Welcome back to The Big To-Do. In fourth-grade science class, we learned the Atlantic Ocean off the Northeast US is warmest on Aug. 15. That’s tomorrow! If you haven’t ventured to the beach this summer, consider yourself reminded that the surf is only growing cooler (until next spring). Happily, the weekend​ weather forecast mostly calls for great conditions for beachgoing or pretty much anything else outdoors.

Back inside, your streaming options include “a slew of new movies and TV shows” — among them the “action-packed crime flick” and Bob Odenkirk vehicle “Normal” — and the Globe’s Matt Juul is on the case. And the arts briefs section The Rundown includes the latest addition to the Boston Public Art Triennial.

This week’s One Special Thing is special indeed, mixing visual art and literature with a dash of one of the deadly sins. (Lust. It’s lust.) The New Bedford Whaling Museum is dedicating a statue of Herman Melville this weekend, and sculptor Stefanie Rocknak’s rendering of the “Moby-Dick” author is “very attractive.” The only Globe staffer you’d want on this story is Meredith Goldstein, and she hits it out of the park.

People Watch

It’s not your imagination — live audiences have changed, not for the better, and the trend has accelerated since the pandemic. In the People Watch series, the Globe’s experts work a multitude of angles, starting with an overview by theater critic Don Aucoin. “Ask friends or relatives what they thought of a show they’ve recently seen,” he writes, “and as often as not they’ll begin by fuming that it was partly spoiled by some jerk sitting near them.”

Documenting the deterioration of crowd behavior is a good thing, actually. It “comes from a love of the audience experience, of witnessing magic as a group,” Chris Vognar writes. Ideally, it “requires a tradeoff. The artists deliver magic. And the audience delivers its undivided attention.”

Asked to recount their experiences with disruptive audience members, Globe readers delivered wild anecdotes. Lisa Weidenfeld rounds up some humdingers, including transgressions involving cellphones, public displays of too much affection, and, believe it or not, Pokemon Go.

Live music is at the disgusting heart of a recent “etiquette meltdown.” Bad fan behavior predates the pandemic, of course, but lately, the concertgoing experience is in freefall. “[R]un-of-the-mill annoyances have given way to horror stories,” writes Victoria Wasylak, who shares some hair-raising examples.

At nightclubs, “floors that were once built for dancing and connection are increasingly filled with glowing screens.” DJs are performers now, and patrons are “pushed to the front with a camera in the DJ’s face,” one Boston DJ tells Celine Hijazi. “I cannot believe the lack of respect or awareness.”

For stand-up comedians, jousting with crowds is just another night at the office. “[H]eckling has always been a part of the live experience,” observes Nick A. Zaino III. “Audiences are used to instant gratification,” says comedian Kelly MacFarland. “I feel like I’m teaching them what to expect.”

Sports fans are even more vocal than comedy audiences, but legal gambling has introduced a sinister element. Combine typical fan behavior with “the popularity of ‘prop bets’ — a wager made on an individual’s performance — and a problem for athletes has emerged.” Michael Silverman explains.

Audience members who transform into protesters mid-event draw mixed-at-best reactions, “but sometimes polarization is the goal.” From vandalizing museum exhibits to interrupting sporting events, “a disruptive tactic ... can still successfully shift public opinion,” one activist tells Sterling Davies.

Movies

Balancing “dramatic license and harsh truths,” the Anthony Bourdain biopic “Tony” earns 3 stars from Globe film critic Odie Henderson. Set mostly in Provincetown in the mid-1970s, it stars Dominic Sessa (“The Holdovers”) as Bourdain and Antonio Banderas, “in what may be his best English-language performance,” as his mentor. The result is “better than most biopics.”

Mapping “Tony” onto present-day Provincetown, Globe restaurant critic Devra First likes what she sees. “Visitors tend to think of P-town as a summer playground, but Portuguese culture and the fishing industry are its heart and backbone,” she writes. “Bourdain never forgot it, and he didn’t let his readers and viewers, either.”

The slasher movie is the backbone of Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma.” References and allusions to “the critic-proof subgenre of horror” abound, drawing 3 stars from Henderson. Hannah Einbinder stars as a director rebooting the titular fictional series, opposite Gillian Anderson as a Norma Desmond-esque professional casualty of the original film.

Set in 1982, “The End of Oak Street” stars Anne Hathaway and Ewan McGregor as suburban parents whose neighborhood suddenly has dinosaurs in it. “There are so many nods to movies like ‘E.T.,’ ‘Poltergeist,’ and ‘Jurassic Park’ that I refuse to call this pastiche an homage,” Henderson writes in a 2-star review. “[T]his is an unabashed rip-off.”

TV & Streaming

“Lanterns” premieres Sunday, starring Kyle Chandler in “his best role since the one that made him a star,” Coach Taylor in “Friday Night Lights.” As “bedraggled superhero” Green Lantern, a/k/a Hal Jordan, Chandler stakes his claim to Gary Cooper’s legacy. “There’s only one Gary Cooper,” Globe TV critic Chris Vognar writes. “But Chandler is a worthy descendent for a more complicated time.”

Art imitated life on “Succession” for five years, and now “the sensation of life imitating art” is back. The series “explored the intersection of media and politics, painting a vivid picture of what politically driven interference with network news coverage would look like,” the Globe’s Don Aucoin writes. That informs his look at Paramount’s ongoing attempt to take over Warner Bros., which owns CNN.

Theater

“Rhinoceros” opens at the ART tonight, which Diane Paulus says “just affirms to me that audiences, they wanna go to the gymnasium of the soul.” The director and stars John Turturro, Paul Giamatti, and Tatiana Maslany chat with the Globe’s Lisa Weidenfeld about what theater has over film and TV, how Eugène Ionesco’s play resonates today, and a controversial subject: pizza.

Music

The exhibition “Music Legends at Clark” covers a lot. Its focus is “the performers who made Worcester music history at the university, and the students who booked them,” Globe correspondent Victoria Wasylak writes for Sound Check. Funded by architect Nancy Mack and her husband, Red Hot Chili Peppers drummer Chad Smith, it spotlights “the breadth of the musicians that these motivated ‘Clarkies’ booked.”

“[C]ontrary to common perceptions, protest music is not dead.” The year-old series “Which Side? A Protest Music Teach-Out,” is “a kind of combined social activism incubator and protest-song hootenanny,” in the words of Globe correspondent Jon Garelick. He talks inspiration and logistics with the organizers, Joyce Leinhan and Globe contributor James Sullivan.

Museums & Visual Art

In “Exposure 2026,” “[n]ot all of the photographs qualify as mysterious, but the ones that do can be quite tantalizing.” Three images reach by 12 photographers make up the Photographic Resource Center’s annual members’ juried exhibition, where the Globe’s Mark Feeney finds numerous connections and “a notably high representation” of black-and-white.

The standouts in the annual juried members exhibition at the Griffin Museum of Photography really stand out — a tiny fraction of the entries made the cut. “With so many photographs having to meet such a high bar, it’s hard to pick just a few to single out,” Feeney writes from Winchester. Then he picks anyway, finding more than a few images that “visually chime.”

Books

Alas, Richard Russo’s “Under the Falls” is “a minor, inoffensive addition to the illustrious Russo canon.” Conceived as a TV pilot (aha!), it’s “insightful and well-written,” Globe reviewer Priscilla Gilman acknowledges. “But the novel bored me and ultimately left me cold. [The] characters never compelled my interest, and I never felt moved by their plights.”

Chang-rae Lee turns the clock back to the “watershed year” of 1976 in “A Tender Age.” The novel conjures far more than the “tender-hearted coming-of-age tale” the title suggests, writes Globe reviewer Hamilton Cain. “The rage of children — their frustrations with grown-ups, fury at being misunderstood, curiosity about body changes — pulses across the narrative.”

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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