1 Joel Sass’ staging of “Detroit” at the Jungle Theater grabs you, scares you, haunts you and demands that you pay attention. It’s the story of neighboring couples who oddly envy each other. Mary and Ben have tasted material success and lost it and now hate their lives. Kenny and Sharon, the younger couple, represent a certain freedom. Lisa D’Amour’s script is the scaffolding for a myth that uses material from the bizarre extremes of real life. Sass’ ferociously brisk production acutely illustrates those oversized horrors. jungletheater.com
2 The electrifying 2011 Indonesian martial-arts thriller “The Raid” was a certified action milestone. It told a coherent cops-and-killers story within the confines of a real-time SWAT assault. It also had moral heft, describing a world in which heroic sacrifice is necessary to protect society, but might not be lastingly effective. The pleasure quotient is even higher in “The Raid 2,” which charts the fall of a crime dynasty. This sequel kicks a prodigious amount of butt, including that of the viewers.
3 She’s baaaack, and it ain’t pretty. As a post-rehab “Nurse Jackie,” Edie Falco continues to secretly use drugs, deceiving everyone around her, and it looks like her firstborn, Grace, is following in Mom’s footsteps. Even with a supporting cast, including the hilarious Merrit Wever as co-worker Zoe, the sixth season of Showtime’s hit dramedy is starting off down a dark path. 8 p.m. Sunday, Showtime
4 Ending a four-year hiatus, Kelis has reinvented herself on her new album, “Food.” The starlet of “Milkshake” fame has shaken the sexpot persona as well as her famous ex-husband, Nas, and recast herself as more of a sophisticated, powerful, happy-to-be-free retro-soul and edgy R&B singer on the often lush and coolly seductive album, tastefully produced by Dave Sitek of TV on the Radio. The “food” concept, including such titles as “Jerk Ribs” and “Friday Fish Fry,” is a little hokey, but the new flavor is easy to devour.
5 Minnesota Opera presents Mozart’s “The Magic Flute” at the Ordway as a silent movie. The singers perform behind a screen, sans sets and props, interacting primarily with various animated images. The scenes iris in and out. Title cards replace the dialogue. Much in this production is outrageous — in a good way. For example, the bird catcher, Papageno, is done up as Buster Keaton. However, in this conception, some of the dignity and nobility of Mozart’s music are lost. mnopera.org.
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