Watch closely: “Dear White People Vol. 2” opens a new chapter on race
Melanie McFarland
This time it’s too personal: “James Cameron’s Story of Science Fiction”
Melanie McFarland
“America Divided”: Gretchen Carlson talks about D.C.’s War on Women
Melanie McFarland
In “Westworld,” the revolution is being televised
Melanie McFarland
How Bill Cosby, America’s dad, used TV to betray us
Melanie McFarland
Antonio Banderas and the muddled portraiture of “Genius: Picasso”
Melanie McFarland
We can’t binge-watch “Brockmire,” and that’s a problem
Melanie McFarland
What a fresh hell this is: “The Handmaid’s Tale” returns
Melanie McFarland
“Westworld” returns, upgraded and simplified
Melanie McFarland
Tracey Ullman takes on Starz’s “Howards End”
Melanie McFarland
“Scandal” series finale: Closing the door on a White House fantasy
Melanie McFarland
There’s something about Mary: “Roseanne” and the almost invisible girl
Mary Conner, Melanie McFarland
Comey and Stormy: TV bookends to a pair of character studies
Melanie McFarland
The burden of wealth: Director Danny Boyle talks about “Trust”
Melanie McFarland
The necessary discomfort of “Wyatt Cenac’s Problem Areas”
Melanie McFarland
“Roseanne” and “Good Times”: A ballad for Becky and Darlene
Melanie McFarland
BBC America’s “Killing Eve”: Murder most feminist
Melanie McFarland
The zen of Henry Winkler, star of HBO’s “Barry”
Melanie McFarland
Reminder: “Roseanne” is not the only “real” American sitcom
Melanie McFarland
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