If hanging the new season of Fargo on the fiscal crisis of 2008 doesn’t sound all that sexy, creator Noah Hawley says the new edition really gets back to something more timeless and troubling. “It’s about what people will do for money...”...

2017

Apr

THE VOICE By David Bianculli

Last night, in the first night of the live competition round, singers from the teams of Blake Shelton and Alicia Keys competed to stay alive in the contest. Two singers on each team of six were voted as worthy of continuing by viewers at the end of the program, and the judges were allowed, after that, to select one other team member apiece for advancement. At the show’s literal last minute, Keys rewarded, with her judge’s pardon, one of the finest performers of the night: Stephanie R

2017

Apr

IZOMBIE By David Bianculli

In tonight’s episode, Liv (Rose McIver) eats the brains, and temporarily absorbs the memories and personality, of a laid-back lifestyle guru. You might well ask: "Oh, yeah? And zen what happens?"

2017

Apr

L.A. BURNING: THE RIOTS 25 YEARS LATER By David Bianculli

They’re widely called the L.A. riots, those violent street protests that followed the 1992 not guilty verdict in the case of four white L.A.P.D. officers captured on videotape violently beating black motorist Rodney King. But others call them “the L.A. uprisings,” and 25 years later, the racial and societal divisions exposed by that event and court case have, sadly, been repeated and amplified in the many years since. “Can’t we all just get along?” King famous

2017

Apr

MARVEL'S AGENTS OF S.H.I.E.L.D. By David Bianculli

For a few episodes now, the agents of S.H.I.E.L.D. have been plugged into the alternate reality world known as the Framework, which keeps their bodies inert by their minds intensely occupied and distracted – by placing them in a different world, populated by the familiar yet altered. Aida (Mallory Jansen), an artificial intelligence android corrupted by an evil force, captured and mentally imprisoned and altered the agents, and now rules them as the ruthless leader of Hydra. But the native

2017

Apr

THE AMERICANS By David Bianculli

More than a year’s worth of episodes on The Americans, ever since young Paige (Holly Taylor, who gets better and better every week) snooped around in the family laundry room and began learning that her parents were Russian spies, have led up to the cliffhanger that ended last week’s episode. The chief handler of Philip and Elizabeth, Frank Langella’s Gabriel, had revealed to them his intention to return to the Soviet Union – and Philip (Matthew Rhys) and Elizabeth (Keri R

2017

Apr

STEPPING UP THE TENSIONS By Eric Gould

The annual North Korean military parade is always a spectacle, and generally no joking matter to watch. And it’s a safe bet that it was a worldwide audience this year since expectations about hardware sophisticated enough to reach neighboring countries and the United States were more or less confirmed...

2017

Apr

THE LAST WALTZ By David Bianculli

One of the all-time great concert films, Martin Scorsese captured his love of music, and the farewell appearance by The Band, in this bursting-with-energy, captured-in-amber 1978 movie about the group’s last performance, on Thanksgiving 1976, featuring a lineup loaded with very special guests. Yes, Bob Dylan is here to party with, and say aloha to, his former backing band. But also saying goodbye to Band members Robbie Robertson, Levon Helm, Garth Hudson, Richard Manuel and Rick Danko are

2017

Apr

THE VOICE By David Bianculli

The Voice, in truth, is several shows in one, each entertaining in its own right. First was the “blind auditions” phase, a beautiful introduction in which, for a while at least, sound conquers image. Then come the battle and knockout rounds, where the singers compete to advance the initial competitions. And now, starting tonight, comes the next round, which is different because everything is live – showing new sides not only of the singers, but of the judges.

2017

Apr

1776 By David Bianculli

This 1972 version of the musical about the Continental Congress and its political battles to declare independence from England was made 196 years after the events it was dramatizing in music. Somehow, though, the verbal battles and back-room events, and especially the jockeying for position and political posturing, are as current as ever. And if you approach 1776 as a precursor and spiritual ancestor of the musical Hamilton, then you can enjoy this musical on that basis as well, because most of

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