David Bianculli

David Bianculli is a guest host and TV critic on NPR's Fresh Air with Terry Gross. A contributor to the show since its inception, he has been a TV critic since 1975.

From 1993 to 2007, Bianculli was a TV critic for the New York Daily News.

Bianculli has written three books: Dangerously Funny: The Uncensored Story of 'The Smothers Brothers Comedy Hour (Simon & Schuster/Touchstone, 2009), Teleliteracy: Taking Television Seriously (1992), and Dictionary of Teleliteracy (1996).

An associate professor of TV and film at Rowan University in New Jersey, Bianculli is also the founder and editor of the online magazine, TVWorthWatching.com.

Transcript

DAVID BIANCULLI, HOST:

This is FRESH AIR. I'm TV critic David Bianculli. Sunday night, HBO presents a new TV version of "The Normal Heart," Larry Kramer's 1985 play about the early years of the AIDS crisis. Kramer himself wrote the screenplay adaptation, which stars Mark Ruffalo and Julia Roberts. Almost 30 years later, the drama is both presented and viewed differently. It almost has to be.

On Monday night, NBC presented The Maya Rudolph Show, a one-hour prime-time variety special executive produced by Lorne Michaels and featuring many of their mutual Saturday Night Live cohorts, including Fred Armisen, Andy Samberg and Chris Parnell. It also co-starred Kristen Bell, Sean Hayes and singer Janelle Monae. The Maya Rudolph Show was an intentional effort to bring back the old-school TV variety show, but with a new-school slant that bathed most of the show in a distancing self-awareness.

Transcript

DAVID BIANCULLI, HOST:

This is FRESH AIR. I'm TV critic David Bianculli. This weekend two very different TV productions attempt to do much the same thing - revisit old works of literature in the horror and suspense genre and adapt them with new approaches for a new generation. NBC's four hour miniseries version of Ira Levin's "Rosemary's Baby" barely justifies the attempt.

It's very easy, and not at all inaccurate, to divide dramatic series television into two eras: before Hill Street Blues — which has just been released on DVD in its entirety for the first time -- and after. Before NBC televised Hill Street in 1981, most continuing drama series were presented as stand-alone, interchangeable hours starring the same characters. Every week, TV detectives Joe Mannix or Theo Kojak or Tony Baretta would investigate a crime, catch the villains and wait for next week to do it again.

Transcript

TERRY GROSS, HOST:

This is FRESH AIR. The FX cable network premieres a new drama series tonight. It's called "Fargo" and has the same title as the 1996 Coen brothers movie. Our TV critic David Bianculli says it's a wonderful show in that same wacky spirit, but he says it's just as important to note what this new "Fargo" is not. It's not a remake, and it's not a sequel.

This review discusses the plotline of Mad Men, up through the end of Season 6.

Matthew Weiner's Mad Men begins its seventh season Sunday on AMC. Every season, as this outstanding period drama has made its way through the 1960s, Weiner has been increasingly insistent about the things he doesn't want critics to reveal in advance. This year, that confidentiality wish list is almost laughably long, and includes not only the year in which the story resumes, but also specifics about certain relationships — both professional and personal.

During a recent Fresh Air review of the CBS series The Good Wife, I referred to it as one of my "go-to" shows whenever anyone asks me to name a drama series on broadcast TV that's as good as the ones on cable these days. Ever since, I've wanted to give equal time to my other go-to choice. That show, now winding up its fifth season, is NBC's Parenthood.

Transcript

TERRY GROSS, HOST:

This is FRESH AIR. This Sunday HBO presents the season premiers of two returning series - "Game of Thrones" and "VEEP" - and launches a new series, a Mike Judge comedy called "Silicon Valley." Our TV critic David Bianculli has seen them all.

Transcript

DAVID BIANCULLI, HOST:

HBO has done very well in the past with comedy series that explore and expose the inner workings of show business, from Garry Shandling in The Larry Sanders Show to Ricky Gervais in Extras. Wednesday night, the network presents its newest entry in that self-obsessed Hollywood genre: Doll & Em, a British comedy series that's a vanity production in the most literal sense of the word.

When I slipped in the preview DVD to watch the opening episodes of NBC's new drama series Crisis, which premieres Sunday, I have to admit I wasn't expecting much. Oh, there was some anticipation in seeing Gillian Anderson of The X-Files in a series lead again; but I wasn't sure whether we'd be getting the demand-your-attention actress from such marvelous British imports as Great Expectations and Bleak House, or the underused supporting actress from NBC's Hannibal.

Opening nights of new incarnations of late-night TV talk shows are good, mostly, for first impressions — or, in the case of Jay Leno, sometimes a second impression. It's not fair to make strong judgments on the content alone, because a first show always is top-heavy with ideas, special guests and nervousness. But it is fair game to judge the set, the environment, the overall mood, and how well the host fits into the history of late-night television.

There are times when television really does try to put its best foot forward — promoting a new fall season, for example. But it's an almost twisted rule of TV that sometimes, the better a television offering is, the more likely it is to be shown when even the network presenting it doesn't think many people will be watching.

Two new miniseries this week are worth special mention — and couldn't be more different.

True Detective, which begins Sunday on HBO, is a combination series and miniseries, kind of like American Horror Story on FX. Each season is designed to tell a different, self-contained story, followed the next year by a new tale with new characters and sometimes even new actors. This first season of True Detective is an eight-hour murder mystery starring Matthew McConaughey and Woody Harrelson, neither of whom is expected to return next season.

When you think about what Downton Abbey has achieved, and is continuing to pull off, it's actually pretty remarkable. In an era when the most acclaimed TV series of the decade is an edgy cable drama about a dying, meth-making criminal, Downton Abbey draws similarly large audiences on broadcast TV — public TV, at that — with an old-fashioned soap opera about servants and household staffers and those they serve. As Season 4 begins on PBS, Downton Abbey is the most popular drama in the history of public television.

Pages