So much ink will be spilled across venues throughout the city over this long weekend. The multiday Bout—a slam poetry competition—serves as the Bigfoot Poetry Festival’s main event. At least if slam poetry competitions are your thing. But the lineup also features a heaping handful of themed open mics. Several are organized around identity, celebrating Black poets, young poets, trans and nonbinary poets, Latinx and Indigenous poets. There is also an erotic poetry open mic, another on mental health, and another for poets in drag. This is still nowhere near a complete list of the festival’s events…. —Matthew Trueherz

The revived downtown park formerly known as O'Bryant Square sits a few blocks southwest of the Old Town club run for decades by legendary drag queen Darcelle XV (born Walter Cole), who died in 2023 at age 92. After a Poison Waters–emceed ribbon-cutting last week, this grand opening kicks off a Summer of Love series at the park, set to include Friday-night movies and a mass wedding on July 18. —Margaret Seiler

The long-running multicultural food and music fest, always held the last weekend of June, is going back to its roots this year with classic Portland hip-hop acts Cool Nutz, Vursatyl, and Mic Capes serving as headliners on Saturday, while Aléa Lorén and Company take the stage for soulful Sunday set. Things kick off with a parade down NE Martin Luther King Jr. Boulevard Saturday at 11am. —MS

What better way to spend a summer Sunday afternoon than practicing the fiber arts as the Dashwood sisters dart about Devonshire? Among the best Austen adaptations, the 1995 Ang Lee film—with its Oscar-winning screenplay by Emma Thompson—is an astute comedy with heart. Thompson stars alongside Kate Winslet, Hugh Grant, and Alan Rickman. The Tomorrow Theater keeps the lights on low for these monthly Crafternoon screenings, helping you to see your knitting. But should you mess it up, staff from yarn shop/dye studio Ritual Dyes will be on hand to help. —Rebecca Jacobson

The Portland Bangers host the men’s team of Bigfoot FC (from Maple Valley, Washington) at 4pm, and sister team the Cherry Bombs face the Bigfoot women at 7pm. For the Cherry Bombs, it's the final game of their inaugural season, one complete with pink smoke, Portland Opera performances, and what may be the sporting world's best-dressed mascot, Mary T. Cherry. (Games ticketed separately.)

Halkias’s second Netflix special is due out sometime this year. As the prolific podcaster and actor (he played a cop in Bugonia and starred in the 2024 comedy Let’s Start a Cult) shared on Instagram, it was delayed because he broke his arm while falling off a scooter. A fan said hello while making a U-turn and cutting him off. At the same moment, the wind caught Halkias’s hat and a reflex took his hand off the bar, planting the other swiftly into the pavement with a crunch. —MT

The gallery describes Picton’s artworks as “hand-cut sculptural assemblages,” and it’s true that the pieces in A Deeper Picture aren’t exactly collages. What they are is a bona fide trip. Shockingly intricate cutouts layer and morph art-historical images and film stills into cultural wormholes. Tarkovsky, Fellini, Brueghel, and Leonardo da Vinci are all in play, laced together in big, razor-cut patterns that somehow blur so many iconic images softly together. —MT

Few contemporary artists are as famous as Hockney, who died June 11 at age 88. He cut his teeth as a pop artist in the 1960s, working in California and his native England. In contrast to the larger pop movement’s use of mass-market imagery in fine art (ad slogans, logos, and celebrity kitsch), Hockney depicted intimate, often personal scenes with an intensely flat and iconographic style. He made paintings that looked like ads instead of turning ads into paintings. Painter is usually the first on a list of Hockney’s trades, followed by draftsman, printmaker, stage designer, crafty MacGyver of outmoded technologies, and on and on. In recent years, he primarily worked with an iPad. His digitally produced work, elaborately printed at large scale or shown on various inventive screen displays, makes up a chunk of the more than 200 pieces in David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation. But the two-story exhibition draws on more than six decades of his career. There are no traditional paintings on canvas, however. While this does leave a hole in the show’s otherwise retrospective scope, it also speaks to Hockney’s endless experiments with the textures (and often the intentional lack of texture) that printmaking, photography, and more rudimentary examples of digitized painting software can offer. —MT