Are people who FaceTime while walking down the street literally insane?

Love The Traitors? You can step into a duplicitous world of competitive gameplay inspired by the hit Peacock reality competition with The Traitors Experience. Set inside Brooklyn's Weylin space from January 14 through 22 from 5pm to 10pm daily, the immersive fan event is "an hour-long multi-sensory adventure" where fans will take on a series of challenges, including a candlelit game of deceit and manipulation, a puzzle-driven deep dive through host Alan Cumming’s iconic wardrobe, and a dramatic finale at the legendary Round Table. Break out your best plaid garb and most convincing poker face, because one (or more) members of your group will carry a treacherous secret.

If you ever lost an afternoon chasing ghosts, the Paley Museum has your next field trip lined up. The midtown mainstay is celebrating one of gaming’s most beloved icons with a new exhibit, “45 Years of PAC-MAN,” opening Friday, January 16 and running through May 31.

The show traces how a simple yellow circle dreamed up in Japan in 1980 by designer Toru Iwatani grew into a global pop-culture heavyweight. From early arcade cabinets to living room consoles and far beyond, PAC-MAN redefined what video games could be, while still welcoming in first-time players.

At the exhibition, visitors can jump straight into the action with classic Pixel Bash arcade cabinets, competitive rounds of PAC-MAN Battle Royale Chompionship and newer titles like PAC-MAN WORLD 2 Re-PAC. There’s also a chance to tackle what the museum bills as the world’s largest PAC-MAN.

Under the Radar, consistently one of the most exciting theater and performance festivals in New York City since its launch in 2005, will take place in over 20 venues across the city from January 7-25, 2026.

In keeping with the festival’s eye toward the best of U.S. and international experimental performance, it will continue to explore dance, music, theater, film, opera, conversation and stagecraft through works by NY-based artists Narcissister (in her first-ever proscenium presentation), The HawtPlates, Kaneza Schaal, Lisa Fagan and Lena Engelstein, as well as European virtuosos Cherish Menzo and Mario Banushi.

Movie monsters come in all shapes and sizes, but they’re rarely as diminutive and deceptively cuddly as the pet chimp-turned-brainy-hell​-beast in this endearingly daft B-movie​ horror. With cleverly claustrophobic staging in a walled clifftop house, director and co-writer Johannes Roberts (47 Metres Down) smartly mines the premise for thrills. Though rarely scary, Primate is tense, unpretentious fun. Its antagonist (played by movement specialist Miguel Torres Umba and augmented with VFX) is menacing enough to make you see why a group of swimsuited teens would feel outmatched – especially after a spliff or two. Beneath that fur, after all, this little ape is as hench as peak Stallone.

In US theaters now.

MoMA is opening a grocery store where absolutely nothing is edible—and that’s the point. Launching on January 7, 2026, MoMA Mart is a limited-time pop-up from the MoMA Design Store that turns the mundane task of grocery shopping into a visual prank. Shelves are stocked not with snacks, but with objects that look like food at first glance and then reveal themselves as lamps, clocks, candles, stools and sculptural décor.

MoMA Mart will run from January 7 through March 29 at both MoMA Design Store locations—SoHo (81 Spring Street) and Midtown (44 West 53rd Street)—and will also be featured online, where people will be able to shop for the various items. Consider it grocery shopping for people who already have snacks—and could use a tomato lamp instead.

Don't expect Bryant Park to virtually shut down once the holidays are over—at least not this year. Post New Year's, the park is shifting into full-on winter Olympics mode as Bank of America Winter Village becomes a hub for Winter Olympics–inspired fun.

Bumper cars on ice return from January 9 through February 28, letting visitors bump, spin and slide across the rink in 10-minute sessions that feel more like a carnival ride than a traditional skate (plus you're already seated, so no embarrassing tumbles).

Oedipus is not really about the fall of a great man; rather, it’s about a great man coming to realize that he has already fallen. It is election night, the TV screen blinks with news, and Oedipus (Mark Strong) is surrounded by his family: his studious daughter Antigone (the lovely and sympathetic Olivia Reis); his twin sons, the sweet Polyneices (James Wilbraham) and the rakish Eteocles (Jordan Scowen); his sturdy old mum, Merope (Anne Reid, tasty as a crust of bread), whom Oedipus keeps blowing off. And above all there is his wife, Jocasta, who—as played by the great Lesley Manville—is a creature of effortless fascination: confident, worldly, intelligent, practical, passionate, sexually frank and a touch narcissistic, with a hint of Sphinxlike inscrutability to shroud the trauma behind her drive. Oedipus seems untouchable. But as an onstage clock ticks down to his landslide win, the earth gives way beneath him.

Measured rather than playing to the gallery, The Choral is Brassed Off in a minor key – an elegant, Yorkshire-set exploration of music as a spiritual morale-boost in the darkest times. With Ralph Fiennes gravely essaying the controversial choirmaster at its heart, it does a lovely job of swerving the obvious notes but misplaces its stirring crescendo.

Fiennes is his usual immaculate self, with Alun Armstrong, Allam and Addy all born to play grumbling amateur tenors. The Selfish Giant’s Shaun Thomas, a rakish, tactless lad-about-town and Amara Okereke’s angelic-voiced Salvation Army volunteer are standouts. But best of all is Simon Russell Beale who make a memorable cameo as Elgar. He plays the great British composer as a stick-in-the-mud windbag whose vanity has trumped his artistic instincts. Maybe, you’re left wondering, they should have stuck with Bach after all. 

In US theaters Jan 16, 2026.

New Yorkers rush past bodegas, take-out joints and dry cleaners a hundred times a week without really seeing them. But at "Pedestrian," the new exhibition by Brooklyn artist Charis Ammon at Sargent’s Daughters in Tribeca, those everyday facades get the kind of attention usually reserved for landmarks. She often photographs a storefront for months, sometimes years, waiting for the right moment. A thrift store near her apartment became a long-term muse. (“I’ve walked by that place for over two years, taking pictures,” the artist said.)

Other works lean into what Ammon calls “disruption,” like Bodega Melt, the Bushwick shop with the flickering LED watermelon sign. “Disruption in a window or on a surface speaks to story,” she said. To her, those breaks, in the form of a shadow, a reflection or a smear of light, mirror the moments that interrupt our own routines and the ones that make us pay attention.

"Pedestrian" runs December 12–January 24 at Sargent’s Daughters in Tribeca.

Theater, they say, is the fabulous invalid, regaling visitors with tales of past glory as it sinks into its deathbed; conversation, they say, is another dying art. But don’t tell that to Bess Wohl’s Liberation, which has just moved to Broadway, with its exceptional cast intact, after a much-discussed run at the Roundabout earlier this year. A searching and revealing drama about the achievements and limits of 1970s feminism, Liberation weaves different kinds of conversation into a multilayered narrative—and, in doing so, serendipitously restores the very word conversation to its roots. As an adjective or noun, converse denotes opposition or reversal. As a verb, however, it stems from the Latin term conversare, which means “turning together.” In other words: Conversation may involve disagreement—and in Liberation, it often does—but it is not at its core adversarial. It’s literally about sharing a revolution.