul Giamatti (“The Holdovers”). Michael Mann’s “Ferrari,” with Adam Driver, also got zero nominations.

Here are a selection of other nominees:

Animated film: “The Boy and the Heron”; “Elemental”; “Spider-Man: Across the Spider-Verse”; “The Super Mario Bros. Movie”; “Suzume”; “Wish.”

Non-English language film: “Anatomy of a Fall”; “Fallen Leaves”; “Io Capitano”; “Past Lives”; “Society of the Snow”; “The Zone of Interest.”

Best actor in a television drama: Brian Cox, “Succession”; Kieran Culkin, “Succession”; Gary Oldman, “Slow Horses”; Pedro Pascal, “The Last of Us”; Jeremy Strong, “Succession”; Dominic West, “The Crown.”

Female actor in a television comedy: Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Quinta Brunson, “Abbott Elementary”; Ayo Edebiri, “The Bear”; Elle Fanning, “The Great”; Selena Gomez, “Only Murders in the Building”; Natasha Lyonne, “Poker Face.”

Male actor in a television comedy: Bill Hader, “Barry”; Steve Martin, “Only Murders in the Building”; Jason Segel, “Shrinking”; Martin Short, “Only Murders in the Building”; Jason Sudeikis, “Ted Lasso”; Jeremy Allen White, “The Bear.”

Screenplay: “Anatomy of a Fall”; “Barbie”; “Poor Things”; “Killers of the Flower Moon”; “Oppenheimer”; “Past Lives.”

Best stand-up comedy television special: Ricky Gervais, “Armageddon”; Trevor Noah, “Where Was I”; Chris Rock, “Selective Outrage”; Amy Schumer, “Emergency Contact”; Sarah Silverman, “Someone You Love”; Wanda Sykes, “I’m an Entertainer.”

The 81st Golden Globe Awards will be the first major broadcast of awards season, with a new home on CBS. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes following a bombshell report in the Los Angeles Times. The 2021 report found that there were no Black members in the Hollywood Foreign Press Association, which votes on the awards.

Stars and studios boycotted the Globes and NBC refused to air it in 2022 as a result. After the group added journalists of color to its ranks and instituted other reforms to address ethical concerns, the show came back in January 2023 in a one-year probationary agreement with NBC. The network did not opt to renew.

In June, billionaire Todd Boehly was granted approval to dissolve the HFPA and reinvent the Golden Globes as a for-profit organization. Its assets were acquired by Boehly’s Eldridge Industries, along with Dick Clark Productions, a group that is owned by Penske Media whose assets also include Variety, Deadline, The Hollywood Reporter, Rolling Stone and Billboard. In mid-November, CBS announced that it would air the ceremony on the network on Jan. 7. It will also stream on Paramount+.

The Golden Globe Awards had long been one of the highest-profile awards season broadcasts, second only to the Oscars.

The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.

But the voting body was a small group of around 87 members who wielded incredible influence in the industry and often accepted lavish gifts and travel from studios and awards publicists eager to court favor and win votes.

Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being “The Tourist,” with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars. The show also recognizes television.

Before the expose and public relations crisis though, no one in the industry took much umbrage with who was voting on the awards. The show had become an important part of the Hollywood awards ecosystem, a platform for Oscar hopefuls and was, until recently, a reliable ratings draw. As of 2019, it was still pulling in nearly 19 million viewers to the broadcast. This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.

The group nominating and voting for the awards is now made up of a more diverse group of over 300 people from around the world.

Taylor Swift, Ed Sheeran and Denver DJ-producer Illenium likely set records at Empower Field at Mile High, from the most tickets sold for a weekend run (Swift), to the biggest, venue-based concert in Denver history (Sheeran) and the biggest-ever show from a Colorado artist (Illenium).

As state and federal legislators again failed to pass meaningful legislation protecting consumers from outrageous ticketing fees, prices soared. A nosebleed seat to one of Swift’s shows at Empower Field may have cost less than $50 if you were lucky enough to get one during the disastrous Ticketmaster pre-sale. But thousands were forced to buy them on the secondary market for prices ranging from $500 to $10,000 per seat.

The Wall Street Journal found that the average price of a concert had doubled in the past five years, increasing from $125 in 2019 to $252 in 2023. The story was the same with re-sellers such as SeatGeek, whose resale averages doubled from the previous year to roughly the same price.

Those secondary-market tickets were also sold on sites like StubHub which, it should be noted, was forced to refund $3 million to more than 8,500 Colorado consumers in 2021 after the Colorado Attorney General’s Office found it wasn’t honoring its refund guarantees. Senate Bill 60 — a.k.a. Consumer Protection in Event Ticketing Sales Act — easily passed the state legislature, but was vetoed by Gov. Jared Polis in June because it could upset “the successful entertainment ecosystem in Colorado,” he said after killing it. Supporters vowed to revive it.

Local notes, some off-key

Denver strengthened its hold on electronic dance music, with artists, fans and promoters reinforcing the Mile High City as the global capital of the bass subgenre. Transplants such as French producer and DJ CloZee notched crucial headlining spots on the way to bigger, better appearances at venues such as Red Rocks Amphitheatre. Provided you were willing to align yourself with mega-promoter AEG Presents Rocky Mountains, the path from support act to Red Rocks headliner had never looked clearer.

Even as massive concerts continued at the 18,000-seat Fiddlers Green Amphitheatre, and heritage acts played their final Colorado shows (see Eagles, Dead & Company, Foreigner), festivals in metro Denver took a dip. The pause of this year’s Westword Music Showcase left a local music hole in June as the multi-venue event took the year off. Fortunately, South Broadway’s Underground Music Showcase got more equitable and community-oriented as it increasingly catered to all-ages, sober and BIPOC performers, such as the fast-ascending, R&B/hip-hop sensation N3PTUNE, amid a hundred-plus other acts.

The jazz world wobbled as Vail Jazz shut down after nearly than three decades, Denver Post jazz columnist Bret Saunders wrote. The free City Park Jazz series was also clipped by a series of June rainouts, denting its much-needed donations and attendance. The dearly departed El Chapultepec made a comeback of sorts with a legacy/archive project. The former owners sponsored shows at the nationally acclaimed Denver jazz club Dazzle — which itself reopened in a slick, more affordable space in downtown’s Performing Arts Complex. There, blockbuster Broadway musicals such as the jukebox-hit “Tina: The Tina Turner Musical” wowed audiences at the nearby Buell Theatre, drawing people to an urban core that’s still hollowed out from the pandemic.

Icons such as the historic Denver Folklore Center changed hands to an equally capable owner in Ian Dehmel, while nearby folk-music hub Swallow Hill welcomed a new concert director in music veteran David Dugan, just days after executive director Aengus Finnan finished out his first full year at the nonprofit.

Immersive entertainment company Meow Wolf, meanwhile, continued making good on its promise to support local artists with diverse, thoughtfully booked shows at the 488-person capacity Perplexiplex venue, from drag showcases to up-and-coming queer singer-songwriters.

Meow Wolf also brought back a slightly reworked Vortex music and art festival to Live Nation’s new-ish JunkYard outdoor venue. Smaller festivals and block parties mingled craft brews and local music favorites. The Colorado Music Hall of Fame inducted progressive bluegrass legend Yonder Mountain String Band, which celebrated the achievement at Telluride’s 50th anniversary bluegrass fest. Hazel Miller, Big Head Todd and the Monsters, and jazz pioneer George Morrison Sr. also got overdue spots in the state’s music hall. Alongside, jamgrass veteran The String Cheese Incident (already in the music hall as of 2022) celebrated its 30th anniversary of helping create and lead the genre.

Colorado Symphony dipped further into its pop collaborations with its Imagination Artist Series, which included not only local platinum-seller Nathaniel Rateliff but also a world premiere from Wu-Tang Clan’s RZA. (More were just announced with the same artists for 2024.)

But as venues and performers struggled to sustain comebacks in the face of cost-of-living and rent increases, every little bit of support made a difference. That included potentially career-changing shows at Levitt Pavilion Denver, which presented 50 free, quality concerts over the summer, and programs from the nonprofit Youth on Record and the state’s Take Note Colorado music education drive.

A garden of faceplants

In terms of national acts, Drake came up with perhaps the most lame excuse for a concert postponement in the history of Colorado music, blaming a last-minute ghosting on “the distance the road crew has to travel along with the magnitude of the production,” which made it “logistically impossible to bring the full experience of the show to Denver … .” The show was rescheduled for January at Ball Arena, with another date added, but one would’ve thought they figured out production details before putting tickets on sale and prompting more than 10,000 people to schedule their lives around it.

We also mourned the latest tour-dissing by Beyoncé, and wondered why current tours from Janet Jackson, Pearl Jam and Metallica snubbed Denver.

Bizarrely, and sadly, Royal Trux leader and indie rock veteran Neil Hagerty was charged with a trio of felonies in an alleged assault on a Denver police officer. The gloom also hung over some indie venues as HQ (formerly 3 Kings Tavern) flooded and closed after a devastating water break (it has since reopened), and workers at the Mercury Cafe — which hosts jazz, experimental music, poetry and comedy — pushed for a union after complaining of unsafe work conditions. Punk rock mainstay Carioca Cafe (a.k.a. Bar Bar) and Wax Trax Records grappled with the city over noise complaints and permits, while jam band Lotus and other acts lost crucial members to untimely deaths.

Broomfield’s troubled FirstBank Center shut down, and Loveland’s Budweiser Events Center announced a name change to Blue Arena. In Colorado Springs, the $55 million Sunset Amphitheater complex broke ground on its way to a planned June 2024 opening. And at a Louis Tomlinson show at Red Rocks in June, nearly 100 fans got cuts, bruises and broken bones after intense hail. Some concession stand workers reportedly laughed at them from their shelters, prompting calls for earlier storm warnings and more safety coverage at the city-owned venue. With climate change worsening, it seems to be just the tip of the extreme-weather risks for future outdoor concerts.

On the brighter side, salsa destination La Rumba marked its quarter-century milestone as Spanish-language concerts at venues ranging from Ball Arena to Levitt Pavilion and Aurora’s Stampede proliferated. That, along with supportive, sober and all-ages options, are a pair of trends we’d like to see continue into 2024.

Looking for a preview of the musical year ahead? Check out our updated list of 2024 Red Rocks concerts, plus music news, profiles and more at denverpost.com/tag/music.

There will be time to breathe in January.

Now, though, as the fall rush gives way to the early-winter avalanche, we offer this look at much of what’s coming, from Academy Award hopefuls to fanciful films the studios hope will appeal to your whole family around the holidays. (As always, dates are subject to change.)

“Leo” | Nov. 21 | Netflix >> Adam Sandler’s latest film for the streaming giant is an animated tale set during the last year of elementary school — as seen from the eyes of the class pet. Sandler (“Hotel Transylvania”) voices the titular 74-year-old lizard, who’s been stuck for decades in a Florida classroom with a likewise glassed-in turtle (voiced by Bill Burr). When Leo learns he has but one year to live, he plots his great escape.

“Genie” | Nov. 22 | Peacock >> In this Universal Pictures holiday fairytale penned by Richard Curtis (“Love Actually,” “Four Weddings and a Funeral,” “Notting Hill”), Melissa McCarthy portrays a genie trapped for more than 2,000 years in a jewelry box. Now free, she must grant wishes to a man (Paapa Essiedu of “I May Destroy You”) who’s been so busy working he’s neglected his marriage.

“Good Burger 2” | Nov. 22 | Paramount+ >> Keenan Thompson reprises the role of inventor Dexter Reed, who reunites with his old co-worker Ed (a likewise returning Kel Mitchell) in this sequel to the 1997 comedy. The cast also boasts Lil Rel Howery and Jillian Bell.

“Napoleon” | Nov. 22 | Theaters >> After seeing endlessly prolific director Ridley Scott’s historical effort about French figure Napoleon Bonaparte (Joaquin Phoenix) — which focuses on his rise through the military ranks to become the country’s leader, as well as his complicated marriage to Josephine (Vanessa Kirby) — you understand why it may see a four-hour cut when it lands on Apple TV+. Even at about two and a half hours and containing several battle sequences, the expensive Apple production — distributed by Sony Pictures Releasing — feels as though it’s leaving plenty of meat on the bone. The screenplay is by David Scarpa, who penned Scott’s 2017 film “All the Money in the World.”

“Saltburn” | Nov. 22 | Theaters >> Emerald Fennell (“Promising Young Woman”) directs what’s being described as a cross between a psychological thriller and a black comedy about a struggling student at Oxford University who gets sucked into the world of a charming and aristocratic classmate for a summer. The cast boasts Barry Keoghan, Jacob Elordi, Rosamund Pike and Richard E. Grant.

“Wish” | Nov. 22 | Theaters >> This latest offering from Walt Disney Animation Studios, coming as the company celebrates its 100th-anniversary year, leans heavily into the idea of wishing upon a star, which is synonymous with the House of Mouse. Gifted singer Ariana DeBose (“Hamilton,” “West Side Story”) voices the film’s appealing heroine, 17-year-old Asha, who seeks to retrieve the wishes of her friends and family members from a sorcerer-king (Chris Pine) who, well, wishes to keep them for himself. “Wish” is co-directed by Chris Buck (“Frozen,” “Frozen II”) and Fawn Veerasunthorn, making her feature directorial debut. Speaking of “Frozen” and its sequel, the writer of those films, Jennifer Lee, co-wrote this screenplay, as well.

“Candy Cane Lane” | Dec. 1 | Prime Video >> Hoping to win a neighborhood contest for the best-decorated house, Eddie Murphy’s Chris Carver makes a deal not with the devil but with an evil elf. (Ugh, sounds even worse.) Chris must then rise to the occasion to ensure his friends and family don’t suffer for his mistake.

“Silent Night” | Dec. 1 Theaters >> Expect violence to speak louder than words in the latest effort from veteran action director John Woo (“Face/Off”). Joel Kinnaman (“For All Mankind”) portrays a father out for vengeance after his son is killed by a gang’s crossfire.

“Archies” | Dec. 7 | Netflix >> This Indian Hindi-language coming-of-age musical is set in 1960s India in a town called, you guessed it, Riverdale. Says Netflix: “Seen through the lens of the unique Anglo-Indian community, ‘The Archies’ explores friendship, freedom, love, heartbreak and rebellion.”

“Maestro” | Dec. 8 | Theaters >> Bradley Cooper pours his heart and musical soul into this highly anticipated biopic about Leonard Bernstein from Netflix, which streams Dec. 22 following a theatrical run. After directing, co-writing and starring in 2018’s well-received remake of “A Star Is Born,” the crazy-talented Cooper pulls the same duties in this biopic, which is more interested in the famed composer and conductor’s unusual marriage to his beloved wife, actress Felicia Montealegre (Carey Mulligan), than it is in, say, how he wrote “West Side Story” with Stephen Sondheim. With the help of topnotch hair, makeup and costuming work, Cooper disappears into the role of Bernstein, a creative genius who loves to be around people — especially young men.

“Merry Little Batman” | Dec. 8 | Prime Video >> Batman (voiced by Luke Wilson) is having trouble juggling being a father to young son Damian (Yonas Kibreab) and crime-fitting — an issue that looks to be complicated when he gets a call from the Justice League. This holiday offering appears to have some of the irreverence of Max’s “Harley Queen” while also being kid-friendly, unlike that hilarious animated DC series.

“The Boy and the Heron” | Dec. 8 | Theaters >> The U.S. version of the latest fantasy from anime master Hayao Miyazaki (“Princess Mononoke,” “Spirited Away”) features voice work by Gemma Chan, Mark Hamill, Christian Bale, Willem Dafoe, Florence Pugh and Dave Bautista, with Robert Pattinson as The Grey Heron. The lesser-known Luca Padovan voices the titular boy, Mahito Maki.

“Leave the World Behind” | Dec. 8 | Netflix >> Julia Roberts, Mahershala Ali, Ethan Hawke and Myha’la Herrold (“Bodies Bodies Bodies”) star in this adaptation of Rumaan Alam’s enthralling and unsettling novel about two couples being thrown together during what is, perhaps, the end of the word. We can’t wait to see how director Sam Esmail, the gifted creator of “Mr. Robot,” takes this story from page to screen.

“Poor Things” | Dec. 8 | Theaters >> You can’t take your eyes off this mind-blowing film from the wildly creative (and often frustrating) director Yorgos Lanthimos (“The Lobster,” “The Killing of the Sacred Deer”). For this adaptation of Scottish author Alasdair Gray’s awarding-winning 1992 novel, “Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer,” Lanthimos reteams with the star of his acclaimed 2018 film, “The Favourite,” Emma Stone. We don’t want to say much about Stone’s Bella Baxter — at least not until we write our full review — but know that Stone gives what could be characterized as an above-and-beyond performance. Supporting players include Mark Ruffalo and Willem Dafoe, both of whom add much to the highly unusual proceedings.

“American Fiction” | Dec. 15 | Theaters >> Starring Jeffrey Wright, this drama helmed by Cord Jefferson in September won the People’s Choice Award at the Toronto International Film Festival. Wright portrays frustrated writer Thelonious “Monk” Ellison, who, frustrated by the establishment profiting from Black entertainment, goes on an unusual journey in this adaptation of the 2001 novel by Percival Everett,

“Chicken Run: Dawn of the Nugget” | Dec. 15 | Netflix >> Peter Lord and Nick Park, the stop-motion animation duo behind the delightful “Wallace and Gromit” adventures, as well as 2000’s “Chicken Run,” have passed the baton to director Sam Fell for this sequel, although Lord is around as a producer. Fell is the director of 2006’s “Flushed Away,” another film from the studio behind these movies, Aardman Animations, so the chickens should be in good hands. Voice work is turned in by Thandiwe Newton, Zachary Levi, Bella Ramsey, Imelda Staunton and others.

“The Family Plan” | Dec. 15 | Apple TV+ >> Mark Wahlberg plays a former assassin whose old life catches up to him after he’s moved on to domestic life. On a family trip, he tries to stop his enemy while keeping his past secret from his family.

“Wonka” | Dec. 15 | Theaters >> Timothée Chalamet stars as a young Willy Wonka in this musical fantasy, which tells the origin story of the eccentric chocolatier from Roald Dahl’s beloved 1964 novel, “Charlie and the Chocolate Factory.” Paul King, who helmed the adored “Paddington” films of the mid-2010s, directed and co-wrote this film. We don’t think you’ll need a golden ticket — a regular ol’ movie ticket should do — to gain entrance to the theater.

“All of Us Strangers” | Dec. 22 | Theaters >> After a chance encounter with his mysterious neighbor (“Aftersun” star Paul Mescal) leads to a relationship with him, Adam (Andrew Scott, “Sherlock”) has reason to believe his parents (Claire Foy and Jamie Bell) are living, just as they were on the day they died, three decades ago. The dreamy-looking film is written and directed by Andrew Haigh (“Weekend,” “45 Years”).

“Anyone but You” | Dec. 22 | Theaters >> Sydney Sweeney (“Euphoria,” “The White Lotus”) and Glen Powell (“Top Gun: Maverick,” “Hidden Figures”) play a couple faking togetherness — after an actual hookup — to get out of a couple of jams. It appears the Will Gluck-directed affair has yet to receive a rating from the Motion Picture Association, but we’re getting DECIDEDLY R vibes from a trailer.

“The Iron Claw” | Dec. 22 | Theaters >> This biographical drama about the Von Erich family of professional wrestlers, written and directed by Sean Durkin (“The Nest”), features Zac Efron, Jeremy Allen White (“The Bear”) and Harris Dickinson as brothers Kevin, Kerry and David Von Erich, respectively.

“Migration” | Dec. 22 | Theaters >> Elizabeth Banks, Kumail Nanjiani, Awkwafina and Keegan-Michael Key lend their voices to this animated adventure — about a Mallard family that finds itself in the big scary city on the way to Jamaica — from Illumination, the Universal Pictures affiliate responsible for the “Despicable Me” and “Minions” movies.

“Rebel Moon — Part One: A Child of Fire” | Dec. 22 | Netflix >> Sofia Boutella leads an ensemble cast that also includes Charlie Hunnam, Djimon Hounsou and Michael Huisman in this tale of galactic conflict from director and co-writer Zack Snyder of “Justice League” fame. Bourtella portrays Kora, a one-time member of the dastardly Imperium of the Mother World who attempts to lead a revolution from the moon Veldt. The recently released trailer looks promising, and Snyder (“300,” “Army of the Dead”), whatever his faults, knows how to do spectacle.

“Aquaman and the Lost Kingdom” | Dec. 25 | Theaters >> Given the talents of director James Wan (“Saw,” “Furious 7”), 2018’s “Aquaman” was disappointingly uneven. Wan is back, as, of course, is star Jason Momoa as the regularly under-the-water titular hero, aka Arthur Curry. Also returning to give Auqs another hard time: Yahya Abdul-Mateen II’s Black Mantis. Patrick Wilson and Amber Heard, as Orm Marius and Mera, respectively, return for a second swim, as well, as Arthur works to protect Atlantis.

“The Boys in the Boat” | Dec. 25 | Theaters >> After jumping in front of the camera to star alongside fellow longtime movie star Julia Roberts in last year’s easy-breezy “Ticket to Paradise,” George Clooney, director of films including “The Ides of March” (2011) and “The Tender Bar” (2021), is back at the helm for this dramatization of the story of Olympic rowers from the University of Washington who competed in the 1936 summer games in Berlin. The cast is led by Callum Turner and Joel Edgerton.

“The Color Purple” | Dec. 25 | Theaters >> This big-screen adaptation of the 11-times-Tony Award-nominated musical is, like director Stephen Spielberg’s 1985 acclaimed drama, based on the 1882 novel by Alice Walker about challenges faced by African-American women trying to exist in the South in the early years of the 20th century. The cast boasts Fantasia Barrino, Taraji P. Henson as Shug Avery, Danielle Brooks, Corey Hawkins and Colman Domingo, while the film is directed by Ghanaian filmmaker and musician Blitz Bazawule. Spielberg and Oprah Winfrey, a star of his film, are among the executive producers.

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The latest effort from the endlessly prolific filmmaker Ridley Scott, the historic epic dramatizes the fascinating life of French figure Napoleon Bonaparte, tracing his rise and eventual fall — only to be followed by a second rise and fall — and examining his love and, perhaps, downright obsession with his wife Josephine.

Joaquin Phoenix appears in a scene from “Napoleon.” (Apple TV+)

As it does so, “Napoleon” presents us with numerous battle sequences, the kind of spectacle-filled exercises at which Scott is so adept.

And while it gets an uneven performance by Joaquin Phoenix — who certainly looks the part at roughly Napoleon’s height at 5-foot-8 and regularly wearing the bicorne hat, ends pointed to the shoulders, that is synonymous with him — it is lifted by the level of excellence from co-star Vanessa Kirby, as Josephine, that we’ve come to expect.

It is fast-moving and generally entertaining.

“Napoleon” offers so much. And yet it leaves us wanting more.

Even at about two and a half hours, “Napoleon” plays like the Cliff Notes version of the French military leader-turned-emperor’s tale, so we hope we do get the promised option of a four-hour cut when the movie lands on Apple TV+. (In theaters this week and distributed by Sony Pictures Releasing, it primarily is an Apple Studios production.)

It feels as though we’ve been escorted too quickly through his career, even though the movie spends no time on his childhood, introducing us to him only when he is on the precipice of the first of many military victories. As “Napoleon” progresses, he ascends (“Long live the republic!” men shout as he is promoted captain to brigadier general) and ascends (“Long live the emperor!” other men shout later, at his 1804 coronation) with relative ease.

At least for a while, his greatest challenge is Josephine, with whom he is smitten upon their meeting at a ball when she asks him about his costume and he somewhat awkwardly replies that it is merely his military uniform.

Soon after that, she sends him a note asking for the pleasure of his company and, after smelling it, he rubs it against his neck.

At their lunch at an outdoor cafe, he pulls her chair closer to his, but it is a subsequent act of hers that suggests she is the one with the power in this dynamic. Even after their marriage, her rumored behavior will become a great distraction to him as he is trying to achieve glory for France in a faraway land.

Aside from the battle sequences, the scenes in which Phoenix and Kirby share the screen are the film’s strongest, thanks largely to all that Kirby (“The Crown,” “Pieces of a Woman”) can convey with her eyes and even just a few lines of dialogue. Theirs is a complex relationship, to say the least, and the film lacks a certain pop when Napoleon isn’t sparring — or conducting another activity — with the woman he can’t help but adore.

It doesn’t help that none of the film’s myriad other characters is remotely well-developed, including Napoleon’s brother, Lucien (Matthew Needham), and Paul Barras (Tahar Rahim), a key figure during the French Revolution. Napoleon’s meetings with rival heads of state, such as Édouard Philipponnat’s Alexander I, the tsar of Russia, are rather compelling, however, and Phoenix does some of his best work in those scenes.

At other times, the actor — who portrayed the villainous Roman Emperor Commodus in Scott’s Academy Award-winning 2000 film, “Gladiator,” and whom the director says he wanted for the role after seeing his excellent work in the titular role of 2019’s “Joker” — is simply underwhelming. No doubt Phoenix is going for subtlety, but the performance frequently feels flat.

Again, though, the battle sequences are there to pick up any slack. While they appear very modern in their execution, they thankfully fall short of feeling overly stylized, which could have nudged “Napoleon” into the realm of the action movie. The scene from one of the trailers where the French forces fire cannonballs at an enemy Napoleon has lured onto a snow-covered semi-frozen lake? Great stuff.

As a character study, “Napoleon” is effective but only SO effective. At one point, he is described by someone who knows him as “a man bent on peace at any cost.” Text the viewer is left with just before the closing credits roll suggests “Napoleon” is quite concerned with that cost, but we never truly get that impression until then.

What is the film ultimately saying about him? As penned by David Scarpa — writer of Scott’s 2017 film “All the Money in the World” and his upcoming “Gladiator 2” — at least with this theatrical cut, it’s a little murky.

Perhaps that extra hour and a half will tell us.

NAPOLEON

Rated: R

Runtime: 158 minutes

Where: in theaters

Stars (of four): 2 1/2

TMZ has reported that Swift and Kelce are still doing everything they can to spend Thanksgiving and Christmas together. Their plans include bringing their families together this week for the festivities, likely at Kelce’s home in Kansas City, Missouri, for what clearly would be a major milestone in their relationship. As TMZ said, “Thanksgiving with 2 fams is a BIG step.”

TMZ cited multiple sources, who said that the pop mega-star and the NFL tight end are “moving forward” with plans to see each other on Thanksgiving and Christmas and are “are trying to work out their schedules to make sure they set aside as much time together as possible.”

News about Swift and Kelce’s potential holiday plans comes as Kelce solidified the idea that the relationship has become serious in a new interview with the Wall Street Journal Magazine. The two-time Super Bowl winner opened up about being nervous before their first date and how he’s had to adjust to dating someone with her level of fame, which exceeded even his NFL stardom.

Kelce revealed that someone in Swift’s team helped set them up after he went public about his failed attempt to give her his number after her Eras show in Kansas City. Before their first date in New York City, he said he had people around him, telling him, “Don’t (expletive) this up.”

“Obviously I’ve never dated anyone with that kind of aura about them…. I’ve never dealt with it,” Kelce said. “But at the same time, I’m not running away from any of it.”

“The scrutiny she gets, how much she has a magnifying glass on her, every single day, paparazzi outside her house, outside every restaurant she goes to, after every flight she gets off, and she’s just living, enjoying life,” Kelce continued. “When she acts like that I better not be the one acting all strange.”

Kelce also described Swift as “hilarious” and a “genius” and talked about how “being around her, seeing how smart Taylor is, has been (expletive) mind-blowing. I’m learning every day.”

Back to the couple’s holiday plans: TMZ said it’s not been confirmed that Swift’s parents, Andrea and Scott Swift, would be joining Kelce’s family in Kansas City or Thanksgiving. But TMZ also said it could happen, given that Andrea and Scott Swift had planned on being there for Kelce’s game.

Of course, Swift faces a tight schedule this week. If she flies back to the United States for Thanksgiving on Thursday, she’ll have to turn around and fly back to South America, so she can perform Friday night in São Paulo on Nov. 24.

The TMZ sources acknowledged that the couple’s Christmas plans are more up in the air, but stressed that Swift and Kelce “really” want to be together then, too, because their relationship is “serious.”

The couple also faces more scheduling challenges in the coming year, with Swift having to spend much of the year on her tour overseas. Still, the pair are “committed” to making their relationship work.

The east plaza revitalization project, which is slated to begin in 2025, will transform the historic entrance of the museum where Infinity Theater (formerly IMAX) patrons enter in the evening. It will also redesign the plaza outside the entrance, museum officials said, opening it up to both the public and museum-goers eating at the cafe and restaurant just inside the doors.

Perhaps most visibly, a historic staircase will also be reintroduced with the removal of an existing canopy, officials said.

“People use it now, it’s just under the canopy and covered in carpet,” said Ed Scholz, executive vice president of operations and finance at DMNS. “It’s still going to be the entrance to the (Infinity) theater, but it can also be used by people for just sitting and hanging out — and any programming they might do there.”

The east-facing structure was first built in 1938 as Phipps Auditorium, which opened in 1940, and the entrance to it has always been used as such, Sholz said. In 1983, Phipps was turned into a movie theater, which earlier this year was updated and rebranded as Infinity Theater.

“The opening of the movie theater in 1983 was a big deal because it was the first giant-screen theater in Colorado,” Scholz said. “At the time it was a cool thing, with the canopy and red carpet inside. But it’s always just been an entrance, which is why we’re excited to (redesign) it.”

The new design will add pedestrian- and cyclist-friendly features to the immediate area, Sholz said, increasing safety and access for all. The current canopy, which has been painted for years, was “pretty modern looking in the 1980s, but pretty nondescript otherwise,” Sholz said.

Designs are already being prepared for new landscaping, surface improvements and outdoor seating, according to DMNS. The project aims to improve offerings like regular sensory-friendly screenings and Free Night programming, as well as create spaces for private events such as weddings and parties.

Museum officials are planning a bigger announcement with more details after Jan. 1, 2024, when their design is further along, Scholz said.

The renovation stems from 2018’s City Park Master Plan Update (see page 63). It includes converting the park’s South Meadow (the lawn just south of DMNS) to native plants and grasses. There would also be a Living Land Acknowledgement suggested by local Indigenous tribal members and community groups, according to the City Park Friends and Neighbors group.

A third project will convert the east playground that borders the east bank of Ferril Lake into a picnic area and gathering space, they added.

In January, the city broke ground on a $7.9 million, 4-acre outdoor play and education area called Nature Play that also restores native plants and a historic waterway to City Park. Set in the southwest corner of the museum complex, Nature Play will host a 20-foot sculpture of a bighorn sheep, swings, slides and family-friendly seating and lounging areas.

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Wednesday’s deal between striking actors and studios and streaming services won’t immediately restore filming to its full swing. That will take months.

But the tentative agreement — which both sides say include extraordinary provisions — means that more than six months of labor strife in the film and television industries is drawing to a close. Soon, tens of thousands of entertainment sector workers could get back to work. And popular franchises, like “Deadpool,” “Abbott Elementary” and “The Last of Us,” will be a step closer to returning to screens.

Hollywood loves a happy ending. The actors strike deal might provide that — though there’s still the chance of strike sequels in the months ahead.

Here’s some of what will happen next:

Picket lines are suspended and the only rallies on the horizon are the celebratory ones that the actors union is promising.

There are a couple of steps that need to happen before the deal becomes official. On Friday, the national board of the Screen Actors Guild-American Federation of Television and Radio Artists will review the agreement and could approve it. Then, the agreement’s details will be released and the guild’s full membership will vote on it.

But when striking screenwriters — who started picketing May 2 — reached their deal in September, their guild allowed writing work to resume before full ratification of the contract was complete.

While it’s possible those votes scuttle the deal, the union’s negotiating committee unanimously approved the deal and called off picketing.

The exact terms of the deal won’t be released until later this week, but a few highlights are known.

The union says the deal is worth more than $1 billion and they’ve “achieved a deal of extraordinary scope” that includes compensation increases, consent protections for use of artificial intelligence and actors’ likenesses and includes a new “streaming participation bonus.”

The negotiation arm of the studios also says the deal includes historic provisions. The Association of Motion Picture and Television Producers said Wednesday the “tentative agreement represents a new paradigm.”

It said the companies are giving “SAG-AFTRA the biggest contract-on-contract gains in the history of the union, including the largest increase in minimum wages in the last forty years; a brand new residual for streaming programs; extensive consent and compensation protections in the use of artificial intelligence; and sizable contract increases on items across the board.”

Duncan Crabtree-Ireland, SAG-AFTRA’s executive director and chief negotiator, told The Associated Press the gains made the long strike worth it.

“It’s an agreement that our members can be proud of. I’m certainly very proud of it,” Crabtree-Ireland told the AP in an interview.

The strike put an immediate stop to “Deadpool 3” with Ryan Reynolds and Hugh Jackman, as well as Ridley Scott’s “Gladiator” sequel. Those are likely among the first films that will resume production.

The resolution of the writers strike allowed script work to resume on shows like “Abbott Elementary,” “The White Lotus” and “Yellowjackets.” That head start might help those productions get back on the air sooner once their stars are cleared to work.

Television moves faster than movies, which still face a lengthy editing and promotional process once filming ends.

In recent weeks, more shows and movies announced delays — Kevin Costner’s final episodes of “Yellowstone” won’t air until next November and the next “Mission: Impossible” film also delayed its release.

Actors, lots more actors, will be talking about their work again. Splashy premieres will resume with their stars, as well.

Movies like “Killers of the Flower Moon” and this week’s big release, “The Marvels,” have been without their stars to promote the film. Strike rules forbid actors from promoting work done for the major studios, which kept Leonardo DiCaprio, Brie Larson and many other actors from doing interviews.

That’s prevented many performers, like “Killers of the Flower Moon” breakout Lily Gladstone, from having some big celebratory moments. (For more examples of performances that didn’t get as much attention due to the strike, check out this list.)

Some projects have gotten exemptions, such as Michael Mann’s upcoming racing drama “Ferrari.” That freed stars Adam Driver and Patrick Dempsey to attend the Venice Film Festival — and also allowed Dempsey to do an interview with People when it named him its Sexiest Man Alive.

But as Hollywood heads into its awards season, expect to see more glamorous red carpet shots and interviews with stars.

Well, it’s definitely back on, and it’ll be supercharged.

One of the dual strikes’ ripple effects was to push the Emmy Awards from September into January. It’ll now join the Grammys, the Screen Actors Guild Awards and the Oscars in Hollywood’s traditional awards season. Those shows will all air between Jan. 15 and March 10.

Plans for the Emmys, and the SAG Awards, which will appear on Netflix, were in jeopardy as the strike got closer to 2024.

Still in limbo is the Golden Globe Awards, which is trying to reinvent itself after years of scandal, but doesn’t yet have a U.S. broadcast partner.

Another actors strike — this one by video game performers — is possible. Negotiations for that contract are ongoing, but a strike has been authorized.

Actors who work on video games range from voice performers to stunt performers. They, too, have expressed concerns about the use of artificial intelligence in their industry.

The studios in 2024 will also be negotiating with set workers and their guild, the International Alliance of Theatrical Stage Employees. From building sets to controlling the lighting and even creating effects, IATSE members are crucial to film and television production. They have been severely impacted by the filming shutdown and have turned out on the picket lines to support the writers and actors.

One key element behind the actors and writers strikes has been how much streaming has upended the industry, which could also be a key point in the set worker negotiations.

And other sectors of the industry have moved to unionize while this year’s strikes played out. Some reality television workers are calling for a union, while visual effects artists who work on Marvel films voted to join IATSE.

___

For more coverage of the actors and writers strike, visit: https://apnews.com/hub/hollywood-strikes/

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Perhaps it’s that it’s the rare big-budget action affair — superhero-centric or otherwise — that doesn’t overstay its welcome, clocking in at well under two hours.

Or, you know, it could just be that “The Marvels” is pretty fun.

Directed and co-written by Nia DaCosta, the 33rd big-screen affair in the Marvel Cinematic Universe is a pedal-to-the-medal and often humorous adventure that serves as a sequel to both the 2019 movie “Captain Marvel” and the 2020 MCU Disney+ series “Ms. Marvel.”

It brings together the namesake heroines from those projects, Brie Larson’s Carol Danvers and Iman Vellani’s Kamala Khan, respectively, along with Teyonah Parris’ Monica Rambeau, who form a powerful, if also initially awkward, trio. (While Monica is introduced as a child in “Captain Marvel,” she is portrayed as an adult by Parris and gains her power in the first MCU-Disney+ series, 2021’s “WandaVision.” So you can consider “The Marvels” a follow-up to that, as well.)

“The Marvels” begins by reintroducing us to each of the three in their respective spaces — Kamala in her bedroom in her family’s Jersey City home and Carol and Monica in, well, space. The latter two aren’t together, however; Carol was so close with Monica’s late mother that she is considered Monica’s aunt, but theirs has become an estranged relationship, as Carol has spent most of the last several years away from Earth and out of Monica’s life.

Soon, though, the powers of the three become quantumly entangled and they begin to switch places when they try to use those powers, the movie returning us to a scene we saw at the end of the DaCosta-directed “Ms. Marvel” finale.

The first act of “The Marvels” is a frenetic fest, with DaCosta whipping the characters from here to there and folding in the ongoing conflict between two alien races familiar to the MCU faithful, the Kree and the Skrull. The Kree Supremor, Dar-Benn (Zawe Ashton of “Velvet Buzzsaw), obtains a powerful object — which happens to be identical to Kamala’s bangle, the mystical family heirloom she wears on her wrist — and has designs on robbing planets, including the one inhabited by the Skrull, of their natural resources and transfer them to the dying Kree homeworld.

After a lot of excitement, we — and the characters — finally catch our collective breath as Carol, Kamala and Monica come together in one space.

While Monica isn’t so happy to see Carol, that couldn’t be further from the truth with Kamala, a Captain Marvel superfan with the comic book doodles to prove it. Hardly surprising given her work in “Ms. Marvel,” Vellani is a joy as the constantly star-struck Kamala — the character’s first encounter with Samuel L. Jackson’s gruff good guy, Nick Fury, is a blast — who’s understandably delighted to be working alongside her idol. She’s also thrilled to find out Fury and Monica have a file on her on a futuristic tablet.

“Can you believe it?” she says excitedly to her family. “They have intel on me!”

An unfortunate byproduct of “The Marvels” being so short — we get only about 90 minutes of actual movie — is there isn’t time for Kamala to have much in the way of an arc. Her protective parents (Zenobia Shroff and Mohan Kapur) and brother (Saagar Shaikh) are brought along for the adventure to come, but it doesn’t all add up to anything emotionally impactful.

Fortunately, the screenplay — by Megan McDonnell, Elissa Karasik and DaCosta — does a bit better when it comes to Monica and Carol, the latter eventually revealing why she has chosen a largely solitary existence in space. (That she has come to be known by the Kree as “The Annihilator” is a hint.)

Once the three women are working together, making the most of their quantum entanglement, “The Marvels” settles into a solid groove. Before they get into the thick of the fight with Dar-Benn — a disappointingly lightweight baddie as MCU villains go — we are treated to a reasonably entertaining sequence in which the trio visits a planet where the unusual citizens have come to know Carol quite well.

With its fast pace and science-fiction-heavy narrative, “The Marvels” will be a hold-on-to-the-bar ride for viewers not all that interested in ideas such as space travel via jump points and a potentially catastrophic rip in space-time.

And for those who haven’t seen the aforementioned Disney+ series, the movie does what it can to catch you up but be prepared to feel a little out of the loop.

Overall, “The Marvels” is solid work from DaCosta (“Candyman”), who finds a tonal balance that allows for some lighthearted fun even as the stakes of the story are fairly high.

This may indeed be a challenging time for Marvel Studios, but with “The Marvels” it seems to be going full-steam ahead, sticking to the MCU tradition of teasing some of what’s to come in its final moments — including in the middle of the credits.

THE MARVELS

Rated: PG-13

Running time: 105 minutes.

Stars (of four): 2 1/2

Where: In theaters

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“A beach bum named Warren Miller decided windburn was better than sunburn, and noticed that toting a camera around the mountain got him a lot of dates,” the narrator says. “So, in 1949, he made a ski movie. In 1950, he made another ski movie. And another, and another … .”

Thus begins a Warren Miller film like no other. This one is intended to celebrate the creator of the series, who sold the company in 1988 and died in 2018, as well as his ongoing legacy. With the 75th anniversary of his first film, “Deep and Light,” coming next year, this year’s film celebrates the past. Next year’s will look at where skiing, snowboarding and the film genre they inspire may be heading.

“All Time,” which will be playing at the Boulder Theater Nov. 9-11 and the Paramount in downtown Denver Nov. 16-18, has the usual assortment of beginner falls, ripping powder shots, bone-shaking crashes, and big-mountain skiers and snowboarders outrunning avalanches in exotic locales. But it’s also designed to show the evolution of skiing, decade by decade, beginning with wooden skis and leather boots, Hollywood stars in Sun Valley and dancers in stretch pants doing the twist in après-ski haunts.

Its arc includes the advent of snowboarding, big-mountain heli-skiing and terrain parks. The film was created in Boulder at the offices of Outside Interactive Inc., which owns Warren Miller Entertainment.

“I think what I’m most proud of is getting a cross-section of 74 years of films into an hour-long program, and without feeling like just an hour-long montage of shots, but applying some sort of structure to it,” director Josh Haskins said in an interview. “I’m proud of building those decade pieces into it, to give a bit of structure, while also being able to get as many athletes who have been involved over the years into the film as possible. To be able to show as many moments as we could, without it feeling too quick-cutty or too fast-paced.”

RELATED: The Warren Miller ski movie brand isn’t dying a slow death after all

It’s been almost 20 years since Miller was involved with films that still bear his name, but his presence is palpable in every scene, with “pillars of filmmaking that Warren created over the years,” Haskins said. “Great action, comedy and global adventure are pillars that we try and focus on each year, and are things that were so important to Warren when he was the guy.”

It wasn’t easy to distill, because there was so much great material.

“This project, going into it, was completely overwhelming given the task of condensing 74 years of films into an hour-long film,” Haskins said. “Our team of producers and editors and filmmakers really took the better part of (last) winter to get our arms around it creatively before we even started editing. But once that editing process started, and we had some ideas flushed out and a bit of a narrative arc applied to the film, we all really felt like it was going in a great direction.”

Having spent so many months combing through hours and hours of old film footage, Haskins wondered why a Miller retrospective hadn’t been done sooner.

“I really was pleased that we were able to give a nod to everyone who has been involved throughout the history and the legacy of the company, starting with Warren,” Haskins said. “I think a lot of our younger audience may not know who Warren was, so it was really enjoyable to put a focus on Warren the man, and give that appreciative nod to all the athletes, filmmakers, resorts and snow-sports operators out there who are so integral to this project and these films.”

For countless skiers over seven decades, ski season began when Miller ended each year’s film with his signature signoff, “Winter starts now.” Jonny Moseley, who has been the narrator since 2007, has carried on that tradition.

The essence of Miller’s films was a burning passion for skiing and a deep love for the beauty of mountains in winter, told always with cornball humor and reverence for the skier’s lifestyle. At the end of this year’s film, Miller is heard to say: “I’ve changed a lot of lives by showing people that there’s another way to live. I hope I’ve changed yours.”

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Through Nov. 12. The Boulder Jewish Film Festival could hardly come at a more relevant time. Films that delve into the complexity and nuance of the Jewish experience during this moment of conflict also include works whose creators have been affected by the ongoing war with Hamas, producers said.

Programmers of the Nov. 2-12 fest have responded to this moment by adding topical elements to the fest, they said, including a 5-film segment that celebrates Israel’s 75th anniversary and the short film “The Boy,” by Yahaz Winner, who died in a Hamas attack on his kibbutz, as well as “Sirens” (in the Shorts program).

The centerpiece is the live-scored silent film “The Man Without a World” on Nov. 9, with closing-night film “Idina Menzel: Which Way to the Stage?” arriving on Nov. 12. And a dozen-plus more. All screenings at the Dairy Arts Center, 2590 Walnut St. in Boulder. Tickets: $18-$25 via thedairy.org/boulder-jewish-film-festival.

Denver Arts Week’s free, low-cost events

Friday-Nov. 11. Free and cheap admission to arts events is what Denver Arts Week is all about, and the annual celebration of Mile High creativity returns Friday, Nov. 3-Nov. 11 with three free events at the Buell Theatre and McNichols Building, plus a fall edition of the city’s popular Denver Public Art Tours.

Presented by the city agency Denver Arts & Venues, this year includes the “Community Cloth” exhibit tour and the Colorado Panorama Denver Public Art Tour (both Nov. 7), a “Woven Together” reception at the Buell (Nov. 8), and the “Culture Cloth” exhibit tour and curator discussion (Nov. 9).

Along the way, Denver Arts Week’s website rounds up dozens of deals and special events that focus on local visual artists, musicians, galleries, murals and street art. The week kicks off Friday, Nov. 3, with expanded First Friday Art Walks across the city’s creative neighborhoods, organizers wrote, plus a free Night at the Museums on Saturday, Nov. 4. See denver.org/denver-arts-week/events for more.

A powerhouse “Don Giovanni”

Saturday-Nov. 12. Many of us save up to splurge at the theater this time of year, whether it’s for a play, touring Broadway musical or dance performance. If you’re looking for a once-a-year big ticket show that’s going to blow your hair back, Opera Colorado is back with its vigorous take on “Don Giovanni.”

It’s the nonprofit company’s first staging of the Mozart blockbuster in ten years, producers wrote, with baritone Bruno Taddia in the title role and Danielle Pastin, Ellie Dehn and Kerby Baier as the avenging women who have crossed paths with our titular cad.

Opera ain’t cheap, but in terms of spectacle and talent, it’s worth it for a show like this. Runs Saturday Nov. 4, as well as Nov. 7, 10 and 12 at Ellie Caulkins Opera House, 1385 Curtis St. Tickets: $49-$225 for opening night, as low as $39-$185 for other performances, via operacolorado.org.

Sad songs like you’ve never heard them before

Monday. So you’ve seen hip-hop legends such as Wu-Tang Clan’s RZA backed by the Colorado Symphony Orchestra, but have you ever seen an emo band powered by the full sonic palette of strings, horns and wind instruments?

Monday, Nov. 6, is your chance when the aptly named Emo Orchestra featuring Dayton, Ohio, pop-punk veterans Hawthorne Heights comes to the Paramount Theatre in Denver. The nationally touring show promises hits from the leading group plus others from the likes of Dashboard Confessional, Taking Back Sunday, My Chemical Romance and more. Hands down, this is the best show we can ever remember… always remember.

The Emo Orchestra plays Nov. 6 at 7 p.m. at 1621 Glenarm Place in Denver. Tickets cost $45-$75 at ticketmaster.com.

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