In its second season, “The Gilded Age” accepts the Russells as its heroes and lets its other stories breathe.
Carrie Coon as Bertha Russell and Nathan Lane as Ward McAllister in Season 2 of Max's “The Gilded Age.” In its second season, “The Gilded Age” — Julian Fellowes’s peculiar attempt to channel the themes of Edith Wharton in the key of “Downton Abbey” — abandons lofty and literary ambitions and settles for being the soapier, sillier project it always was.
As for the Russells: The children, an appealing duo, chafe under their monomaniacal mother’s increasingly bizarre interventions; Larry is seriously pursuing architecture, while Gladys haplessly dodges suitors. Bertha’s husband, George battles his unionizing workers in a conceit extending the show’s long track record of trying to make George both a ruthless captain of industry — the kind that might pitilessly drive a man to suicide — but also a good man.
As for the downstairs crew, nothing quite beats the inter-butler wars of the first season, but there’s a lot to like in this one, including a charming subplot concerning a patent. Downstairs might, in fact, be the one area where some real complexity around class arises; more than one
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