Welcome back to The Big To-Do. April starts next week, but the weather forecast still includes the phrase “a sprinkle or flurry possible.” Enough already! The NCAA basketball tournaments pick back up today, and the undefeated (1-0) Red Sox return to play tomorrow. This week’s installment of the Globe’s new series One Special Thing is short but powerful, much like the actor in the spotlight. If you’re still catching up on Oscar nominees, the Globe’s Matt Juul includes one film from each of the past two years on his list of new movies and TV shows to stream. The arts brief section The Rundown includes the lowdown on Belmont World Film’s 24th International Film Series, which starts Monday. And if none of that floats your boat, keep reading — your arts and entertainment options are numerous and, with a couple of notable exceptions, terrific.

Movies

Vince Vaughn plays two of the title characters in “Mike & Nick & Nick & Alice,” which earns 3½ stars from Globe film critic Odie Henders​on. James Marsden plays Mike, who’s having an affair with Nick’s wife, Alice (Eiza González). You can probably tell if BenDavid Grabinski’s “raucous action comedy” is for you from these two sentences: “After Mike was killed and eaten, Future Nick had second thoughts about his role. Enter the time machine.”

Sofia Coppola hasn’t made a documentary before now, and maybe that’s for the best. “Marc by Sofia,” about fashion designer Marc Jacobs, is “an in-joke to which you are not privy, so you’re just stuck there for 97 minutes listening to two people prattle on and on,” Henderson writes in a 1½-star review.

With baseball season underway, Henderson cooks up “a list of baseball flicks to watch after you ‘root, root, root for the home team.’” He offers 11 solid picks, throws in some fun trivia (David S. Ward wrote “Major League” and “The Sting”! That’s director John Sayles playing Ring Lardner in “Eight Men Out”!), and ends with a real curveball. Head to the comments for a healthy crop of other recommendations.

“The Drama” looks familiar. The film, set in and around Boston, stars Zendaya and Robert Pattinson as an editor engaged to a museum curator. “The area becomes a natural setting for their lives, an extension of their genuine interest in the humanities, art, and literature,” director Kristoffer Borgli tells Globe correspondent Sonia Rao. She chats up production designer Zosia Mackenzie about the locations for the movie, which opens next week.

This week’s One Special Thing is two minutes long. As “The Long Good Friday” draws to a close, Bob Hoskins’s character, gangster Harold Shand, “finally figures out what’s been going on,” writes the Globe’s Mark Feeney. Without a word, he runs through a series of emotions. “What makes Hoskins’s acting here so astounding ... is how coherent, even seamless, he renders those ostensibly disparate responses.”

TV & Streaming

In “Bait,” an audition to play James Bond sparks “a nervous breakdown brought to you by the entertainment-industrial complex.” Star Riz Ahmed co-created the series, which “thrives by blending hip-hop energy ... showbiz satire, and fraught family drama,” writes Globe TV critic Chris Vognar. “[F]or the most part, Ahmed keeps all the balls in the air with both humor and deceptive sadness.”

“For All Mankind” returns Sunday, six decades into “a generation of space exploration that seeps into pop culture to this day.” Vognar surveys space on screen, from 1902’s “A Trip to the Moon” to the 2026 blockbuster “Project Hail Mary.” The latter “wants very badly to be breezy and charming, and darned if it doesn’t succeed. Impending doom has never felt so friendly.”

The premiere of “SNL UK” was “just as moderately funny but relatively safe as the current incarnation of its elder sibling.” Host Tina Fey pointed up the difference by dropping an F-bomb in her opening monologue; “Advantage: Britain,” Vognar writes. “That freedom that allows you to drop F-bombs? Use it to create some truly dangerous comedy.”

Music

Three weeks later, the BSO’s decision to part ways with Andris Nelsons next year continues to baffle. The opaque announcement that the music director and the orchestra “were not aligned on future vision” elicited “immediately horrified reactions,” the Globe’s A.Z. Madonna reports. “What’s the vision might not be the right question ... It might be: Does the vision even exist?”

Melissa Auf der Maur’s new memoir, “Even the Good Girls Will Cry,” is “not your standard rock nonfiction.” The bassist, formerly of Hole and the Smashing Pumpkins, says she “was documenting everything, because I knew something major was happening that I had no time to process.” The result is a volume that “reads like a miniature archive of the ’90s,” writes Globe correspondent Victoria Wasylak.

Before Ben Katzman was a “Survivor” finalist, he was a Boston musician — and more. “Between his time running [BUFU Records], fronting his own band, and hosting shows at his basement venue, the JP Drive-In, Katzman was well-known around town as an exuberant force of rawk and roll," Wasylak writes for Sound Check. Katzman says, “I just remember there was no minute wasted.” He plays City Winery tonight.

Offseason music festivals “provide an alternative experience to standard summer fare.” Globe correspondent Stuart Munro zeroes in on three (mostly indoor) events: this weekend’s Back Porch Festival in Northampton; The Town and The City Festival in Lowell; and Keene, N.H.’s s The Thing in the Spring. “People are just so psyched to be out,” says Back Porch Festival director Jim Olsen.

“Magic Accident,” Della Mae’s new album, “finds the band crafting material that goes beyond the boundaries of bluegrass while maintaining the energy and nuance of the ‘high lonesome’ sound.” The all-women group plays Somerville tomorrow, with Alison Brown in the house as guest performer, producer, and record-label owner. “They are great entertainers,” she tells Globe correspondent Noah Schaffer.

Opera

Boston Lyric Opera’s new Opera and Community Studios facility is a gamechanger. “Suddenly, we’re a real company,” music director David Angus tells A.Z. Madonna. The 17,000-square-foot space in Fort Point “provides a stable home base for everything but the company’s main stage productions, which go up at various theaters around Boston.” Gustav Mahler’s “Song of the Earth” runs through March 29.

Museums & Visual Art

Twenty-first-century technology is shaking up 16th- and 17th-century art history. “Another day, another lost masterpiece emerges from obscurity,” Globe art critic Murray Whyte begins a story about “rapid advances in the technical analysis of age-old creative impulses.” Sophisticated analytical techniques, AI, and “decades of scholarly knowledge” are helping experts authenticate masterpieces — and detect forgeries.

Three photography shows at the Danforth Art Museum capture the past “in the service of history, a shared past, or memory, a personal past.” In one part of Rachel Loischild’s “Quarantine Islands,” medical isolation sites mix with facilities established for “less dire if more sinister causes. ... No persons are visible, which lends a brooding eloquence to images of surpassing loveliness,” writes the Globe’s Mark Feeney.

Emily Sara is on the “leading edge of artists rethinking accessibility.” The artist, activist, and educator lives with genetic conditions that affect her mobility, and her work “focuses on the sensory delights of accessibility,” Globe correspondent Cate McQuaid writes. Says Sara, “A lot of our problems in society could be solved if we are more supportive of everyone.”

“Come Together: 3,000 Years of Stories and Storytelling,” at the Morgan Library, is full of surprises. Its 140 items include everything from paper dolls and toy soldiers to a “Peanuts” comic strip and “a papyrus fragment (of Homer’s ‘Iliad,’ no less),” Feeney writes from New York. “That no single verb suffices to describe how stories are experienced underscores how inherently varied stories are.”

Theater

Inspired by Suzy Eddie Izzard’s “impressively multifaceted portrayal of Hamlet,” Globe theater critic Don Aucoin explores “arguably the most daunting role the theater has to offer.” The weight of history is only one of the role’s challenges. “Apart from the ever-present possibility you’ll fall on your face, you’ve got to breathe new life into some overly familiar lines. How many ways, after all, are there to say ‘To be or not to be’?”

The musical adaptation of S.E. Hinton’s classic 1967 YA novel “The Outsiders,” about teen gangs in Tulsa, culminates in a choreographed fight. “Our hope is to get into the absurdity of violence, the cyclical nature, this idea that the person you hate, they could be you or somebody you love,” director Danya Taymor tells Globe correspondent Christopher Wallenberg. The national tour reaches Boston Tuesday.

Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous” bites off a lot — August Wilson’s legacy, ageism in the arts, and more. The cast of Lyric Stage’s production “brings a lot of personality to the stage,” writes Globe reviewer Terry Byrne. But Cleage “leans into an excessive amount of exposition, breaking the cardinal rule of playwriting: ‘show don’t tell.’”

Books