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Like the mythical city of Brigadoon, Lisa Kudrow\u2019s The Comeback<\/em> has returned to television after many years away. Yet time has not stood still for the show\u2019s inhabitants, older in a changing world that values them less and which they navigate with less assurance.<\/p>\n Kudrow, who created and writes the series with Michael Patrick King, was a player during the twilight of network-dominated television, cast in a smart, influential show with wide, multigenerational appeal; in a quantitative sense, at least, everything would be downhill from there, as the medium transformed and transformed again.<\/p>\n The Comeback<\/em> premiered in 2005, just a year after the end of Friends<\/em>; the first season addressed the rise of reality television, and the next season, in 2014, riffed on dark, streaming \u201cprestige\u201d television.<\/p>\n Not surprisingly, The Comeback<\/em>, as a thing made by humans, comes down firmly on their side \u2013 it is a manifesto at times \u2013 even as it acknowledges, uncomfortably, that computer-produced content might be \u201cgood enough\u201d.<\/p>\n Once again, Kudrow plays Valerie Cherish, who, at 60 \u2013 the phrase \u201cof a certain age\u201d repeats throughout the series \u2013 still qualifies as a working actor.<\/p>\n<\/div>\nThe new and final season, which is both timely and speculative, addresses the impact of artificial intelligence<\/span> on the medium and the industry, hinting at a dystopian future; this gives it a moral, even political, component, not to say a sense of urgency.<\/div>\n