A different maid’s tale: The beautiful deceit of “Alias Grace”
Melanie McFarland
“I called this”: How David Wain mastered fake news with a Manafort joke
Melanie McFarland
How “Stranger Things 2” cloaks racial tension in the heartland
Melanie McFarland
The Curious Case of “The David S. Pumpkins Halloween Special”
Melanie McFarland
“Stranger Things 2”: A nostalgic return to Hawkins, Indiana
Melanie McFarland
Season of the witch: “Broad City” pays tribute to women of every age
Melanie McFarland
“Putin’s Revenge”: It’s the little things that cause our undoing
Melanie McFarland
How “American Vandal” becomes more than a dumb punchline
Melanie McFarland
TV Triage: A guide to series that are ready to give up the ghost
Melanie McFarland
The uphill battle facing “The Mayor,” ABC’s aspirational comedy
Melanie McFarland
L.A. Stories: Weinstein’s demise will not change Hollywood’s culture
Melanie McFarland
“White Famous”: If it weren’t so funny, we’d weep
Melanie McFarland
Fears Themselves: With “Lore,” a hit podcast comes to TV
Melanie McFarland
“Dynasty” returns shiny and new, but could use some old tricks
Melanie McFarland
“American Horror Story: Cult” censored itself after Las Vegas, and won
Melanie McFarland
“Mr. Robot” in the age of resistance
Melanie McFarland
Outlander Recap: “Freedom & Whisky,” and a long farewell
Melanie McFarland
Thoughts, prayers, and the five stages of media tragedy distillation
Melanie McFarland
“The Good Doctor,” “Young Sheldon” speak to our need for feel-good TV
Melanie McFarland
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