Melanie McFarland

This is American history for fashion influencers. There isn’t much holding it together, but the looks are on point. .... Is there an urgent lesson in their story for us to ponder? Not really, but even lacking that, the series fails its obligation to entertain.

He's [Egg's] a pint-sized smart aleck who cares deeply for Dunk. Ansell’s also flawlessly cast in this part, and he and Claffey have a jubilant chemistry. .... “A Knight of the Seven Kingdoms” transforms from an origin story into a heartfelt critique of inherited power’s worth against the oaken will of a simple man fueled by duty and honor.

“The Gilded Age” has always plied high-toned melodrama as its chief asset, but Season 3 ripens the starched formality of previous episodes into succulence. Intertwining plots are rife with reversals of fortune, starting with the Russells’ neighbors across the street.

“Too Much” doesn’t entirely abandon Dunham’s impulse to make her lead character an extension of herself, and if you’re not a fan of hers, this may be a barrier to entry. In this case, it should not be, and I say this as someone who doesn’t particularly like Lena Dunham for a variety of reasons. .... Dunham’s smartest move was choosing Stalter to be this comedy’s voice.

Van Patten’s interpretation of Amanda’s transformation from a carefree young woman into a determined survivor is poignant and provocative in equal measure. .... Knox comprehends how knotty the process of reconciling with an ending that differs from what we want can be. Maybe others can find that understanding by viewing the version written by her own hand.

That Hank is confused, not horrified, immediately allows our shoulders to drop a bit. Even if America’s moral and psychological center has shifted closer to their neighbor Dale Gribble’s paranoia flood zone, Hank and Peggy’s hasn’t. .... These new episodes navigate politically charged topics without delving into the “King of the Hill” confronts progressive and right-wing stereotypes with care and equanimity. Achieving this in a cultural environment as riven as ours would seem to be more difficult, yet none of the humor feels strained.

“The Chair Company” is an endurance test. If that sounds unpleasant, you may not be cut out for Robinson’s brand of comedy. But those who are familiar with and enjoy Robinson’s puckering brand of cringe are probably up for the challenge — which it is, in the best way.

It’s better about presenting Hemsworth as an example, not the exemplar, of what functional fitness can look like. He’s still testing his limits by doing things only a wealthy, famous actor can do, like flirting with reputational disaster by performing with a pop star. But he takes on these massive dares under the guidance of accredited authorities.

Some of her enthusiasm might rub off on you. Some, or all, may rub you the wrong way. But if you embrace lifestyle programming as a soothing agent, you may be just as content to put the haters on mute and flop on the couch like a collapsed meringue as these four-plus new hours float on by.

Although the third season sheds a lot of faulty parts and second-rate baggage, Carrie’s still devoted (or, some would say, chained) to her long-distance relationship with Aidan Shaw (John Corbett). .... The Manhattan single lives of Miranda and Carrie, separately and together more often this season than previously, are marginally more compelling but also vanilla and, in Carrie’s case, kind of gross. .... Anthony and Giuseppe, in contrast, are faring just fine. We don’t see enough of them.