The Venezuelan actor Edgar Ramírez portrays a benevolent Versace; Penélope Cruz sweeps in as his sister and muse, Donatella, showing scant mercy to his grieving partner, played by Ricky Martin. And Darren Criss (“Glee”) coolly seethes — until he viciously erupts — as Cunanan. The nine episodes, volleying between the dazzling, sexed-up opulence of Versace’s existence and the grimy despair of Cunanan’s, are adapted from Maureen Orth’s 1999 book, “Vulgar Favors,” which examines the role that homophobia may have played in the hunt for the serial killer. KATHRYN SHATTUCK
Theater: Retrying Malcolm X’s Murder
Jan. 14-Feb. 18; theactingcompany.org.
In the playwright-poet Marcus Gardley’s courtroom drama “X: Or, Betty Shabazz v. the Nation,” the audience serves as jury, but not the kind that’s meant to keep mum. As Mr. Gardley explains at the top of his script, spectators “are encouraged to call out to the actors, laugh, sing and even snap their fingers when they agree with something being said.” So that’s one rule to keep in mind in this fantasy trial over the 1965 assassination of the civil rights leader Malcolm X, prosecuted by his widow, Betty Shabazz.
Here’s another. The personas of the characters in “X” — who include Nation of Islam figures like Louis Farrakhan, one of the accused — “are somewhat fictitious,” Mr. Gardley writes.
Lauded in its run last spring Off Broadway, the Acting Company production of “X” returns Jan. 14 to Feb. 18 at the Theater at St. Clement’s. Blending irreverent comedy, soft-focus romance and historical re-examination, Mr. Gardley also draws on Shakespeare’s “Julius Caesar,” whose bloody conspirators have nothing on the plotters here — and there’s an array of suspects to choose from. LAURA COLLINS-HUGHES
Classical: Royal Concertgebouw at Carnegie
Jan. 17 and 18; carnegiehall.org.
Kicking off a U.S. tour in January, the Royal Concertgebouw Orchestra arrives at Carnegie Hall for a two-night stint under the direction of its new chief conductor, the reliably compelling Daniele Gatti. The repertoire is sturdily old-fashioned but should gleam with polished force when performed by the Amsterdam-based orchestra, one of the best in the world.
On Jan. 17, Mr. Gatti leads the orchestra in Bruckner’s towering, unfinished Symphony No. 9 and excerpts from Wagner’s “Parsifal,” and on Jan. 18 he tackles Mahler’s Symphony No. 1. The second concert will feature the riveting violinist Janine Jensen — in the midst of the “Perspectives” series she has curated at Carnegie — in Max Bruch’s Violin Concerto No. 1. WILLIAM ROBIN
Dance: The Coil Festival in the East Village
Through Feb. 4; ps122.org.
Performance Space 122 has finally returned to its East Village home, a move that brings with it a new executive director, Jenny Schlenzka, and the final iteration of the Coil Festival. As it continues, the festival hosts “Desert Body Creep,” a New York premiere by the Australian dancer and choreographer Angela Goh, whose work seems to ask, what is there to do when everything’s been done?
In her solo, Ms. Goh explores the idea of horror and decay, fighting “rot with rot,” as she writes on her website, and “insisting on the persistence of imagination even when there is nothing left to imagine.”
And later this month, Coil adds two New York choreographers to the lineup. The uncompromising Dean Moss takes inspiration from Rainer Werner Fassbinder’s film “The Bitter Tears of Petra von Kant” in his new work, “Petra,” while David Thomson explores identity, gender and the black body in the piece “he his own mythical beast.” Yes, the days of “Nutcracker” are over. GIA KOURLAS
Film: Obama’s Foreign Policy, Undone
Early in “The Final Year” — Greg Barker’s chronicle of the last months of the Obama presidency, opening Friday, Jan. 19 — Samantha Power, then the United States ambassador to the United Nations, imagines a clock counting down the days until important national security issues are passed on to a new administration.
The Iran nuclear deal, the Paris climate accord, peace in Syria, the normalization of relations with Cuba: all are at stake. In fact, at one point 17 Republican candidates are promising to undo much of the foreign policy devised by Ms. Power, former Secretary of State John Kerry and then national security adviser Susan Rice and her deputy, Ben Rhodes. But with Hillary Clinton the heir apparent, the team seems blithely unaware that Republican promises might well be fulfilled.
Then came the election of Donald J. Trump and a record-speed dismantling of American diplomacy, rendering the perspective of Mr. Barker’s documentary, captivating if deflated in the final minutes by this turn of events, hauntingly nostalgic. Vanquished, Ms. Power and her colleagues expel any thoughts they might have had about going gently into the night. “We’re in this for the long haul,” she says. KATHRYN SHATTUCK
Art: Neil Goldberg’s Wit and Insight
The observations the artist Neil Goldberg jots down on lined three-by-five index cards range from winkingly self-conscious to disarmingly insightful; most often they are a strange and hilarious combination of the two. (My favorite: “What Primo Levi said about the psychology of prisoners saving their cigarettes in Auschwitz, but about me & the olives in a Martini.”)
Watching Mr. Goldberg flip through his deck and read these thoughts aloud is like eavesdropping on a high-concept game of mental solitaire lightly inflected with Henny Youngman. You can catch his all-day performance on Jan. 14 at the Cristin Tierney Gallery in Manhattan. He will also be on stage Jan. 15 at Dixon Place as part of the annual Association of Performing Arts Professionals Conference. WILL HEINRICH