2024 TV, Movies and More That New York Times Critics Look Forward To – The New York Times

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“Mad Max” gets a prequel, “The Wiz” returns to Broadway and Larry David gets another crack at a series finale.
By Holland Cotter, Alissa Wilkinson, Mike Hale, Salamishah Tillet, Jesse Green, Maya Phillips, Jason Zinoman, Margaret Lyons, Zachary Woolfe and Jon Pareles
Holland Cotter
Early in 1969, the Metropolitan Museum sparked an uproar with an exhibition called “Harlem on My Mind: Cultural Capital of Black America, 1900-1968.” Although conceived as the museum’s first big-ticket acknowledgment of African American creativity, it included no visual art beyond documentary photomurals. Black artists, many working in Harlem just blocks north of the museum, angrily picketed the show, denouncing it as evidence of art world racism writ large.
As a student visiting New York in 1969 I saw, and was baffled by, that show, so I’m eager to see a new one that can only be viewed as a corrective to it, the marquee-scale survey of paintings, sculptures, photographs and films titled “The Harlem Renaissance and Transatlantic Modernism” scheduled to open at the Met in February. The announced inclusion of a wealth of African American art considered inadmissible to the Met half a century ago — some represented by rarely seen loans from the collections of some of the country’s historically Black colleges and universities — is, on its own, an exciting prospect. And so is the exhibition’s larger promise to fully position modern African American art not just as a local phenomenon, but as a generator of international modernism itself.
Alissa Wilkinson
This year brings a lot of sequels: “Inside Out 2,” “Beetlejuice 2,” “Joker: Folie à Deux,” “Gladiator 2,” “Dune: Part Two,” plus new films in the “Quiet Place” and “Venom” and “Paddington” and “Godzilla” and even “Despicable Me” cinematic universes. I rarely get excited for non-original films, since most of them come off as naked cash grabs capitalizing on existing I.P. and risk-averse audiences. But I’m always curious if a sequel (or prequel or side-quel or whatever) will manage to be good, and the one I’m excited for is “Furiosa: A Mad Max Saga.” George Miller returns to direct an origin story for the character that Charlize Theron played in 2015’s “Mad Max: Fury Road,” with Anya Taylor-Joy in the Furiosa role. I love a dystopia, and few have exceeded the sheer adrenaline and dread of “Fury Road.” I’m revisiting all the “Mad Max” movies in preparation.
Mike Hale
Clive Owen as an aging Sam Spade on AMC’s “Monsieur Spade” (Jan. 14), Helena Bonham Carter as the 1970s soap opera star Noele Gordon (“Nolly,” PBS), Ben Mendelsohn and Juliette Binoche as Christian Dior and Coco Chanel (“The New Look,” Apple TV+, Feb. 14) — there may have never been a new TV year with so many intriguing bits of casting. But the one that has me the most curious is the wonderfully acidic British actor Tom Hollander playing Truman Capote in FX’s “Feud: Capote vs. the Swans” (Jan. 31). Naomi Watts, Diane Lane, Chloë Sevigny and Calista Flockhart play some of the society women Capote befriended and then used as material for his highly unflattering roman à clef “Answered Prayers”; if the thought of Hollander channeling Capote as he calls Happy Rockefeller “that fat-ankled harridan” turns you on, then you must tune in.
Salamishah Tillet
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