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florrickandassociates · 3 years ago

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TGF Thoughts: 5x10-- And the violence spread.

So, that’s it for season five. I’m still trying to sort out how I feel about the season as a whole and Wackner’s arc. I’m hopeful that writing this will help me decide.

This episode has a Previously, and it’s rather conventional. I’m guessing it’s here to bookend the season, with conveying information being only a secondary objective.

Did we see Rivi scream, “You’re done, Wacko, you’re done! Canceled! Canceled!” in the last episode or is that new to this previously? I feel like I absolutely would’ve had things to say about a) Wackner being called “Wacko,” which has been RIGHT THERE this whole time, and b) the use of “Canceled,” which is a thing Rivi would never say but is VERY thematic (you know, cancel culture and also Wackner having a TV show and also this being a TV show that’s wrapping up* Wackner’s arc).

* The way things end this episode, I’d say we’re done with Wackner. The Kings have said they aren’t sure about the plan for season six, so never say never, but I think that if we see Wackner again, it will be as part of a different arc.

I went back to 5x09 and while we do see the same shots of Rivi screaming, whatever he’s saying in 5x09 is in Spanish. So either he was saying this in Spanish or the dialogue here is totally new.

I’m a little sad that I knew in advance Robert King had directed this episode, because I want to know how long it would’ve taken me to guess. I’d like to think this first shot, of Diane flopping down on her bed in a very pretty floral print dress, then Kurt flopping down in the opposite direction, would’ve given it away. We usually don’t get shots that are both striking and kinda balanced unless RK’s directing.

This also has some big season three opener vibes—the scene where Diane turns to Kurt and says, “I’m happy,” thus jinxing the entire season.

Diane and Kurt are about to go on vacation, which means, of course, that Diane and Kurt are definitely not about to go on vacation. I’ve watched 12 seasons of this show; I know all the tricks!

If I didn’t get it from the initial staging of the opening shot, the camera panning to Diane and Kurt’s suitcases and then back would’ve been another clue that RK directed. He ALWAYS has the camera in motion.

I love that Diane’s travel outfit is a dress you could wear to a fancy party and a statement necklace. Of course it is.

And if I needed evidence that RK and MK wrote this episode (which I didn’t; it is a finale so I knew they wrote it), Diane quoting Waiting for Godot is a clue there.

I really should read Waiting for Godot, shouldn’t I?

“Wow. Educated and a good lay,” Kurt responds. I know that the political stuff between Diane and Kurt can get more than a little murky, but banter like this reminds me why they stay together and why politics never drive them apart. Also, it’s really nice to see Diane and Kurt have some fun banter that isn’t about politics.

And Diane making kissing noises and asking Kurt to meet her halfway! This just feels like I’m spying on someone’s private life and I love it. Not in a voyeuristic way, since this is actually a little uncomfortably private, but in a, “ah, yes, these do feel like real people” way. This is the kind of “a little goes a long way” character moment I always want more of, and Kings episodes ALWAYS include stuff like this.

And there it is. The phone rings as Diane and Kurt are about to start out for the airport. Diane thinks the call must be for Kurt, but it’s for her. It’s a very flustered Liz, informing her that STR Laurie’s execs are on their way to the office for a surprise visit.

If the Diane/Kurt scene didn’t tell me that Robert King directed, I almost certainly would’ve gotten it from the sudden cut to Liz, walking through the hallways and doing a million things at once with a ton of background noise. No one loves chaos the way Robert King loves chaos.

This episode STRONGLY reminds me of the Wife season five finale. It is equally chaotic and also spins a ton of plates. But, mostly, the similarity I see between the two episodes is that they are both extremely fun and captivating to watch because of how much momentum they have, but everything just feels slightly hollow and not exactly focused on the thing you want to see.

(Shout out to my friend Ryan, who messaged me the 5x22 comparison before I could message it to him!)

I decided I should rewatch the first few minutes of 5x22. I am now 15 minutes into 5x22 of Wife and 2 minutes into 5x10 of Fight. Oops.

Apparently, STR Laurie planned a surprise visit because they heard RL was dysfunctional. You don’t say!

I felt like 5x09 concluded with STR Laurie being won over by Allegra and the RL team, so this is a bit of a surprising place to start the episode. But, since Diane seems surprised too, I’ll allow it.

Now Liz and Diane have 90 minutes to agree on a financial plan! Kurt’s on the phone with the airline before Diane even hangs up with Liz.

Diane is determined not to lose out on her vacation and asks Kurt to change the flight to 8:00. “Kurt, we are going on this vacation if it kills me!” is a line I would worry was foreshadowing on basically any other show.

The RL/STRL PowerPoint template is pretty ugly. They want to call 2021 their best year yet, thanks to the deal between Rivi and Plum Meadow Farms we saw last week. Even though we saw champagne and signatures, the deal isn’t done yet because Plum Meadow can back out if Rivi goes to jail.

RK also loves close-ups more than any other director on the show; I do not love close-ups.

The Plum Meadow deal is such a big deal that for the quarter, they go from $45 million to $5 million without it. They should just not say numbers. I can believe it’s big enough to take them from a modest profit to being behind projections or whatever, but I can’t believe that they have $5 million in other business and $40 million on this one deal.

It seems that Rivi was arrested. I don’t think it is ever said in this episode why. I assume the arrest relates to his behavior in Wackner’s court, since there were police officers there, and I suppose that Rivi is a big enough deal the police would actually take him to real court, but are we not going to address the weirdness of Rivi being arrested in a fake court where his employees are being tried, then taken to a real court by the same people who just an episode ago were disillusioned with real court? This seems like a plot point.

Carmen on a frantic phone call in the backseat of a car feels very 7x22.

Who is James that Carmen has in her contacts!? And why does everyone always put Liz in their contacts as “Elizabeth Reddick” when everyone calls her Liz?

Carmen calls Marissa to go argue in Vinetta’s court since she’s on Rivi duty. Carmen doesn’t take Marissa’s job in Wackner’s court seriously and then notes that this instruction is coming straight from Liz, so Marissa falls in line.

Wackner’s case of the week is about rural Illinois wanting to form its own state separate from Chicago. There’s a farmer who feels like his tax money is only going to the big city and he wants it to stay in his community.

They’ve just now added stage lighting to the set of Wackner Rules, dunno why they wouldn’t have done that earlier!

I don’t know what standing you’d have to have to bring a case about wanting to divide the state in two to court, or if this is even something a court would or should decide, but, sure, Wackner and Cord, go for it. There are no rules!

This map splitting Illinois into two new states that Cord is holding is a dumb prop because Galena, where this farmer is from, is in the same section as Chicago. Do I pause every reference to Chicago on this show and then google information to see if the writers bothered to look it up or pretend they’ve ever set foot in Chicago? You know I do.

“Secession!” the audience screams. Does the audience of Wackner Rules really want to see this?

A Good Fight Short! And it really is short: “Stop this obsession with secession and breaking up the Union. It’s boring and it’s dumb, end of song.” I feel like that’s the thesis statement for this episode, or one of them (that this episode seems to have about ten thesis statements is kind of my problem with this episode, tbh). This episode is very much about danger of things becoming too fractured—the COTW, the copycat courts, the firm drama—and I feel like the writers come around to just saying no, this is enough, we need structure and consistency.

But more on that later. MUCH more on that later.

Marissa is swearing more because “the world has required it.” She notes this to Wackner as she calls him out on the secession case. Cord barges in.

Take a look at the employee of the month poster on the back of the door at 5:39. Then at 5:40, look at what’s in the box just to the right of the center of the screen: it’s an employee of the month poster with Wackner on it! Cute easter egg. (Would Marissa definitely notice this and have questions? Yes. Is this here as a cute easter egg for eagle-eyed fans? Almost certainly.)

“Insane is just one step away from reality if you get people to believe, and you know what makes people believe? TV.” Cord explains when Marissa asks how they can possibly be litigating this case. That’s thesis statements two and three, folks. The first is that if you get people to believe, then anything is possible, which sounds like a tagline for a Disney movie but is actually super dangerous; the second is that reality TV is a way to persuade people and change opinions.

So we’ve got: (1) Factions are bad. (2) People are persuadable and the rules don’t actually matter. (3) Reality TV changes minds. Let’s see if there are more.

(Yes, these theses do kind of add up to a whole—The rules don’t matter, so if you persuade people, through reality tv, you get factions of people believing their own sets of rules and facts—but what I'm interested in tracking throughout this episode is how well the writers actually bring these theses together.)

(And this is setting aside that key themes in previous episodes, that I think many of us were looking for resolution on, included outlining the flaws with the extant “real” justice system and exploring the role of prison in the justice system. From this episode, I don’t think the writers ever intended to really tackle either of those issues. That’s fine—I'm not sure that TGF has something to say about prison abolition and I don’t want a thought experiment where the writers actually try to fix the legal system—but feels a bit disjointed. I’ve said it before and I’ll say it again, but 5x08 and 5x09 needed to do a better, clearer job of setting up this finale. The key themes of Wackner’s arc were always present, but they needed to slowly narrow the scope so the resolution felt inevitable and clear. Instead, we spent time on things like parking spaces (when we could’ve had a real plot about how Wackner’s court gains legitimacy through violence, incarceration, and playing on people’s frustration with the real systems) and Del’s focus groups (when we could’ve instead done a plot about Wackner gaining fans who wanted to use his methods to do ill). Everything I just mentioned in the parentheticals is in the show! It’s not subtext! We see it all! We see Cord use violence and prisons to enforce Wackner’s rulings; we see the cops turn to Wackner out of frustration; we see that the people drawn to Wackner Rules and to Wackner’s court are increasingly sounding more and more like right-wing populists! I can’t be too hard on this arc because, again, all these ideas are there. I’m not coming up with them on my own!)

I’m just saying: this ending would’ve been a lot clearer and a lot more interesting had the writers focused on what I mentioned above instead of the distractions of the last two episodes.

Whew, that was a ramble. Hope you’re ready for more rambles.

On a similar note, I’d like to reiterate my problems with how the writers used Marissa after the private prison reveal. I don’t have much more to say than what I wrote last week, but it’s another example of the same problem. Marissa objecting to Wackner’s court because she notices what it’s becoming and how Cord plans to use it for political gain (two Illinoises (??) changes the Senate and the Electoral College...) always was going to be part of the endgame. Marissa only seriously objecting after the fourth or fifth line Wackner crosses feels bizarre.

Cord does NOT like that there is another court, and wants to protect Wackner’s IP. Wackner, as we saw last episode, does not feel threatened by the other court. In fact, he seems to be excited by it.

I love Liz questioning Diane’s outfit like it’s unprofessional. It’s a little low-cut and showy, but I don’t think unprofessional is the word I’d use for it.

Now they have 45 minutes to decide The Future Of The Firm and Diane wants to be considered a name partner. Oh, that debate is still raging?! Every time I think it’s done it comes back, which should probably be a sign to Diane that her options are to leave and start something new, jettison Madeline and the others, or step down. Staying on as name partner and calling it a black firm is just not an option.

“Diane, there is a split in the firm that...” Liz starts, before asking some associates to leave the room. Ha! The reveal Liz and Diane aren’t alone is a pretty fun touch.

“The Black equity partners don’t want to be in your work group,” Liz informs Diane. “Because they think they’ll be punished by this firm?” Diane asks. “No, that’s paranoia. We don’t punish here,” Liz responds. “Of course you do. My fracking client. My union client. The Black lawyers who work on those cases—they're considered traitors” Diane says. “Because those CEOs are racists,” Liz counters.

Lots going on here, and I’m not sure I understand it all. Why would the equity partners—who are partners—feel like they’re being punished by being in Diane’s work group? (And also what does a “work group” mean and why haven’t they talked about it in the past?) When Diane starts talking about the lawyers who staff her clients, she’s not talking about equity partners; she is talking about associates.

And people are giving associates shit for working on Diane’s clients whom they happen to be staffed on!? That’s sad, though believable.

“So what do we do? Only bring in clients who can pass the racial smell test?” Diane asks. I mean, actually, yes. IF the goal is to be a black firm and to have that designation mean something in moral terms rather than marketing terms, then yes.

“It’s okay if you’re a drug kingpin like Rivi, but it’s not okay if you want me as lead attorney?” Diane says. Also, yes. Diane makes good points here.

“Diane, this is not about you,” Liz counters. Um, sure, but it has to be about something, Liz. Unless you’re trying to build a firm you don’t control that makes 88% of its revenue from a drug dealer (40 million out of 45 million this quarter = 88%; I told you they shouldn’t give me numbers) but happens to have black people in charge, you have to grapple with this question. I don’t think anyone who’s fighting for the firm to be a black-led (not owned, bc STRL) business is the type of person who thinks that having a black-led firm that does all the same shit as any other firm is in itself a good thing, so you NEED to address your client list. Madeline is anti-Rivi, anti-Cord, anti-Wolfe-Coleman (the rapist guy), pro-social justice, and pro having a black led firm.

“I mean, why... why do white people personalize this?” Liz asks. “Oh, now I’m just a white person?” Diane responds. I... don’t know what to do with this! Liz is right that Diane is taking this personally; Diane is right that Liz needs to deal with the rest of the client list. But no one is saying the things that REALLY need to be said: That all their decisions are meaningless in the shadow of STRL, and that deciding to be a black led firm isn’t the end of the discussion if they haven’t decided what types of clients they want to have.

“What happened, Liz? Last year we were intent on an all-female-run law firm,” Diane starts. Oh, THIS AGAIN! Diane never learns, does she? She never seems to realize that no one she’s approached with this idea is NEARLY as in love with it as she is. She probably still wonders to herself why Alicia—who partnered with her at the end of season seven basically just because it was the easiest, most frictionless thing to do—didn't seem more committed to their firm.

“Diane, there is history here that we are trying to...” Liz says, but Diane cuts in to note that women (women like Diane Lockhart!) have history too! In fact, she’s spent “35 years fighting gender discrimination to get to this position.” “And we have spent 400 years fighting racial discrimination to try and, you know...” Liz starts, before cutting herself off to get back to the ticking clock.

Sigh. Just talk about the actual thing instead of talking around the thing, guys. Diane is obviously deserving of A name partnership, in the abstract. This is an undeniable fact. And while Diane is definitely making this about herself rather than the big picture, I don’t think Liz trying to trump Diane’s 35 year career with the history of black people is going to win her any arguments? Like, just say what you mean and say it clearly. What Liz, I think, wants to express is that Diane’s individual accomplishments aren’t the issue here and everyone thinks she’s deserving (though Liz suggested Diane was not deserving a few episodes ago, which I didn’t understand then and don’t understand now). The problem is that Diane is trying to fight a battle that’s about something much larger than herself with, “but I'm a good lawyer!”

And that’s KIND OF what Liz is saying here, if I add all her sentences up and read between the lines, but, again, why not just say it?

“Alright, now we have 43 minutes to fix race relations, gender relations. STR Laurie’s gonna fire our asses, and you know it,” Liz says. I am curious what that would look like. Wouldn’t that just mean that STRL wouldn’t control them anymore? I’m sure being fired would be bad and all, but wouldn’t it free them from the contract they wanted out of last year?

“Let’s split the firm down the middle. I hire half the lawyers, you hire the other half,” Diane suggests. What does this mean? Why are you hiring your employees? Huh?

“You hire the white associates, and I hire the black associates?” Liz confirms. This seems like a very bad idea that would make things a lot worse and open them up to lawsuits! I also still do not know what they’re even talking about. And I don’t know why Allegra isn’t a part of this conversation.

“I’m not saying it’s good. I’m just saying it’s what we’re left with. It's what we can agree on,” Diane says. I really wish I understood what “hire” meant in this context because I don’t understand why they have to split anything or why this has to be done now and I don’t understand why this would possibly be a good solution. Can you imagine the backlash when people realize all the white people report to Diane and all the black people to Liz and that people were taken off of the accounts they’ve worked on for years to accomplish this? And this must be something that the employees would know about eventually; otherwise they could just randomly assign half to Liz and half to Diane.

I’m sad Madeline isn’t in this episode because I feel like we needed to see more of her POV as well as the associate POV. I don’t really understand the divides at play within the firm or what the staff and other partners are asking for, but I suspect it isn’t this.

Hallucination Jesus is back, and at least there’s actually a point to him this time (he shows up when Jay is in Vinetta’s court and reminds Jay that Vinetta will rule based on her religious beliefs). I still dislike the hallucinations.

Jay advises Marissa, who is Jewish, to talk a lot about Jesus in her defense.

Charmaine Bingwa is really great as Carmen, and obviously she is not fluent in Spanish, but it’s so funny to me that the only time you can hear that she’s Australian is when she’s trying to say Oscar like she’s speaking Spanish.

"I know you’re hiding something when you speak English,” Rivi says to Carmen. Heh.

“Community court” is such a nice, unthreatening term for referring to Wackner and his copy cats. Thanks for that, Carmen!

It’s a smart plan to mention Jesus a lot, I guess, but Jay and Marissa both should’ve realized that Vinetta is too smart to tolerate obvious pandering. I’m a little surprised Jay doesn’t get up and argue since Marissa is, obviously, not familiar with the New Testament.

Marissa wins this round with facts and logic.

Why is the judge who was handling Rivi’s previous charge now in bond court? Make it make sense.

I like that Carmen calls out the ASA for swearing hahaha

Why... would this Matteo kid just casually mention he was holding a gun, omg.

In Vinetta’s court, you can be charged with murder and tried because... you had a gun and also there were murders at other times. Coolcoolcool no problems here.

Community courts for civil cases? Sure. That’s basically arbitration. Community courts for criminal cases? Bad, bad, bad idea.

Vinetta’s reasoning: “Those murders happened on our street, and the police haven’t convicted anyone because they don’t care. We care. This is self-defense. And how is it different from your court?” Aside from the whole imprisoning people in her basement thing, Vinetta’s not wrong. I almost brought this up last week but hesitated because I couldn’t remember the details enough to decide if I wanted to recommend it, but there’s a book I read a few years ago that seems relevant here: Ghettoside by Jill Leovy. Again, been a while so don’t take this as a wholehearted endorsement or anything, but from what I remember, the central issue at the heart of the book (it’s non-fiction) is that a poor black community (I think in LA?) doesn’t trust the police (in part) because the police don’t solve murders, and then with no way of getting justice through the court system, there’s more violence as a stand-in for justice. https://www.vox.com/2016/8/26/12631962/ghettoside-jill-leovy-black-crime

I’m not sure if that’s QUITE what Vinetta is saying but it seems similar, and it’s a decent point (though not a justification for her court). Why should she trust the system to improve her community when it’s ignored her community for years?

I like that the writers chose two very different, very understandable characters for their community courts. It’s easy to see why Wackner and Vinetta feel the need for alternative courts; it’s easy to see why others would trust them. This arc doesn’t really work unless there’s a legitimate frustration with existing systems...

Marissa calls Wackner’s court a “joke,” which she should understand by now isn’t the case. (Marissa’s smart; she knew it wasn’t a joke the second she saw David Cord get involved.)

Vinetta accuses Wackner of copying her court, which alarms Marissa. This isn’t addressed again, and I don’t know if it’s true! I could really go either way on this. On the one hand, I absolutely believe that Wackner saw/heard about it, liked it, and did it himself without thinking much of it—and if this is the case, then the ending where Vinetta gets in trouble for violating Wackner’s IP is a lot more of a gut punch. On the other hand, I don’t really feel like the seeds for this were planted. We see Wackner innovate a lot and try new things and he has an explanation for why he does everything—how much of that is Vinetta? And Vinetta clearly watches the show and likes it or she wouldn’t have recognized Marissa, so it’s a little hard for me to just believe her claim when literally all I know about her is she has a court that looks like Wackner’s and she is aware of and feels positively towards Wackner rules. Also, Wackner knows about Vinetta’s court (from Marissa) and sounded excited about it last episode. Sure, he didn’t necessarily know which one it was, exactly, but I assume if he’d copied the idea and then heard about a case involving people from the exact same community where he found the idea... his reaction would be different. So IDK. My reasons for doubting Vinetta’s claim are probably based a little too much in things I’m not meant to spend that much time paying attention to.

“I fucked up. It’s in the same court, but now it’s a murder case,” Marissa tells Diane. I do like hearing characters admit when they fucked up!

Diane hears that STRL is delayed, so she heads out to help Matteo. When she goes to change into her pantsuit, she finds that she’s grabbed Kurt’s bag by mistake. “Of course. That makes sense,” she reacts.

Diane pushes her flight to the next day, also telling Kurt, “And yes, for some reason, I took your suit instead of mine, so fuck it.” I love it when the characters feel like real people.

I am not sure why Kurt is getting to the office when Diane is leaving or why Kurt is there—to pick Diane up on the way to the airport, maybe?

Carter Schmidt walks into RL at the worst possible time, threating to blow up the Plum Meadow deal. Another 5x10 to Wife 5x22 similarity: he’s in both episodes.

Liz heads out to help Carmen with Rivi, and then STRL arrives. Oops.

Credits!

One thing about Wackner’s court that should definitely be a warning sign even though it seems noble: he ignores just about every warning sign, like this rowdy crowd screaming WE LOVE YOU WACKNER or the potential interests at play in a case about secession, because he thinks his fair judgement can overcome these obstacles. If the world worked that way, there’d be no need for his court in the first place.

Is anyone representing the State of Illinois in this trial? If not, then... how is it happening?

Dr. Goat, some dude who claims to have some hidden historical document about how Illinois is actually two states, is clearly making stuff up and yet Wackner indulges him and Cord. I feel about this the same way as I feel about the Devil’s Advocate: That Wackner would not allow this to go on for more than five seconds before calling bullshit and therefore there is no reason I should have to sit through it.

Why is some guy screaming, “No taxation without representation” like dude you absolutely have representation. But of course, I’m expecting him to be logical, and the point is that he is not.

Dr. Goat’s Latin phrases—shock!-- don’t actually translate into anything like what he said. Even though this information is verifiable by a quick google search, the crowd starts screaming “Liar!!!!” at Marissa. If only I could say this felt unrealistic.

Wackner asks Dr. Goat to bring in the document.

“You look like you’re heading to the beach,” Vinetta says to Diane, who looks like she’s heading somewhere but definitely not to the beach. Vinetta asks where Diane was headed on vacation. Diane says she’s headed to Lake Como, and unnecessarily clarifies that “It’s in Italy.” She assumes Vinetta doesn’t know that... but Vinetta does.

“So you’ve been there before?” Vinetta probes when Diane says it’s beautiful there. “Just once. We don’t get away often. We thought we’d splurge,” Diane says. Vinetta stares at her and smiles, and Diane hits her head on a basket that’s hanging in Vinetta’s kitchen. If I just write out the dialogue here, it sounds like a perfectly average conversation, but everything about this conversation is so charged: Diane is afraid to look like a wealthy white woman; Vinetta’s pleasantness is pretty clearly also a way of sizing up Diane.

Vinetta shows Diane pictures of neighborhood children and young adults killed as a consequence of gang violence. You can see she’s not trying to do anything other than help her community, even if her methods are highly questionable.

Diane argues that Matteo should be given over to the police; Vinetta disagrees: “The police haven’t arrested anyone for those murders, any of these. Since the BLM movement, they’ve pulled back from our streets. No one’s coming to help. That’s why I started this court. It’s not a joke to us.” Wait I’m sorry did Vinetta just blame lack of good detective work in black communities on... the BLM movement?!?!?! Is there any foundation to this!? Why can’t it just be that the police weren’t actually doing a good job of policing/finding justice and were being antagonistic towards the community instead of being helpful and no one trusted them?? That explanation is literally right there.

Jay suggests the Jesus strategy, again.

“It’s women! We could just move on, install men,” STRL guy says. I don’t know if he’s joking, but ugh. Also, what is RL if it has neither Diane nor Liz? A bunch of lawyers who will all promptly quit when they see their bosses get fired and a few opportunists?

Kurt is watching golf in Diane’s office, and the STRL people love it. Of course Kurt accidentally makes friends with them.

Court stuff happens. It’s not good for Rivi, and then Liz and Carmen come up with a theory: Plum Meadow is stalling the deal so they can find Rivi’s more stable second and make a deal with them instead.

Wackner giving Dr. Goat a single point on his stupid little board, for any reason related to his obviously fake totally unverified document, is dangerous. Why would you signal to a crowd that’s clearly not interested in fact that they have a point? That’s basically egging them on.

I know Wackner’s judgment is obviously not 100% sound—need I remind you of the PRIVATE PRISONS?-- but I thought it was more sound than this.

Wackner shows off his knowledge of paper and proves that Dr. Goat’s document is a fake. Why... did he just give Dr. Goat a point???

Or is he moving the point from Dr. Goat to Marissa?

Dr. Goat sounds like a fake name I would call a character in my recaps long past the point of anyone other than myself remembering the joke. (See: Mr. Elk)

“The truth is ugly. The only thing uglier is not pursuing it,” Wackner tells Marissa. How is taking on a case about very obvious falsehoods, funded by someone with a vested interest in the case, that gets people riled up, some noble pursuit of truth?

STRL and Kurt are now drinking and discussing hunting, while Diane’s arguing for Matteo in Vinetta’s living room. Vinetta is—as was always obvious, sorry Jay—far too smart to fall for this patronizing bullshit. She screams at Diane and plays back a recording (on a baby monitor) of Diane coaching Matteo to lie about his faith.

Soooooo yeah no you can’t do that, that is bad, recording conversations between lawyers and their clients is not good even if it leads to you exposing their schemes...

Then Vinetta places Diane under arrest, which obviously isn’t going to end well for Vinetta.

Liz and Carmen suggest a post-nup to Rivi to see if Isabel is planning on turning on him.

“I’m going to have to kill her,” Rivi says sadly. I don’t think Rivi will ever kill Isabel because we already did that with Bishop.

I’m going to assume that Diane chooses to stay in basement prison instead of calling one of the many, MANY, MANY people she could call to get her out/take down Vinetta because she doesn’t want the situation to be publicized or further deteriorate. That said, it’s really not clear why Diane just accepts being sentenced to basement prison with a cell phone.

Love the STRL man looking at that picture of Diane and HRC. They’ve gotten so much mileage out of that photo.

Wackner’s court has no rules, but at least since it has no rules, I can’t complain about how its rules make no sense!

What is this, debate practice?! Ugggghhhhh I can’t deal with this case for much longer.

Marissa takes a breath, then decides to pursue a strategy she knows could blow everything up.

“Then why care what Judge Wackner decides? Why should you defer to him? Why defer to anyone?” Cord says that’s the point—the people have decided to trust Wackner. “So if you don’t like this court’s decision, you’ll just start a new one?” Marissa asks. “I guess,” Cord concedes.

“So then why does this matter? This court?” “It matters only insofar as we continue to agree that it matters,” Cord says. “So if you don’t like Judge Wackner’s rulings, you can just ignore them and create a new court?”

Good point, Marissa. Good point. (Does this count as a thesis?)

“I’m guessing that I will like the way the judge decides,” Cord says. Well, that’s basically a threat.

Wackner takes a break and heads to chambers—without Marissa.

Kurt goes to visit Diane in basement jail. He’s granted a conjugal visit, which means Matteo gets moved up to the bedroom so Diane and Kurt can have some alone time.

Diane is staring at an image of Lake Como in her cell. I thought it was odd she brought a printout of her vacation destination with her, so I LOVED the line where she explains that Vinetta printed it out for her. COLD. (You know who also would’ve done this if they’d for some reason had a basement prison? Bree Van de Kamp. You know what show DID do a basement prison arc I’d rather forget? Desperate Housewives!)

I love how Diane responds to basement prison by making jokes non-stop.

“I thought the craziness would end with 2020,” Diane says. Nope.

Kurt brought alcohol; Diane brought pot gummies.

I love that Kurt has never had pot before. I was going to say that I bet Diane’s had a few experiences with recreational drugs when I remembered we had a whole damn season of Diane microdosing.

Christine and Gary’s acting and their chemistry really bring these basement prison scenes to life. The writing and directing are really sharp, but it’s the actors who make these scenes something special. You can tell Diane and Kurt love each other a lot. You can tell they’re disappointed about their vacation and exhausted by the chaos of the day. You can tell they’re in disbelief over this situation but also find it funny.

Didn’t Rivi and Isabel have an adult daughter who died of COVID a few episodes ago? Weird she isn’t mentioned in this scene. Maybe from a different marriage/relationship?

Isabel called the SA’s office because she thinks Rivi’s a threat? I think this is a power play.

Heh, Carmen saying, “Shut a black woman up!?” in disbelief in court. Love it.

Isabel instead flips her story and supports her husband and fights for his release. With no intervention from Plum Meadow, this gets the judge to free Rivi. I don’t really understand what’s happened here or why. I get the resolution, but I don’t get why Isabel called the SA or why this went away so quickly. I still don’t even get why Rivi’s been arrested.

Diane and Kurt put up Christmas lights for ambiance and talk about how they never go on vacation.

“I wanna see the pyramids on this coast!” drunk & high Kurt insists, hilariously. “I mean hemisphere. I like the Aztecs. They, they care about people.” I’m not going to transcribe the rest of the dialogue because it loses its magic when you’re not watching the scene.

After some fun banter about travel and movies, Diane changes the topic. “I should quit, shouldn’t I? That judge upstairs? She looked at me like I was the most entitled white bitch on the planet. And that’s the way they look at me at work.”

Kurt tries to say that’s not true, but Diane knows it is: “Yes they do. I’m the top Karen. And why do I care? I mean, I... I could find another firm. I could quit. I can’t impose my will on people who don’t want me.”

YES. I see a lot of debate over what the “right” thing to do is here. But I think we are long past “right” and “wrong.” At a certain point, this stops being about absolute moral truths. If Diane doesn’t have the respect of her partners and employees, that is a very real problem for the firm and for Diane. How can she continue to impose her will on a firm that doesn’t want her, all the while claiming to be an ally? (The back half of that sentence is the most important part.) Forget whether or not Diane “should” have to step down. Forget what’s “fair.” If the non-Diane leadership of RL thinks the firm should be a black firm, and the employees of RL think so too, and Diane just doubles down on her white feminism, she’s creating an even bigger problem for herself and ruining her reputation in the process.

Kurt stands up on the prison cot and warns Diane she might make a decision she’ll regret. This scene is so cute. Why can’t other shows do drug trips where the characters just act silly and have great chemistry? Why does it always have to be some profound meditation on death whenever characters get high?

“I think I like starting over. I like the chutes and ladders of life. I mean, I want the corner office, but then I wanna slip back to the beginning and fight for the corner office. I mean, I think maybe it’s better that I don’t get the top spot,” Diane says. LOVE to hear her admit this. I’m not sure I would’ve come to this conclusion on my own, and it sounds like it’s a bit more about how the writers like to write (you know, the “we love our characters to always be underdogs”) than Diane, but... you know what? I believe it. I fully believe it. Diane LOVES to fight, LOVES to feel like she’s in the right, LOVES power plays and to be making progress. She LOVES winning. The fact that she isn’t just choosing to retire right now, even though she’s past retirement age and has a great reputation, is in itself enough for me to believe that she would find it fun to repeatedly start over.

Plus, it’s a fun new direction for the show to take in season six, because they’ll get the same sense of conflict without the actual conflict. This season’s arc was firm drama and resulted in a firm name change... but it didn’t feel like a knock-off of Hitting the Fan. Diane trying to work her way back into power (I assume by becoming a better actual ally, otherwise doesn’t she just end up in the same exact situation?) should also provide conflict without being repetitive.

Hahahahahaha Kurt immediately reacting to this serious statement by being incredibly silly and horny and then Diane singing “I Touch Myself” to him, man, I love these two. I want to know the story behind this song choice.

Wackner emerges from his chambers. The score is tied. Wackner calls Cord corrupt and notes that they can’t just decide to call Downstate Illinois a new state based on his ruling. Now it’s thesis time!

“I was taken by Mr. Cord’s arguments of individualism. So much of our country has been built on people finding their own way, not being held back by bureaucracy. Yet, if we only follow individualism, that way lies chaos. And that was not the point of this court. Or at least not my point. Judgment for the defense. There will be no Downstate Illinois.”

“If we only follow individualism, that way lies chaos.” is probably the clearest of the many theses of this episode. To recap, we have:

(1) Factions are bad. (2) People are persuadable and the rules don’t actually matter. (3) Reality TV changes minds. (4) Institutions only exist when we collectively agree they exist (5) Individualism = chaos.

But let’s put a pin in this for now and let the chaos of individualism play out.

The crowd does not like Wackner’s decision, and decides that an appropriate way to express their displeasure is to make anti-Semitic remarks towards Marissa and then start throwing chairs. What nice people.

As the crowd goes totally 1/6 on Wackner’s court (thanks for pointing this out to me, Ryan—I cannot believe I didn’t make the connection myself!), the door slamming into the desk finally pays off since Marissa and Wackner are able to use it to keep the crowd from reaching them.

They immediately turn to the police, or they would, if they could get service. I’m sure it’s not a coincidence that as soon as things get bad, they want to involve the existing system.

Wackner Rules is, somehow, still taping in the midst of all the chaos. I don’t know if I think they’d air this, but someone certainly would. (I wonder if any of the cameras we see in these scenes are actually the cameras filming the other angles of the riot.)

Cord shakes his head and walks out, unharmed.

“You think they’ll kill us?” “I think they might,” Marissa and Wackner fret.

“My dad said the whole world would be a better place if everybody realized they were in the minority. ‘No matter where you are,’ he said, ‘Make sure you keep an eye on the exits, and make sure you’re closer to the exit than the Cossacks are to the entrance.’” Marissa says. Love Eli Gold coming through with thesis number 6 (and maybe thesis number 7).

“Your dad sounds a little paranoid,” Wackner says, correctly. Remember how I mentioned I accidentally wound up watching 5x22? Eli calls Alicia and responds to her hello with, “DISASTER!!!!” I miss him.

“He was, but he wasn’t wrong. He said, ‘Stay away from parades. They’re cute until they’re not. And don’t trust any pope who was Hitler Youth.” “What’s that law called?” “Godwin’s Law. My dad said anybody who argued for Godwin’s Law has never been near an actual crowd. Crowds love you, they hug you. Then they grab a gun and try to kill you.”

“Why? Why do they do that?” “I don’t know. Hate is fun. It’s clear-cut.”

I really like all of this. It is a little preachy, but it isn’t wrong and it’s self-aware. And, more importantly, it’s in character. I absolutely believe that Marissa would tell lots of stories about Eli in a moment of extreme stress. It’s nostalgic, probably comforting, and it also helps her feel like she’s on the right side with the right arguments. So, even backed into a corner, she’s still a winner: she has theory on her side.

Wackner speaks a foreign language (I do not know what language but I wish I did) and says, “A guy could get killed doing this,” which makes him and Marissa laugh as things crash around them.

Idk about you all, but I couldn’t really get myself to actually worry about their safety during this scene. Maybe Wackner’s, just a little, but I got the sense we were supposed to focus more on the chaos and destruction and monologuing than on the actual danger. That’s not to say the stakes didn’t feel high, but rather to say that this didn’t feel like an action sequence where you don’t know what’s going to happen next. The point was to watch the court fall and think about why it fell, not to worry about if Marissa would live.

Diane and Kurt are woken up by sirens and loud noises. The cops arrive and are shocked to find professionally dressed white people in a basement cell. They let Diane and Kurt out with compassion, but scream, “don’t you fucking move” to the people on the floor.

“It’s okay, they didn’t do anything,” Diane says. This is, as I theorized earlier, probably why Diane just sits there until her punishment blows over instead of escalating things.

If the cops weren’t there to free Diane, why were they there? Why, because they like David Cord and David Cord has gotten Chicago PD officers to protect Wackner’s IP.

If I had to say one thing in favor of Vinetta being the originator of the community court idea, it would be that it’s SUCH a gut punch to watch Diane and Kurt walk away from their bizarre little adventure as Vinetta gets arrested in the background, and it hits ten times as hard if Vinetta’s only being charged because some white guy is claiming IP that’s actually hers.

(I think Vinetta is probably, at this point, actually being arrested for imprisoning people illegally, but, still.)

“Pfft. Some judge,” one of the cops who adores Wackner says of Vinetta. Racist much?

Marissa and Wackner emerge from the backroom. “I think I better get back to work,” she says, meaning her RL job. "Me too,” Wackner says, grabbing a Copy Coop apron. He’s an employee of ten years.

I don’t think this lands as well as it’s meant to. I think the point is supposed to be that Wackner’s just some guy—not a billionaire, not an academic, not a judge, not a lawyer—with an idea. But it’s a little too neat. And it doesn’t explain how Wackner financed his court initially, nor does it explain why he has basically unlimited access to Copy Coop space and resources. I’d buy it if he were the OWNER of Copy Coop, but I have so many questions about him being an employee.

Diane tells Liz she’s actually going on vacation this time, and they laugh about how Kurt bonded with STRL.

“I want you and Allegra to be name partners. I’ll be an equity partner,” Diane says. “Why?” Liz asks. “Five years ago, when I hit rock bottom, this firm took me in. So I don’t like the idea of splitting this firm in two. And I can’t lead if no one will follow.” “And your clients?” “We’ll manage them together.” YES! I love this. I don’t love it because I necessarily think it had to go this way, but because it’s so refreshing to see Diane say that she actually is willing to take a step back because she cares about the firm and the people there more than she cares about being a name partner. This isn’t something we usually see. When we hear “this firm took x in” it’s usually being said incredulously against someone who’s decided to leave and steal clients (cough, Hitting the Fan, cough).

It’s been pretty clear for most of this arc that Diane and Liz like working together and they like their firm, but that no one (other than Diane, I guess) is willing to let RL lose its status as a black firm, and that the employees and equity partners weren’t going to be satisfied until Diane stepped down. Diane really had three options: Stay and piss everyone off and claim the whole firm for herself, quit and go somewhere else and totally abandon the good working dynamic she had, or step down and put her money where her mouth is.

Also yeah the clients were never actually going to be an issue! They were only an issue because Diane intentionally went about informing them she was stepping down in a way she knew would make them worry!

“I think I need to prove myself,” Diane says. I’m not sure that’s the key issue or that she can ever prove herself fully, but we’ll worry about that next year.

“I missed you,” Liz says. “I’m here,” Diane replies. “I know. Thank you,” Liz says.

Diane decides she’s going to move downstairs so Allegra can have her office. I think there’s another office on this floor, since she, Adrian and Liz all had offices. This feels a little bit like Diane’s in love with the idea of making things difficult for herself and maybe hasn’t fully grasped the point, but, you know, I’ll take it.

Diane tells Kurt her decision and he asks if it was the right thing to do. She says she doesn’t know—but she says it with a smile. Kurt notes he’s going hunting next month with the STRL folks and will put in a good word for her. Ah, yes, because STRL still controls all of this and all of this is moot! Thanks for the reminder Kurt! Diane says she wants in on the hunting trip. Of course.

And the elevator doors close. Remember how closing elevator doors was a motif earlier this season??? It’s back!

Then we get a little coda with Wackner Rules airing a new episode that’s just violence and destruction. This sequence seems to straddle the line between being there for thematic reasons for the viewers and there to show what happened in the show’s universe, but I think it’s main purpose is theme, so I will not go on a full rant questioning why Del would want to air this.

A white blonde lady in an apron watches the destruction of Wackner Rules. She looks concerned. “That was violet,” she says with dismay. And then we see she’s holding a guy in a jail cell in her kitchen.

And then we see other courts, as America the Beautiful plays. One’s in a garage debating kicking someone out of the neighborhood; another is across the street about the same case. There’s one in Oregon about secession. There’s one among Tiki Torch Nazis deciding only white people can own property. There’s (inexplicably) one about pronouns. There’s one with arm wrestling, one that happens while sky diving, and a bunch of others. It’s pretty ridiculous, and not necessarily in a good way. It feels at once like the natural extension of the Wackner Rules show and like an over the top parody you’d see on another show. Tiki Torch Nazis screaming “only white people can own property!” is the opposite of subtle writing. Tonally, this sequence feels more like the zany humor of Desperate Housewives or the insanity of BrainDead than anything TGF has done before (and TGF’s been plenty surreal), and it doesn’t quite work for me. It feels like it is trying to prove a point in the corniest, most on the nose way possible. It almost feels like it’s parodying its own plotlines.

On my first watch, this ending for Wackner left me stumped. I knew the writers were making an argument against individualism (Wackner’s speech + the repeated references to The Apprentice) and cults of personality. But I couldn’t figure out a real life analogue to Wackner’s court, and since this ending was so obviously trying to be About Something, that bugged me. Sure, that last sequence could be an argument against people making community courts, but WERE people making community courts? I didn’t see the urgency.

And then I talked to @mimeparadox. And as soon as he said that it was about factions and people playing by their own sets of rules beyond the justice system, it clicked. I’d been looking for Wackner’s plot to be a commentary on the legal system. It is much broader than that. It’s a commentary on the weakening of democratic systems (the Big Lie, etc.), more broadly, and Wackner and his common-sense approach are just a way to get liberal viewers to go along for the ride.

Now that I understand the point, or what I think is the point, I like this conclusion. Circumventing the system leads to chaos; that’s why we have institutions and bureaucracy, and I think the show is arguing that these institutions should still be respected despite their flaws. The many theses of this episode all come together to make this point (though the reality TV stuff is a little more tenuous and I'm a little shocked we got through all of this without any commentary on social media?): If we stop having a shared belief in institutions and instead follow individual leaders (whom we may learn about through reality TV), the rules will stop mattering and we’ll end up with a fractured country and widespread violence.

But, and maybe this is just about me being upset I missed both the obvious 1/6 parallels AND the point of the arc the first time through this episode (my defensive side feels the need to also note I first watched this episode at like 5 am when I was barely awake), I don’t know that I actually think this episode does a great job of driving its point home. There are SO many moving pieces to the Wackner plot and SO many references. There are so many threads we never return to from earlier in the season, and there’s so much that strains credulity (like Wackner taking Dr. Goat seriously for more than a split second). It’s pretty clear what the themes are—even though I’m saying I missed the point my first time through, I've hit on all these themes separately in past recaps and posts—but, I dunno, something about this episode just feels scattered. Maybe it’s all the moving pieces, maybe it’s all the moments where it sounds like the characters are voicing related ideas that don’t quite snap together to form one coherent picture, or maybe it’s that Wackner’s plot gets two endings (the actual ending + the coda) and it’s up to the viewer to put together how they relate.

I really don’t know. At the end of the day, I think there was a little too much going on with Wackner and that the writers needed to use the episodes between the private prison reveal and the finale to narrow—not broaden—the scope of what they were trying to do with Wackner. But I also think that what they were doing with Wackner was really, really smart and original. I don’t think I can overstate how impressed I am that the writers took an idea that sounded, frankly, awful when I first heard about it and turned it into something captivating and insightful that I was happy to spend nine weeks watching.

Overall, a few bad episodes aside, I thought season five was the strongest season of TGF yet. I haven’t seen this show be so focused in... well, maybe ever. Having two overarching plots that received consistent development and felt like they were happening in the same universe at the same time REALLY helps make season five feel like a coherent whole, and I can’t wait to rewatch it.

#tgf thoughts #the good fight

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quidfree · 4 years ago

Note

this is kind of out of the blue but since you’re (or were) planning on goldfinch fic at some point i was wondering if you could disclose some thoughts on it? love your commentary in your author’s notes

god anon i have so many thoughts on that book it could fill half a tartt novel ! where to begin? upon consideration i’ve decided to drop some of my controversial goldfinch opinions below but feel free to ask again if you wanted to hear my thoughts on something specific

1. the single most disturbing and poignant part of the book is actually theo running into platt and learning the details of andy’s death. no spiralling addiction or parental death quite hits that surreal, cold sweat horror of andy barbour, loather of boats and reluctant passenger, swept overboard into the black seas. i love the water and it still made me viscerally discomfited. and the layers to it- kitsey should have, could have been there, would not have died, could have avoided any deaths- deliciously cruel. i know the barbours are not primary characters in the book but i think there’s really a lot to be analysed with regards to them and the way they play off theo. kitsey herself is a very fine character that i liked very much to have on the page. and i loved andy.

2. theo and boris might love each other very much (which they explicitly do) -> be in love with each other (which they arguably are), but that doesn’t mean that they’re devoted to each other in some grandiose love-conquers-all type of way. i mean this in the sense that a lot of people take the snideness and the bite out of their interactions but also in the sense that, for eg, when boris and theo run into each other in ny and they’re in the car, boris doesn’t trust theo (thinks theo knows about the painting and is trying to get back at him) to the point where he goes calculating and cold and makes significant mobster eye contact with his driver. like, people tend to ignore this scrupulously when they characterize them but boris is a cool pragmatist beneath the effusive emotiveness (hello, not running away to new york in the first place) and his seeming undying friendship has its limits. this is just one example but they’re both selfish, suspicious creatures. and i say this as a ride or die theo/boris type. it just makes their dynamic all the more messy and interesting.

3. theo’s relationship with pippa is actually extremely important and it’s hard to say who would come first to him if he had to choose. yes, pippa is correct to say that they’re fundamentally caught together on the basis of their trauma, but the same goes for boris and theo in many regards, so discarding theo and pippa’s clear muddled infatuation/affection because of the theo-boris thing is turning a blind eye to one of theo’s most telling relationships in tgf. i would also argue that pippa is a foil to theo, kitsey AND boris all in one, at a relatively obvious level of the text. people not mentioning pippa at all in their goldfinch adjacent works is just misogyny.

4. the goldfinch ends on an extremely dour philosophical note, but it is possible to write stories that get to a happier point without ignoring the ideas that theo engages with at the end of the book. the most obvious way to do so is just to take theo for the sour and unreliable narrator that he is- we have literal chapters of his warped perspective that get in-text corrections from boris, so we know he lies constantly. the end of the book is an accurate reflection of theo then, just back to the city stuck on some tragic plan for pippa’s hand and trying to restablize after the implosion of his new reality, but try again in two months, a year, five, you know? the second method of choice would just to have this perspective challenged and debated- whether by deus ex intervention, direct dialogue (boris, hobie, kitsey, pippa, whoever) or just events unfolding in such a way that theo budges on some point or other, maybe accepting the beauty he revolves around in slightly broader forms than he’d surmised. my point is really just that it feels disingenuous not to acknowledge his mentality by the last point we see him.

5. the best character by far is actually mr bracegirdle. second best character is popchik. any other suggestions are incorrect.

6. i think my favourite bit of fanon (in a surprising way, actually, considering how i usually veer clear of anything too openly sweet or cutesy w tartt characters) is hands-down theo giving boris the emerald earrings. it works because there’s ways to make it work, and symbolically it’s just too good. what’s mine is yours is mine and theo post-kitsey drunkenly and bitterly thinking about the necklace, and pippa, and what a bad idea that would be, and so just thrusting them at boris (“here, bet you know someone to sell these to”) in a moment of poor decision-making (“always black moods, potter”); boris knowing theo and knowing quality jewellery and so not selling them at all, wearing them as cufflinks or one dangly earring or a pendant enough time later that theo has to blink twice to recognise them. boris maybe even knowing, from pictures, from memory, seeing how canon boris still recollects so much of audrey with ease, and so boris being careful. or not. either way it’s lovely stuff.

incidentally after my exams this week i plan on finally reading TSH so if it hits the same way goldfinch does expect great willingness to discuss the subject too!

#the goldfinch #tgf #qui parle #qui repond #anon #theo x boris #goldfinch meta #donna tartt #qui analyse

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florrickandassociates · 4 years ago

Text

TGF Thoughts: 5x01- Previously on...

Welcome back!! I’m so excited to be writing one of these again. I think this hiatus has been the longest I’ve gone without new Diane Lockhart content in ten years, and it sure feels like it. A lot of important stuff has happened in the time since TGF season four ended (not concluded—ended). Most notably, CBS All Access became Paramount+ and suddenly started offering a lot of content I care about! I kid. 2020 was quite an eventful year, so I was curious how television’s most topical show was going to take it on. TGF is always forward-looking, but too much happened in 2020 to be ignored. And while I didn’t think TGF would have much to say about the pandemic, it seemed impossible to imagine a season five that pretended it never happened. Going into this premiere, I was expecting that they’d either skip COVID entirely or include very few references, but after seeing this episode, I feel like the writers took the only approach that made sense. And that is why they are the writers, and I'm just some girl on the internet who writes recaps.

Anyway, before I dive into the episode, I should also note that my pandemic boredom spurred me to actually pay $30 to watch this episode early as part of the virtual ATX Festival. Yes, I paid $30 on top of the money I spend every month on Paramount+ for this show. But I write tens of thousands of words about each TGF episode—are my priorities really that surprising? I note this not to brag or even to poke fun at myself, but because watching the episode before I knew a single thing about it (not even the title!) completely changed my viewing experience. I’ve never had an experience like this with TGW or TGF. I’m one to search for critics tweeting cryptically about screeners and refresh sites looking for background extras (haven’t done this in the TGF era, though) and read every single piece of press I can find. For any big episode, I usually know the outline of what to expect going in (I even knew about Will before the episode aired in the US!). Not this one! So, I got to be surprised, and I had to—gasp—formulate my own opinions before I knew what anyone else thought! It was really pleasant, actually. I think the structure of the episode worked extremely well for me because it caught me by surprise... and also because I’m the kind of person who somehow managed to write a college paper about Previously On sequences.

I see Tumblr has made it so that “keep reading” expands the post in your dash instead of opening a new tab. I absolutely hate this. Here is a link to the post you can click instead of the keep reading button!

The ATX stream started mid-sentence, meaning I missed the “Previously On... 2020...” title card and skipped right to Adrian saying “I’m retiring.” It was pretty easy to pick up on the device (the directness of the scenes at the start, their cadence, and their placement in the episode made it clear this was meant to mimic a Previously) but the second title card hit way harder because... well, I had no idea if this was meant to be 2020 or some moment outside of real time until a bit later in the episode.

Man, before I get any farther into this, two things that I don’t know where else to put. First, this episode had to cover so much ground. They had to write out both Adrian and Lucca—more on that later--, figure out how to deal with all of 2020, figure out how to either wrap up or continue all the truncated season 4 plotlines, and set the stage for a new season... in 50 minutes.

Second, just wanna shout out the Kings’ other Paramout+ show, Evil, which you should absolutely be watching even if you hate horror. Evil is a Kings show, so it is unsurprisingly topical (sometimes evil takes the form of racism or misogyny or Scott Rudin) and at times very, very funny. I would be recapping it if Paramount+ weren’t attacking me personally by airing it at the same time as TGF. Ever hear of too much of a good thing, people?! (On that note, I am VERY upset with myself for not having made a Good vs Evil joke about the Good shows and Evil. I didn’t even think about it until Robert King made the joke on Twitter, and it was right fucking there. How did I fail so miserably?!)

So STR Laurie, who wants a 20% downsizing, is still a thing. Noted.

This scene with Landau is the only one in this previously that is actually old footage, right?

Unexpected Margo Martindale! Yay! (Ruth Eastman is a character who is so much more effective on Fight than she was on Wife and I’m quite glad they’ve had her appear on Fight several times. It kind of redeems season seven. Kind of.)

I don’t think the writers intentionally chose for Adrian’s book deal to be with Simon & Schuster because it is the most politically fraught publisher (the number of stories about controversial memoirs they’ve picked up in 2021 alone...) but I kind of like that Adrian’s Road Not Taken involves S&S. My guess is they chose S&S because it is owned by ViacomCBS.

“Years ago, I wanted to create a law firm run entirely by women, but it never worked out. So, why not now?” Diane says to Liz. One of the advantages of having twelve (!!!) seasons of Diane Lockhart is that we’ve seen what she’s talking about. And we’ve seen her put this idea forward multiple times, too. I have my reservations about Diane’s brand of feminism, and I’ll say more about how fraught a Diane/Liz firm would be as the show explores the potential issues there, but on the surface I’m kind of excited about the prospect of a Diane/Liz led firm. Diane has wanted this for ages, Liz is a good partner, and this actually makes sense (unlike the nonsensical Diane/Alicia alliance of late season seven, where the only rationale was “well, Alicia needs to betray Diane in the finale, but they’re not on good terms. So maybe we make them business partners so then the betrayal stings more?”). Plus I fully love that Diane would end up running a firm with Alicia’s law school rival.

(Has TGF mentioned that Liz and Alicia were law school rivals? No. Am I still clinging on to that as a large part of Liz’s character? ABSOLUTELY.)

Julius is on trial for Memo 618 reasons; Diane is defending him. So this is still happening. (There’s more old footage here.)

Do they put these references to one/two party consent in these episodes as a wink at the fans? It has to be intentional. (Please do not ask me what the actual law is on this, this show has thoroughly confused me.)

I knew Cush was filming stuff for TGF, but I didn’t know it was for the premiere. She was just posting about it a few weeks ago, so either they shot a lot of it right before air or she posted a while after filming. Anyway, yay Lucca!

Bianca’s still around. And, TGF gets to shoot New York for New York, since Bianca is there. I do wish TGF could do more location shoots; there’s something about seeing an actual skyline that feels more real.

Bianca wants Lucca, who has never been outside of the country (except to St. Lucia, as Bianca reminds her) to go to London and buy her a resort. It’s supposed to be a three week stay and Bianca’s already arranged childcare. Speaking of children, because of COVID and filming constraints, that’s Cush’s real kid in this scene! You can’t really see him, but I recognized his curly hair from Cush’s Instagram, and the Kings confirmed in an interview.

Adrian wants to write a book about police brutality cases he’s worked on. Ruth very much does not want him to write that book. She wants him to write a book without substance about how white people and black people can work together. He, understandably, has no interest in writing this book. (Also, you can see in the background that Ruth doesn’t think Biden’s odds of winning the Democratic primary are good—there is a big down arrow next to his picture, which definitely dates this scene.)

Oh, David Lee is in this episode. He acts like an asshole towards Marissa when she’s trying to help him.

Marissa, not happy with the lack of respect, calls Lucca for advice “for a friend.” Lucca mentions she’s in London and Marissa does not believe her and keeps going on and on about her frustrations and her new desire to become a lawyer—quickly.

Marissa wanting to become a lawyer because she “hates being talked down to” is not a plot I would’ve expected but it’s also one that makes a lot of sense. I think Marissa’s used to being respected and praised even when she’s doing things that aren’t glamorous, so I see how she’d get very restless when she’s no longer outperforming expectations and is instead taken for granted.

Bells toll in the background on Lucca’s side and Marissa asks where she is. Lucca again notes she’s in London and Marissa still doesn’t believe her.

I’m going to miss Lucca so much, especially since we’ll also be losing a lot of the Millennial Friendship scenes with her. Cush is fantastic (even if she never really got enough to do here) and she plays so well off of the rest of the cast. I even sometimes liked the writing for Maia (who?) when she had scenes with Lucca, Lucca is that good.

Jay wakes up sweating and unable to breathe, so he deliriously calls his father-figure Adrian. This whole scene is shot like something out of Evil and (I’m getting ahead of myself here) this plot is the only thing about this episode I felt was a misstep.

“I think you’re my father,” Jay says to Adrian. Heh, I didn’t catch this line the first time around (maybe subliminally I did, since I just called Adrian his father figure lol) but I love that it is included here. Adrian and Jay’s relationship definitely deserves a goodbye.

Adrian calls an ambulance and also gets to Jay before the ambulance somehow. Adrian notes that Jay might have “this thing from China” and... we’re doing the pandemic, y’all. (Minor nitpick: on March 13th, 2020, when this scene is dated, COVID was not “this thing from China”-- we were all aware of it. March 11th was the day Tom Hanks and Rita Wilson announced they’d tested positive and the NBA shut down and travel was restricted and every single brand that had my email sent me a message about their plans and measures. March 12th was the last time I was in my office, and we’d been getting emails telling us to wash our hands and prepare to work remotely for weeks. I went to San Francisco in mid-late February and distinctly remember deciding to leave a burrito unattended on a table while I washed my hands because I was paranoid about COVID... and then I remember making a specific trip to Walgreens to buy hand sanitizer so that didn’t happen again. My point is, Adrian lives in the same world I do. On March 13th 2020, he would not be treating COVID like it was some new thing he’d vaguely heard of.)

(I am going to nitpick this timeline, but please know that I’m only doing it because I can, not because I think it’s necessarily a bad choice. Lines like this do feel a little forced, but I see the reason for introducing COVID as something new rather than going for the line that’s exactly historically accurate. I also am pretty sure there are references to dates in March/April in s4 of TGF that are now going to be contradicted by this episode, but I truly do not care. The writers get a pass on this one.)

We skip slightly back in time to the beginning of March after the MARCH 13TH title card, or maybe this is supposed to be after March 13th and my own memories are preventing me from believing these face-to-face interactions were happening. Who knows.

Michael Bloomberg is... here, again, I guess? He asks Diane to assist with a Supreme Court case about gun control. I guess it does add some weight to the plot and make the stakes feel higher.

Oh hey, this case is the 7x17 case!!!! Love that continuity.

Diane and Adrian are both at the office late, working, and there is an unnecessary split screen that feels even more unnecessary when you consider that the editing alone was enough to create the parallel.

Diane and Adrian have a nice convo (which I’ll really miss, their dynamic is great and this really feels like a successful partnership) as they wait for the elevator. When the elevator dings, they nearly tumble down into nothingness because... the elevator never came. Apparently this is a reference to an law old show I’ve never seen that killed off a character this way, and it’s meant to be a wink at how they are not going to kill off Adrian.

I do not know why I remember this, but I do: after they killed off Will, a critic (Noel Murray; I just googled to confirm my memory) who didn’t want to spoil things tweeted, “Exactly 23 years and 2 days ago, Rosalind Shays fell down an elevator shaft.” Please tell me why I remember this reference that I didn’t even understand well enough to have tracked down the original tweet in under a minute. (https://twitter.com/NoelMu/status/447942456827326464)

Back on this show, Diane and Adrian share a drink and talk about their wishes. Diane wants to argue in front of the Supreme Court, and Adrian encourages her to speak up. His own near-death experience motivates him to trash the book Ruth has him writing, and Diane trashes the (bad) legal strategy someone else prepared for the Supreme Court.

DIANE IS WEARING JEANS!!!!!! Tbh, I think my favorite part of this episode is how many slice-of-life scenes and settings we get. These are always my favorite moments. I love the satirical and political stuff too, but the character moments are what get me invested enough to write these. (Yes, Diane in jeans constitutes a character moment.)

Diane tells Bloomberg she wants to be involved and advocates for herself. Kurt gets a call on their landline (hahaha) from Adrian.

God, I love Diane and Kurt. Not only is their banter fun, you can just see a different, more relaxed side of Diane in these scenes. Diane tells Kurt she has good news for herself, but bad news for him since she’s arguing for gun control. She asks him to help her prep for court, too.

So this is before Jay is rushed to the hospital, because now we are back at the hospital with Julius, Diane, and Marissa. I do not believe any of these people would be setting foot in a hospital like it’s any other day on March 13th, 2020. But I'm trying not to nitpick.

I get why they chose to give Jay a rather severe case of COVID. I just don’t get literally anything else that follows from the initial shock of Jay having COVID.

I see why the writers chose March 20th (the actual Illinois stay at home order) as the next date for this timeline. I still do not believe that people were in this particular office on that date.

You know what else I don’t believe? That RBL just shut down for two weeks and was like, no work is being done. Did law firms really do this? I can believe it if it’s an excuse to cost-cut, and I know there were massive layoffs, but this seems... really weird???

Why are they setting up a teleconferencing infrastructure (didn’t they have one at LG? In season five?) if they are not planning to do work?

Lol Diane explains what Zoom is, very slowly. She asks everyone to “download a program called Zoom.com” which is one of the first Zoom jokes I’ve chuckled at in a while.

Marissa is not happy to hear that there’s no work for her in a work-remote world (this I believe 100%), so she calls Lucca again with more questions about law school.

Love these NYC and London location shots. Wish they could do that for Chicago.

Lucca asks Bianca to help get Marissa into a law school, fast, and Bianca tells Lucca to use her name... then offers her a job.

Marissa is at the office, alone, boxing up her things, when one of the office phones rings with some dude offering her a spot in a law school class. I guess we are really all-in on this! (Why would Lucca have given a firm phone number not specific to Marissa, though?)

Adrian and his corrupt girlfriend decide to shelter in place together. I still do not understand why he is okay with her being corrupt. I also don’t really understand why they’re going from talking about sheltering-in-place to George Floyd. How did we just skip from late March to late May? Are Adrian and corrupt gf having a conversation about sheltering-in-place two months into sheltering in place?

Okay, I am not doing so good at this no-nitpicking thing. Again, I understand why they need to merge several scenes into one to keep things moving. And I guess they could just be getting around to this conversation.

I’m going to nitpick again, I can’t help myself. How did we just go from a scene of Adrian specifically talking about sheltering in place to a scene of Adrian bursting into a bustling and maskless DNC headquarters room? How!? The only masks in this scene are on TV!! There are like ten people in this scene!

Anyway, more importantly, Adrian tells Ruth off and screams at her that she needs to listen to him instead of acting like she knows the way forward. He is completely right.

Why is travel from London closing down in May 2020? Is it because this scene is supposed to be at a different place in the episode? Liz is asking Lucca to come back home from her three week stay in London (which has now lasted three months but travel is just now closing down), and Lucca’s hesitant to come home.

This is all happening via Zoom, btw. Lucca’s in her hotel, Diane and Adrian are at their respective homes, and Liz is in the office. All of this feels right. There is a chat off to the side of the screen where you can see Adrian and the others discussing how to unmute on Zoom. Very real. Though probably not very real in late May 2020. Feels more like April. I am convinced this scene got spliced in later to help the episode flow because everything in this scene (except the TV footage that definitely was added later) feels like it should be happening in the March section.

Lucca mentions that Bianca offered her a job, and at this point we as viewers know how things are going to go—Lucca's going to end up taking it. Liz types in the Zoom chat that they don’t want to lose Lucca. When Lucca tells them how much Bianca’s offering ($500k/year, go Lucca!), Diane types “Shit.” into the chat. “Shit’s right,” Liz replies. “Yes... What should our counter be?” Diane replies. Lucca is kind enough to point out the messages are not private (again, this feels like March not May) but I think knowing that their reaction to topping $500k is “shit” tells her all she needs to know.

Diane’s background still says that RBL is a division of STR Laurie. Weird how little we are hearing about the overlords except the 20% staff cut.

Liz and Adrian chat and decide the only way to keep Lucca is to make her a partner. Which, yeah, if you’d just made her a partner years ago when you told her she was in the running for partner and then offered it to fucking MAIA, maybe she wouldn’t be considering Bianca’s offer. Lucca is definitely one of RBL’s stars, and I don’t think she’s wrong to feel like they don’t value her enough. They treat her well enough to be upset about losing her, but not well enough to have already made her partner and not well enough to actually give her authority (even though she runs a whole department). I’d be pretty unhappy too. It kind of feels sometimes like they take her for granted, and I don’t know that Lucca is one to feel like she owes a company anything. She’s more of an “I’m out for myself” type.

Madeline and the other partner we’ve seen a few times who isn’t Liz/Diane/Adrian, walk into the office (wearing masks! Which they take off as soon as they enter a room with Liz! Without asking her if she is okay with this! TV logic!) and ask who is replacing Adrian. They think this is a good time to reevaluate having a white name partner of an African American firm, and they are spot on. Liz tries to deflect, noting that Diane is already a name partner and was before Liz even joined, but Madeline and other partner (whose name I really wish they would say so I can stop calling him “other partner”) won’t let up. Their position is that Diane shouldn’t have been made a name partner then—all she did was bring in ChumHum, an account that quickly left the firm. Good point.

“What is this firm if it’s not African American? It’s just another midsized all-service Midwestern law firm, one of 50,” Madeline argues. The other partner says Liz needs to remove Diane and promote two African Americans to name partner. Liz laughs and asks if they mean themselves. Madeline does not—she's concerned about the number of black associates they’re letting go. Liz heads out, but this conversation is very much ongoing.

And I think it’s a very interesting dilemma! There’s a lot of mileage the writers can get out of this, because I don’t think there’s a right answer or a wrong one. It’s all about what Liz decides she wants the future of the firm to be. If Liz chooses Diane, she might be choosing something that works for her personally or that she thinks is a safer financial bet—but she’ll be choosing to work at a firm that can no longer be thought of as a black firm, and she’ll be choosing to move away from her father’s vision for the firm. And since the plot hinges on what Liz will decide rather than what’s objectively the right path forward, there’s a lot of interesting tension there I can’t wait to see.

(My favorite thing about Adrian leaving is that Liz will likely get more to do, especially when it comes to managing the firm. Adrian tends to speak up first, but Liz is more than capable of managing without him and I’m so excited to see what she does when her ex-husband isn’t constantly talking over her.)

Marissa and Lucca video chat with Jay. He’s still in the hospital. One thing that bugs me about how this episode handles COVID is that I never really get the sense that any of the characters are particularly afraid of the virus. Maybe none of them were. But you’d think you’d see a little of that fear, the weird dance of trying to assess others’ comfort levels with masking, etc., in an ep specifically about living through this time. ESPECIALLY since someone they all know and are close to has been hospitalized for MONTHS with this thing! It’s just so weird to go from a scene where people wear masks until they come in contact with other people (when masks matter the most) to a scene of someone in the hospital with COVID.

And now Jay’s weird hallucinations start as his battery dies on the video chat. I really, truly, hated these hallucinations. I was ready to be done with these from the second they started. They’re weirdly shot, they go on for too long, and they feel like the clunkiest parts of Mind’s Eye when Alicia starts having a debate in her mind about atheism mixed with the (far superior) hospital episode of Evil.

I don’t have much to say about these hallucinations except that I hated them a lot. When there’s the reveal that Jay is hallucinating a commerical, I almost came around on the hallucinations because that’s kind of funny and inspired. And then several more hallucinations popped up and they had a round table and Jesus got added to the mix and I was like, nope, this is bad in a very uninteresting way. I reject this.

I feel like the Kings didn’t have much to say about COVID, the actual virus. This episode is definitely more about what the characters’ lives were like during COVID and not the pandemic itself. I think they likely got a lot of their COVID commentary out of their system with their zombie COVID show The Bite (I have not seen The Bite due to it airing on Spectrum On Demand, which I have no way of accessing. Like, I would have to move and then decide to pay for cable in order to watch it.) I also suspect a lot of their commentary on COVID isn’t going to be specific to the virus and is instead going to be about things like mask-wearing and vaccinations becoming political. And, really, that’s just a new variation on talking about polarization... and they’ve been talking about polarization for years.

In fact, they even wrote a whole series about an outbreak of a (space-bug-spread) virus that caused political polarization before Trump was even elected. BrainDead is basically commentary on the pandemic before the pandemic even happened. Soooooo I get why they are more interested in recapping 2020 than in doing a Very Special Episode about themes they’ve been talking about for years. (I still think they would’ve benefitted from at least one character being afraid of getting sick or getting their family sick.)

There is likely some interesting content in these Jay hallucinations. I hate them so much I cannot find it. You know when you’re just on a completely different wavelength than the writers? This is an example of that.

Also I’m not a fan of the shadowy directing. I think this is meant to look cooler than it does.

Have I mentioned yet that I absolutely love the “Previously On” device for this episode? It’s such a fun, propulsive way to get through the slog of 2020. Scenes can be short and to the point, and each scene has to do a lot of lifting to fill in the gaps. I think that leads to scenes that are better constructed and telling on lots of levels—where are people when they’re quarantined? Who’s wearing casual clothes and when? What about this scene defines this character’s life at that moment in time?

Bizarrely, even though this episode is pretty much all plot (this happens! Then that!), I actually found this to be one of the most character-driven episodes TGF has ever done. There’s a lot of story, but most of that story is about how the characters reacted to 2020 rather than overarching plots that will weigh on the rest of the season. This episode covers a lot of ground, but it does it with character moments that resonate.

Now it’s July and Diane’s prepping to argue in front of the Supreme Court. Kurt’s helping her witness prep and it gets a little personal... and that ends up turning Diane on. Good to see McHart hasn’t lost its spark. (Remember how Kurt cheated on Diane in season 7 of Wife? No, me neither, because that never happened.)

Corrupt judge is back. Adrian playfully tries to distract her from work. Then he takes a video call from Liz, who updates him on the conversation she had with John (so that’s his name) and Madeline. I guess that part of May was close to July? Anyway, Adrian isn’t surprised to hear that people are upset at the prospect of Diane being one of two name partners.

Liz is at the office in workout clothes and I love it!

They’re losing 15 black associates (and Adrian and Lucca) and 4 white ones, Liz says. This sounds like a very big problem. (I’d be curious to know what that is as a percentage of the firm and how the racial composition shifts.)

Liz knows it’s not exactly up to her if Diane stays on as name partner (the other partners get a vote, but I think Liz knows she has a lot of sway here). She’s also wondering if Biden could win, and if so, would it be to the firm’s advantage to be black-owned? Interesting.

“Well. If you’re thinking it, then Diane’s thinking it, too,” Adrian says. He’s right. “White guilt. It runs verrrrry deep on that one, huh?” Ha. He is right about that, too. I actually can’t decide which of these interpretations is correct, because it could be either even though they seem contradictory. (1) Is Adrian saying it with a hint of mockery because he knows Diane will fight for her partnership even as she would say she’s a huge supporter of black businesses? (2) Is he saying it because he knows Diane would have enough white guilt to realize what her presence as a partner means and think through the implications? I think it is, somehow, a combination. I’m interested in this line because this whole dilemma (from Diane’s POV) is something that’s very familiar. Diane’s always been an idealist who will betray her ideals for personal gain. That sounds like an attack, but I mean that as neutrally as I possibly can. There are so many examples of this that this is kind of just a character trait of hers at this point. Usually those ideals are about feminism, but this situation seems closely related.

Adrian overhears Corrupt GF talking about Julius, Diane, and Memo 618. You would think she would wait to have this conversation until there is no chance of Adrian overhearing, because if Adrian overhears, he might...

... do exactly what he proceeds to do and hop into a car with Diane to give her a heads up. (I think I’m just going to have to accept that the mask usage rule on this episode is “we use masks to show that the characters would wear them, but we don’t want to have scenes where characters are fully masked because that’s annoying.” If that’s not the rule, then why else would Adrian be masked outside... and then take off his mask as soon as he gets into a confined indoor space with Diane?

Baranski looks ESPECIALLY like Taylor Swift in this scene.

Adrian tells Diane what he knows. He dug deeper after overhearing Charlotte, so he has even more info. “If you tell me, I will use it,” Diane warns. Adrian knows that, so he takes a moment to decide. And he decides that he cares more about Diane and Julius than about his relationship with a corrupt judge.

Diane and Julius are masked in court. Visitor and the judge are not. They use masking in a clever way in this scene: Diane uses being masked to her advantage because it means no one can possibly read her lips, so she can use the info Adrian fed her against Charlotte without any fear of spies. Charlotte, who is unmasked, guards her lips with a folder, as the Visitor watches interestedly.

Diane convinces Charlotte to recuse herself. Charlotte says she’s making a mistake; Diane does not care.

The new judge is, unfortunately, the idiot who doesn’t know anything about the law. Uh oh.

Charlotte decides she’s done sheltering in place with Adrian. He tries to talk through the conflict, but Charlotte says “You made your choice, Adrian. Julius Cain over me.”

“The choice was about right and wrong, Charlotte,” Adrian tries to explain. I mean, yeah, but if you’re dating a judge who has admitted she’s totally corrupt, didn’t right and wrong go out the window a while ago?

Adrian seems to think the other people involved in the events are bad and Charlotte is good. I am not convinced. I don’t think she’s the big bad, but I don’t think she’s good.

Charlotte points out that he invaded her privacy. She is right about that. “You said the choice was between right and wrong. Turning over my emails was the choice,” she said. I get her POV. But also, she is corrupt.

I do not like the way the part of the scene where Adrian physically restrains Charlotte to keep her from leaving is shot. I don’t think this is an abusive scene but I think it should’ve been shot from a little farther back so we could see it’s more like Adrian reaching out in desperation than trying to choke Charlotte. Because it very much looks like he is trying to choke Charlotte.

He tells Charlotte he loves her. She says it’s too late and leaves. “Maybe you won’t be with me. But you keep down this path... you’ll be done, I’m telling you, you’ll be done.”

I think something that I’ve been missing in these interactions is that I didn’t quite realize until this scene that the Adrian/Charlotte dynamic is more interesting than Adrian liking a corrupt judge. I think he truly believes Charlotte is a good person who got caught up in some bad stuff, and that she can bounce back from it. I’ve always seen Charlotte as someone who is corrupt for herself and then ended up going along with the corruption of others, too, so I’ve dismissed her and the relationship. This is the first scene that has felt real to me, and the first scene where she’s felt like more than a caricature. Kind of sad it’s the last she’ll get with Adrian—now I’m actually starting to find her interesting. Notice how in these last few sentences I’ve used her name instead of “Corrupt GF”!

Charlotte says she loved Adrian too, but that’s not enough. Awww.

He can’t really be surprised though, can he?

Now it is August and we get to see Diane and Liz react to the announcement of Kamala Harris as Biden’s VP pick, and I would like to thank the writers for giving me the opportunity to see Diane and Liz react to this. It’s kind of fan-service, but it’s also a nice tie-in to the girl-power theme of the Diane/Liz alliance.

Diane and Liz realize that Adrian’s probably not a good candidate for 2024 if the DNC only wants one black candidate and Harris is the clear front-runner. Liz suggests keeping him on as partner instead, in a way that very much implies this would be her ideal solution. Diane, being Diane, says she was liking the idea of an all-female firm. Liz hesitantly says she was too, and Diane senses the hesitation.

“Let’s look again at which associates to fire. I’m worried we’re losing too many African Americans,” Diane switches the subject. How have they still not made this decision? If any employees know downsizing is coming, and they’ve had months to act on it, assuming there are jobs elsewhere, people would’ve been jumping ship by now.

But that’s not the point of this scene. The point of this scene is that Liz corrects Diane: “Black. You can just say Black people.” Very nice moment underlining the tension. Diane means well, but she’s still acting like a white lady who doesn’t know how to act around black people... and she wants to (and, I guess, already does) run a black firm. Major yikes.

Marissa and Lucca are talking again. Marissa does not want to be in law school—she just wants to be a lawyer. Lucca won’t accept Marissa’s refusal to memorize meaningless rules: “Marissa. I know that you know how to play the game, but you have to pass the bar to get into a position to play the game.” Why does this line make me love Lucca? This line isn’t even anything amazing. It’s just a line that cuts through the bullshit and makes a good point.

Marissa keeps going, insulting all of her peers and teachers, and Lucca figures out how to cut through that, too: she tells Marissa that she’d hire her as a lawyer if she killed someone, but only if Marissa passes the bar. Marissa is instantly intrigued.

“Why are you leaving here? I’ll miss you,” Marissa says.

“Because they won’t pay me what I deserve,” Lucca says in a matter-of-fact tone. “Anyway, I thought they fired you.”

“But they didn’t mean it. It’s like the smoothie place—they kept trying to fire me and I just kept showing up,” Marissa replies. That checks out. (Love the callback!)

Lucca tries to get Marissa to come over to England. Marissa shuts that down as Lucca gets a news alert—and it’s not good news.

Our next date is September 18th, 2020 and I will get my nitpicks out of the way up front! I don’t really know why it is daytime for Lucca when she reads the news, considering it was already the evening in the States when the RBG news broke. And, also, it was Rosh Hashanah, so Marissa probably would not have been sitting in her bedroom studying... she most likely would’ve been with family or friends. OK I’M DONE. FOR NOW.

Diane is getting ready for her arguments in front of the Supreme Court. It’s almost time! She’s in casual clothes but has on a wonderful mask. She’s standing in front of Kurt’s guns to make a point (love that she’s using her video call background to her advantage) and there are several people in her bedroom getting the tech all set up. I have noted before that they only built one set for Diane’s apartment, and it’s just a massive bedroom. Diane choosing to be in front of the guns does a nice job of cutting off my question about why she’d be arguing in front of the Supreme Court from her bedroom rather than the home office she absolutely would have.

Kurt walks in and tries to shake hands... he’s clearly not very COVID paranoid, and Diane seems to be, and... that’s something I might have wanted to see? How was Diane okay with Kurt taking risks that also affected her?

Diane confirms she intentionally chose to stand in front of the guns. That’s when Kurt gets the push notification. He pulls Diane into the bathroom to show her the news. He hands her his phone and Diane’s face falls. She starts tearing up. “2020 just won’t let go,” she says, speaking for us all.

Normally I hate things that are like, we’re going to contrive this so the news hits at the worst possible moment! This works for me, because the Supreme Court plot for Diane feels more like something that exists to be a through line for the episode. It would also be a little hard to work in RBG’s death as a main plot point—and it is definitely important enough to be a main plotpoint—if it didn’t also affect something in the world of the show.

Also, another reason I like this contrivance is that it makes it all the more powerful when Diane says, “It’s over. He gets to nominate someone. Another Kavanaugh! We’ll have a conservative court for the next 20 years. My whole fucking life!” She’s not thinking about how this affects her case (and that case is basically a life-long dream for her). She is thinking about way bigger things, and knowing that her mind goes to the bigger things before the personal with news like this really underlines how big of a deal RBG’s death was.

Diane tells Kurt, “I don’t deserve you. You don’t agree with me.” “I can still feel bad for you,” he responds. He holds her while she cries.

Jay’s hallucination thing is back. Now Karl Marx is here. So is Jesus. I’m so done with this. It’s nice to get a break from writing.

Malcolm X is also on the roundtable and now they’re talking over each other in that way that everyone on this show always does. (RK gave an interview about Evil where he said he likes having the children on that show talk over each other because he grew up in a household like that. I did not need to read that interview to understand that RK likes scenes where people talk over each other.)

If anything happened in those hallucinations, I missed it, because I didn’t pause the episode. Because I do not care about the hallucinations. Because I hate them.

Now it’s November 2020... Diane’s watching election results and rocking back and forth. She tells Kurt he can go watch Fox News in the other room (so they do have more than one room!). He says he’s fine—he thinks Diane needs it more.

“Yes, but Kurt, if you stay, I know this isn’t sensible, but... Trump seems to get more votes whenever you’re sitting on this couch,” Diane tells him. Ha, I relate to this kind of superstition so hard. “Are you serious?” Kurt says. “I am so deathly serious,” Diane responds. “Whenever you’re sitting here, Arizona goes for Trump. Humor me, please. Just go in the other room.”

When Kurt tries to kiss her, she pulls away: “No, no, no. No kiss. If you kiss me, we’ll lose Georgia.” This scene feels so, so real and perfectly captures what it was like (at least for me, though I don’t have a Republican husband or anything) watching election results come in.

“Uh, if you lose, we’ll be fine, right?” Kurt asks. “Kurt, let me just say this. I’m only saying that we won’t be fine so that the universe will grant me a win,” Diane responds. This scene is so fun and so good! It simultaneously captures a relatable mood, adds some levity, gives us a window into Diane’s life, and shows some of the tensions in her marriage?! I want this all the time!

Kurt leaves the room. Diane pours more wine.

Later, with Diane still rocking back and forth with anxiety (just you wait for the several more days this will drag on!), Kurt brings in the champagne. “That was for when Hillary won. I can only drink it if Biden wins,” Diane protests. Did I also refuse to drink any celebratory alcohol until things were absolutely certain? No comment.

“It’s odd you progressives resisted religion. You seem to have a hundred religions to take its place,” Kurt says, speaking on behalf of the writers’ room. (This joke doesn’t get written if the writers don’t believe this and probably even see it in themselves.)

“Go away, Trump. I mean Kurt,” she shoos him away. Have I mentioned yet I love this scene?

“Love me even if you lose?” he jokes (though I do wonder if this isn’t that joking? I think it is, but he keeps saying it!) as Diane gestures at him to get out.

I could do without the joke about Diane’s heart on the TV for a couple reasons. One, it goes on too long. Two, I was very worried something would actually happen to Diane. You’d think that would make the scene feel more tense, but it does not, because it takes me out of the moment.

“Ok, God. You know I don’t believe in you. But I will believe in you if Joe Biden wins. I’m sorry. I know that that’s not what Jesus taught. There’s nothing in the New Testament that says, ‘Believe in me, and I’ll make sure your candidate wins,’ but I need Joe Biden to win. I’m sorry, God, but I just do. I need some faith.” This is a little much but... yeah. Also, is this the first time Diane’s flat out said she’s an atheist? I think it is, though I’ve assumed as much for quite a while.

The next day in court, masks are no longer required if you’re a series regular and votes are still being counted. I remember those days. Marissa thought Diane was checking in on Jay... Diane was not. She was checking on vote counts.

Apparently Jay’s finally being released from the hospital!

Bad news for Julius—the idiot judge finds him guilty of some nonsense charge and sentences him to seven years in prison.

Diane says not to worry, and Julius asks “Why not?” Good point.

Then we have election results! We skip, specifically, to December 14th and the electoral college vote. I’m a little sad we skipped over the huge party that was November 7th, but I get why they’d rather keep things moving along. I think showing November 7th in an uncomplicated way would’ve just been too close to fanservice. But, man, what a day.

Diane, in a red hoodie with leopard print that she somehow manages to still look classy in, is ready to pop champagne. Then she hears that on January 6th, a joint session of Congress will count the electoral votes and there might be a debate. “Nope. If I open it now, something bad will happen,” she reasons. “I’ve waited four years. I can wait another few weeks.”

It’s been almost a year and they’re still somehow negotiating with Lucca, but I understand why they’d space this out across the episode. Otherwise we’d have to say goodbye to Lucca in the first like, 15 mins of the episode and all those scenes would be in a row. I can forgive (and still nitpick) choices like this when the reasoning behind them seems sound.

Adrian says they don’t want to lose Lucca. He, Liz, and Diane are all in the conference room, and they ask Lucca for a yes or no on their latest offer by the end of the call. Diane offers Lucca partner—she'll be the youngest partner in the firm’s history—and she’ll get a $500,000/year salary. Adrian tries to sell her on being part of American history by being part of the firm.

“We are a black firm, Lucca, and we need you,” Liz says with a lot of passion for someone who knows she might very well partner with Diane. Diane looks at Liz with a bit of suspicion at this, wondering if Liz is showing her cards.

Lucca manages to make the wifi malfunction (or she gets very lucky) and uses the disconnection to call Bianca for a counteroffer, even though they said they needed a yes or no on the spot.

“They used George Floyd because they want you for less. They have never appreciated you as much as I do. All those scars, all that time being taken for granted and undervalued has made you a fighter. It’s made you someone I now want,” Bianca tells Lucca. She gives Lucca a counter offer of $1.3 million and the title of CFO. Lucca takes it. Is there really another choice? (If she were concerned about loyalty to the firm and the partnership was what she wanted, she probably would've just taken it.)

(Also, the partners can’t really act like Lucca is making history by being the youngest partner ever when they passed her over for partner two years earlier and offered it to Maia! To MAIA! Who had like three years of work experience! And yes I was fine with Alicia and Cary getting partnership offers with four years but, one, that was a scam, and two, Alicia and Cary actually worked. Oh, I see I still hate Maia with a passion. Back to THIS season...)

Lucca apologetically informs Marissa she’s leaving and the offer was just too good to turn down. I believe it. I also believe Lucca wants that job more. What has loyalty to RBL gotten her? She's someone so talented and good at her job that she just gets job offers from acquaintances all the time (starting with Alicia!). RBL appreciates her, but just enough to appease her while still undervaluing her. I don’t know that I would’ve believed a plot where Lucca actively job hunts, but I definitely believe this.

“Marissa, we don’t have to work together to be friends,” Lucca tells Marissa. I’m going to miss this so much. Why is this the best material Lucca’s gotten in ages?! I think one of the things that makes Lucca such a great character is that you can see why everyone instantly wants her on their team. She’s a fantastic friend (without giving too much of herself), she’s not a pushover, and she is incredibly sharp and able to get to the heart of any situation. I love her and I’m sad we won’t get to see more of her.

(On that bit about friendship—I can’t write about Lucca’s departure without writing about the moment I realized just how great of a character Lucca was. It was in 7x13, when Alicia has her breakdown that’s seven seasons in the making... and Lucca supports her. But the writing, and Cush’s performance, never make it feel like Lucca exists to be a part of Alicia’s story. Lucca seems like her own fully formed person who happens to be supporting Alicia at this moment. I don’t think I can overstate how tough of a task it is to get me to care about the other person in a pivotal Alicia scene, especially when that other person was added to the cast in the final season and many suspected she’d just be a replacement for a different beloved character! Anyway, Lucca’s been great for years, and I’ll miss her.)

Just when I thought I couldn’t hate the hallucinations more, we get a hint that they are going to continue: Jay sees one right after he learns that Marissa’s used her quarantine to start law school and he’s done nothing.

Jay says he carries a gun now and it’s “performative.” I have no idea what that means and Marissa and Lucca don’t seem to, either.

Another thing I like about Lucca’s final scene is that it isn’t rushed. We have time for all that, and also for Lucca to tell Marissa about the time she stole her breakfast sandwich, and for Marissa to react to it, and for Marissa to find Lucca’s Birkin bag, and for Lucca to tell Marissa to keep it, and for Marissa to react to that, and for Lucca to sappily say “think of me when you use it,” and for Marissa to nonsensically reply, “you think of me when I use it,” and there’s still a little bit more of the scene after that!

Marissa’s silly line makes Lucca tear up. “God, I’m gonna miss you guys,” she says. “I’m gonna miss this. You make me smile. I didn’t smile much before you guys.” Awwwwwww. This is also so true to character! Her friendship with Alicia aside, Lucca’s definitely said before she’s not one to have friends (which is hilarious because she is, as I've said like 100 times, a fantastic friend and also just like, the coolest person??? Who wouldn’t want to be HER friend?!).

She says she has to go because she’s getting too emotional and says goodbye. She’s also super sappy and when Marissa says, “you were the best,” she responds that they were the best TOGETHER! Awwwwwww.

What a nice, fitting goodbye for Lucca. There’s no bad blood or fireworks—she just makes a change like a lot of people do. I’d like to think she’ll still be friends with Marissa and Jay after this. I don’t want too many Lucca references in future episodes, but I would really like it if we see Marissa and Jay update each other on the latest from Lucca, or if a scene begins with Marissa closing out an Instagram post from Lucca of her kid, or something. I wouldn’t want clues about what Lucca’s up to, but I’d love to see that she’s still a part of Marissa and Jay’s lives.

Now it is January 6th. Liz, Adrian, and Diane sit on the floor of the mostly empty office, watching TV coverage and drinking. It’s so relaxed it’s almost surreal, and it, like many other moments in this episode, feels like a slice of life. Everyone’s dressed casually and no one is worried about appearances or looking like the boss.

“God, have you ever seen anything like it. It’s so fucked,” Diane says. Adrian’s more optimistic—the courts rejected most of the challenges to election results! “System worked,” he says. “Yay.” Liz says in response. She’s not as optimistic as he is.

“Liz. Liz. Sometimes when things work out, there is no parade. There’s no congratulations, but I’ll tell you this: We live to fight another day,” he explains to her even though she makes a good point that a system just barely hanging on doesn’t bode well for the future. (She doesn’t say all this, but that’s a very loaded, “Yay.”)

“Yeah? Then why are you leaving the law?” Liz asks. Diane seconds to the question.

Adrian announces he’s still retiring—and he’s moving to Atlanta. He wants to go to the south to help “create and consolidate political power.” He’s excited to start over and inspired by Georgia going blue. This is a very nice exit for Adrian. I fully believe that he’s interested in political organizing, that he’d be good at it, and that he’s ready for a change. I don’t think he’s always the most progressive person (of the three in this scene, Liz is absolutely the most progressive one, though Diane probably thinks she is!), but I absolutely think he thinks of himself as an activist and I believe that if he’s going to step away from the law, he’d do so to make a move like this.

Adrian—and Lucca, but especially Adrian—probably both got better exits thanks to the events of 2020. If Adrian had just left to be groomed by the DNC, that would’ve been a predictable and boring ending for him. His candidacy would, obviously, go nowhere, and the whole thing felt weird from the minute it was introduced. But this? Adrian being energized—like so many others were—by the ways the world changed in 2020 and using his already announced departure from the firm and recent breakup as a chance to start over and make change? This is great!

Adrian asks Liz and Diane what’s next for them. Liz says that she thinks the Biden admin will be better for black businesses. Adrian asks if they’re replacing him, and Diane says, “I think the big question is, are you replacing me?” She’s smart. I like how this scene goes from friendly to tense very fast, with everyone kind of testing the waters. Adrian tries to force the conversation, Liz opens with something vague yet pointed, and Diane speaks what’s previously been unspoken.

Liz says it’s not her intention to push Diane out. “I can’t change the color of my skin,” Diane replies. “I know,” Liz laughs. Audra’s delivery is fantastic on that line.

“Hey, I’m gonna fight for my partnership,” Diane says. “I know,” Liz says. The tone of this scene is so different from previous partnership drama on these shows and I’m excited about it. This is just a bunch of adults talking about business decisions with each other and treating each other as equals?? It's not backstabbing?? Or drama?? No one is hiding things?? It’s refreshing and I hope this plot stays like this. We’ve done so much partnership drama that I think drama that stems from a real, pressing question that has no easy answers and isn’t anyone’s fault is going to be much more fruitful for the show.

Adrian heads out—ah, I see now this scene is set in his empty office and this is why they are on the floor—and gets a nice last moment with Diane. And then they give him a last moment with Liz, which I knew they would but was still glad to see.

Liz asks if he knows what he’s doing—he says he’s not sure.

Adrian asks if Liz knows where she stands regarding Diane. “It’s going to be interesting,” Liz says. I don’t think she’s decided what she’s going to do yet.

It wouldn’t be an Adrian and Liz scene if Adrian didn’t have some unsolicited advice. “Diane’s a terrific lawyer, but this firm belongs to you. Your dad built it. He did, Liz. Despite all his faults. You got to run this place the way you want. This is a black firm. And after today, the world needs black firms. You got me?” He tells Liz. He makes it seem like Liz gets the choice and then tells her what to do. She says, “I got it,” signaling she understood him but not that she necessarily agrees.

I cannot wait to see what Liz does next!!!!!!! About this but just in general!!!!! Without Adrian there giving her constant advice I feel like she can grow so much and the show will have to give her more to do!!! I think Adrian, for all his many wonderful qualities and all he brought to the show, can suck all the air out of a room with his charisma, and Liz usually ends up suffering as a result. She’s such a capable lawyer in her own right, but Adrian has a way of making it always seem like he’s right—even in arguments she wins. I’m excited to see Liz lead (or stumble at leadership; she is fairly new to management) without Adrian’s direct influence.

Liz walks Adrian out and it’s cute. They run into Marissa and Jay. “Everybody fun is leaving,” Marissa notes. Liz is minorly offended, but playfully. Heh.

Adrian asks Jay how he’s doing; Jay says he’s a long-hauler but he’s doing okay. I like that they included that moment in Adrian’s goodbye sequence. It’s a very little thing, but it underlines that Adrian cares about Jay.

Then Liz interrupts to note that Trump pardoned a lot of convicted and corrupt Republican officials....... including Julius.

Everyone celebrates, but especially Diane and Marissa. Diane lets out her wonderful laugh and then we, finally, get to the credits. Because now that the previouslies are over, it’s time for the real show.

The credits are absolutely delightful, btw. I was a little worried some of the kittens would blow up, though! Once I relaxed and realized what they were up to—literal puppies and kittens because Biden won—I couldn’t get enough of these credits. They work so well because they accurately capture the way I (and all of these characters, except maybe Julius and Kurt) feel about the election results, but it’s so exaggerated that you know the kittens and puppies aren’t a realistic representation of our new reality. They’re just too good to be true, but you may as well enjoy them for a minute. I’m sure we’ll be back to exploding vases next week.

What a great episode! My timeline nitpicks and whatever they’re trying to do with Jay aside, I was blown away by how well the writers managed to move on from season 4, tie up loose ends, and write out two main characters. And they did it all while making me revisit the events of 2020, a year I don’t think many of us want to spend much time thinking about! This episode was enjoyable, fun, emotional, and clever. I don’t know what to expect from the rest of the season, but I’m definitely excited about the show in a way I haven’t really been in quite some time.

This season’s naming convention seems to be titles that end with ... and only have the first word capitalized. I want to see more.

Season FIVE? There have already been as many TGF seasons as there were TGW seasons prior to Hitting the Fan?! Time flies.

Please writers: No topical episodes this year-- no pee tape, no Melania divorce, no Epstein. None of that business.

Sorry if I repeated myself here. I never proofread these things, and I wrote half of this on Saturday and half of it today (Wednesday) and the days in between were an absolute blur so I cannot remember if I said the same things about this episode twice.

#the good fight #tgfthoughts

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florrickandassociates · 5 years ago

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TGF Thoughts: 3x09-- The One Where The Sun Comes Out

This episode was way more engaging than the last. I talk a lot about Maia in this one; the writers finally figured out how to use her!

Reasons I shouldn’t write recaps after a year without seeing an episode: I forget basic stuff, like that it rained for all of season 3. You know, because ATMOSPHERE and WEIRDNESS and QUIRK. And SYMBOLISM. Can’t forget symbolism.

To be fair to the writers, it did rain a lot last year. All I remember about the month of June is rain. They predict everything.

Maia’s new job at a call center (I can’t recall if we’d seen her at the call center before this episode) is something she takes very seriously. Just kidding. She acts disdainful towards anyone who dares ask for her help and then hangs up on them. On one hand, this seems like a terrible job so I get her “fuck it all” attitude. On the other, she’s being suuuuuper bratty.

Right. I refreshed my memory. We did see Maia at this job in an earlier episode.

Consult-a-Lawyer is where all the LGwhatever rejects go. Sounds miserable.

Blum walks in, and Maia makes a, “Oh God, THIS asshole” face. Coincidentally, this is also the face I’m making as I realize I’m going to have to listen to this loud man I had blocked from my mind yell obscene things for two more episodes.

Blum wants to hire Maia. She agrees, as does her friend Lili. I believe Maia has other choices (remember how she turned down Diane’s offers to help when they weren’t exactly what she wanted?) but also, yeah, I’d want to get the hell out of Consult-a-Lawyer too.

Now it is hailing. Everyone from RBL is in blue. Remember those picspams we all used to make where we’d oversaturate the background to make everything blue? I wouldn’t need to oversaturate this image to make the blue pop.

I truly don’t understand why the main page of All Access thinks I am in the middle of some random season 2 episode when I am clearly in the middle of 3x09. When I click on the show, it understands that I’m in the middle of 3x09 and allows me to resume watching. Why wouldn’t you optimize your homepage to encourage people to keep watching!? (All Access isn’t alone in this: HBO Go also makes it very hard to figure out where I left off when watching a series.)

So, because Carl Reddick was a sexual harasser and RBL covered it up, ChumHum is insisting on an internal investigation, led by a woman who is-- you guessed it-- quirky. And even worse, it’s one of the quirks that’s actually not funny because it’s a real condition people live with?? How are we still doing this, show?

This is RBL’s best year ever. Yay! I forget if that tracks with anything we’ve seen. I guess the existence of ChumHum alone is enough to make that true.

Oh NO, Book Club is in this one too!? Liz, wisely, says she’s done and refuses to go with Diane.

Maia tells Blum no, she won’t work with him. She thought he was rescuing her from hell, but he’s really “dragging her down deeper.” This is accurate. Maia may not be the smartest character on this show, but she’s got her eyes wide open when she works with Blum.

Blum wants to work with Maia (duh) because her father is a piece of shit respected by other pieces of shit. This checks out. This is quite logical, tbh.

Maia requires very little convincing. This is not because she is in such a hard spot she has no other options. This is because she is bored and hates the world because she didn’t get her way and had to deal with consequences. It took very little to turn Maia from an innocent to a villain. Perhaps that’s because she was always complicit. (If you’re 26 and went to law school and you can’t understand privilege even on the most basic level, it’s because you’ve been tuning out everything that challenges you.)

Maia seems way more confident now. She’s SO much more fascinating as a villain than as a protagonist, likely because even when she was the protagonist everything she did was so selfish it was hard not to see her as a villain. Props to the writers for recognizing that and leaning into it. They don’t explicitly tie her actions here to her actions at the start of the series, but this only works because Maia’s always been one slight away from going bad.

And yes, I think villain is the appropriate word for someone money hungry and willing to work, no questions asked, with someone as slimy as Blum.

Maia hires her friend Lili to help out, which, admittedly, is a nice thing for someone I just called a villain to do.

After further “messages” from the con artist who started Book Club, the Book Clubbers want to SWAT someone. This sounds fucking terrifying. Diane pushes back and the rest of Book Club is totally ok with this strategy.

So Diane reveals that Valerie’s a con artist and it causes squabbling. It somehow backfires because people believe the woman claiming to have a message from Valerie. Even the one who can do all the IT things--the one who could very easily (by show logic at least) just simply look up the records and phone numbers herself-- believes her.

Is a big group setting really the way internal investigations are done? I’m no expert, but this feels like a bad approach!!

Marissa doesn’t think the firm has racial issues! Ha ha. She thinks the racial pay gap issues are totally resolved because the associates got raises. As much as I want to believe someone as savvy as Marissa wouldn’t think like this… I kinda believe it.

Lili also seems kind of terrible, like someone who can’t wait to go on a power trip and fuck over every person who has ever said anything mean to her.

Oh goodie, we’re talking about sexism now. I appreciate that they’ve featured a few associates over the course of season three. I don’t remember their names since I last watched these episodes a year ago, but I remember that they’ve been in several episodes. I hope to see them in season four, and to learn their names.

Someone says men weren’t considered to head up Lucca’s department. This is blatantly false. Also, idk what these other associates can do, but Lucca’s proven herself to be adaptable, smart, and someone who can go above and beyond. Plus, she is someone who is out for herself, with tons of career options. She’s someone you want at your firm.

The female named partners are biased against men, says a (you guessed it!) male associate. Hahahahahahahahahahahahahhahahhahaha no.

Marissa calls the associate out on this, and another (female) associate steps in to say she’s in no place to talk since she’s stealing Jay’s job. If it didn’t seem like there was room for both of them, this would be true.

In a move I appreciate, the mailroom employees are also in this scene, talking about how they didn’t receive any bonuses to correct for the pay gap because of their class. When one of the associates says they didn’t receive a bonus because of race, a mailroom guy calls her out for not knowing his name.

And then it devolves, as so many of these scenes do, into people talking over each other.

While I like that they address these issues so often on this show, I don’t think “inequalities are controversial and there’s no solution so here are people talking over each other” is the best approach. Sure, I can appreciate different points, and I don’t need the show to tell me how to think, but at this point I think the show needs more of a POV on this. It feels, too often, like they’re saying “Controversy! Huh!”

Marissa goes to Liz and mentions the other women Carl Reddick assaulted. Liz, understandably, hasn’t looked at the files Marissa gave her. She says she will but asks Marissa to keep quiet around the investigator. So sounds like she doesn’t intend to do anything.

Oh no. Is this the ep with the retcon where Liz and Adrian actually did hook up!? And put it in work emails!? All I have to say about this is that it’s a bad decision. Sometimes the writers get so close to making a bad decision and then walk it back enough so that I can relax, and then bring it back later, for no reason. It’s even worse that way, because by that point I’ve already formed a strong opinion about it happening. The moment that set me off the most in TGW was when Alicia and Peter agreed to renew their vows at the end of 421, followed by a commercial break, followed by a promo with Alicia kissing Will. I HATED the love triangle at that time. I mean HATED. That commercial break allowed me to relax into the idea that the writers had ended the love triangle. The promo shattered that idea, and, in turn, I slammed my computer shut so hard it nearly broke. That is not a feeling I like. That is the feeling that learning Liz and Adrian fucked gives me.

NOT EVERYONE HAS TO SLEEP WITH EVERYONE. IT IS SOMETIMES MORE INTERESTING WITHOUT THE ILLICIT AFFAIRS. THERE ARE MORE INTERESTING WAYS THAN HOOKUPS TO ADDRESS THAT THEY USED TO BE MARRIED. For starters, can we get an episode where Liz calls Adrian out on the condescending voice he’s always using when he talks to her?

Oh yes, this is also perjury. Why. Why is this happening? Why would Liz and Adrian admit this to an investigator knowing damn well they lied under oath, and also, why would they lie under oath? I know we saw it happen but was it really worth two partners perjuring themselves bc they fucked their ex???

When the stakes are high for no reason (or for a stupid reason) it doesn’t maximize drama. It just makes me tune out the drama. If I believed Liz and Adrian had a good reason to perjure themselves, maybe I’d care about this. Maybe they did. But the fact I don’t remember it-- and I’m someone who can name every single episode title of TGW in order-- suggests to me it wasn’t a good enough reason.

Liz goes to shred the file with the rest of the info on her father’s victims. See, this is a bad choice that I understand. It’s her father’s legacy and her firm’s future, and she has all the power right now. It could come back to bite her, but I get why she takes this risk. I get why this situation is fraught.

Credits time!!!

Maia’s also decided to dress like a Bad Girl. She is trying VERY hard. But she’s pulling it off. She’s speaking without hesitation and actually taking an active role in getting things done. It speaks volumes about her character that the first time she’s been motivated about anything work related, it’s something morally bankrupt.

Apparently the black and white associates are sitting apart from each other. Julius says it’s not intentional; there’s a hot desk system. That held up well.

LMAO people think Julius and Marissa are sleeping together. Julius does a spit take-- the appropriate reaction.

“You’re really a Rindell?” a potential client asks Maia. “Raised at his knee. Taught me everything he knows,” Maia says proudly, displaying a framed picture of her and her father. I’ve said it like five times already but it’s SO dark that Maia would use this to her advantage. We’ve seen some opportunistic shit on TGW/TGF but Maia gets so shameless, so fast, with no remorse. Damn.

RBL is trying to disbar Blum. He doesn’t care. He tells Maia to take care of it and to use the allegations (which she doesn’t realize are real) against Carl to make it go away.

Diane is talking to a computer. I’m over all the Diane plots.

Liz is glad the Book Club is still fighting even if she’s not involved, which is the stance it always made the most sense for Liz to have.

Diane allows Book Club to proceed with their latest scheme because she finds the dude they’re targeting deplorable. If this plot didn’t involve Book Club I’d find it to be an interesting moral dilemma.

An actually interesting dilemma: Liz informs Marissa she will not be disclosing the names of any additional victims. Marissa clearly thinks this is the wrong call but keeps her mouth shut. An unusual amount of restraint for her.

Maia and Marissa are still friends! Is this the episode with the bizarre Maia/Marissa kiss that I still don’t understand the point of?

Marissa divulges info about the firm’s Reddick drama to Maia, which is uncharacteristically stupid of Marissa. But there’s no bridge Maia isn’t willing to blow up to help Blum. She’s prying and manipulating a friend who faked a drug test for her and got her through the worst time in her life so she can prop up a mean, cruel man. There are other paths for Maia. I want to be absolutely clear that I think she is choosing this one because things got the slightest bit challenging for her.

Maia realizes what she’s doing and stops herself saying she has to go because “everything we talk about from now on, you’re gonna blame me for.” And rightfully so!

OH, the kiss is because Maia is acknowledging she’s fucking over their frendship, isn’t it? Earlier they’re about to drunkenly kiss and one of them talks about not fucking friends they don’t want to fuck up the friendship. So the kiss is fucking over the friendship. Or maybe it’s just a kiss.

“You’re gonna hate me. Just remember, this has nothing to do with us,” Maia says. Ha, I believe this less than I believe Alicia’s “this was never meant personally” in 5x05. (Hitting the Fan isn’t a bad comparison here, since Alicia does make a choice to fuck over friends when she has the choice to not fuck over friends. I think what makes that “gray” for me while this is villain territory for Maia is how fast this happens. Alicia’s taking the clients whose accounts SHE has sustained, and starting a firm she truly believes will be better (for herself, as a company, for her family). It’s a selfish decision. Her options aren’t reduced all that much either (she’s the governor’s wife, if she wants to leave her firm she could go anywhere). But I can see her side, I can see how fraught the choice was for her, I can see how the way things played out made the tensions worse. Maia burns her friendships to the ground so she can work with a loathsome man because the opportunity fell into her lap while she was hating the world too much to do anything productive with her life.

Maia’s crying in the office when Blum finds her. She knows what she’s about to do. She’s sad she’s going to do it, but she knows she’s going to do it. I don’t think she considers, for a moment, not fucking over Marissa. As soon as Marissa gives her the intel (which, no matter what Maia says, she was totally fishing for), Maia’s mind is made up. Does it make it better if she cries about it?

And Maia KNOWS it is a betrayal. She says she knows “a friend will interpret it as a betrayal” because she knows it is one. She tells Blum she doesn’t know if it’s a betrayal because “I’ve lost track these days” (that line sounds surprisingly Alicia-esque) and tells him what she knows. That’s one of those questions that if you have to ask, you know the answer.

Thought experiment: Would it be a betrayal if Maia were an activist who wanted to get the word out about an abuser? I think a lot of why I react so harshly towards Maia’s choice here is that (1) she sees it as a foregone conclusion that she’ll use the info and (2) she is using it to help Blum. Blum isn’t shades of gray (50 shades of gray joke here). He is despicable. He isn’t morally ambiguous and you can’t even say his ends justify his means because his ends are despicable too!

Ah, a scene I won’t have much to say about. It’s going to be Blum on his bullshit.

Oh, I do have something to say, but it’s a sad thing. Mark Blum, the actor playing ACDB lawyer Julius Kreutzer in this scene, sadly passed away from COVID-19 last week.

Roland Blum representing sexual assault survivors to fuck over a rival law firm makes me sad.

Marissa does, in fact, interpret Maia’s actions as a betrayal. She calls her immediately and asks, “you fucked me over?” “Not intentionally,” Maia says. Oh, own it. You knew the moment she said it what you were going to do; this was an intentional action with an inconvenient consequence.

The partners find out, thanks to Blum, that Julius is going to be a federal judge. And they are not happy.

More talking over each other! Cultural appropriation has entered the mix of complaints. Lucca decides to intervene by going to the partners about the new seating plan. And this is why Lucca, and not that associate, is heading up a department. She knows when to go to management and isn’t wasting her own time in these squabbles. (Tbh, Lucca recognizing that bickering with no resolution in sight isn’t productive makes me wonder if the writers have more of a POV than I’m giving them credit for. Maybe they’re trying to say that talking over each other is futile and aggravating.)

Why the hell does this investigator want to integrate the mailroom by firing black people so they can hire more white people?! Setting aside for a minute that that is a profoundly stupid idea, that can’t possibly be legal, can it???

RBL decides that, backed into a corner, it’s time to just own up to their wrongdoings. It works with the ACDB, at least until Blum brings Maia into things.

Book Club kills someone. I truly don’t know how to feel about Diane having literal blood on her hands. This scene should be way more dramatic than it feels. This is the problem with having stakes too big for the show. Instead of getting invested, I write off the far-fetched plots, and I can’t really care about character drama that stems from something so over the top I don’t believe it.

Diane thinks Book Club didn’t want the guy dead. What about this group that was working to hack voting machines suggested that they wanted him to live????

Liz says Diane has to report them, but Diane worries she’s implicated. Who could have imagined that working with crime-loving resistance group would have legal ramifications?! It’s not like Diane and Liz are lawyers or anything.

Liz thinks Diane needs to convince Book Club that everything they’re doing is because of a con artist, but that’s a solution to a different problem. Diane knew Valerie was a con artist and still pushed forward with Book Club because she was committed to the cause. Why would any of these other women abandon the group at this point? What difference does it make if Valerie is a liar.

Shock of all shocks, Book Club is planning their next attack. It’s almost like they are a group of criminals who meet in shady spaces at odd hours. The time to be noble about this shit was weeks ago, Diane and Liz. You’re complicit. What did you think you were getting into?

Book Club does not like that Kurt is conservative. Diane gets mad and basically threatens them.

“You two are just as culpable,” one of the Book Clubbers says. She’s not wrong. Maybe not JUST as culpable, but culpable for sure. It’s possible that I just don’t want to see Diane and Liz be culpable for things this atrocious and stupid so I resent this plotline. (That said, to go back to Hitting the Fan as an example of a character I love doing a thing that is morally questionable at best, I can accept my faves doing things I don’t like. There’s something about the scale of Book Club’s actions vs the scale of the show that feels off.)

“The truth is what you make it,” Blum tells Maia. A familiar lesson for this show.

!!!!!!!! Is CBS reading my unpublished word doc?! Because today All Access understands that I am watching 3x09.

It’s also updated the key art for TGF to the season 4 image, which says “What is memo 618” in larger font than the show’s title. I am sure I will come to care about memo 618; however, it doesn’t make me want to watch the show or tell me anything about the show, so I don’t get why it’s on the poster.

ALSO there is no question mark on the image so that’s gonna drive me just a little crazy.

Blum manipulates Maia by telling her she shouldn’t let anyone control her. Maia doesn’t agree to help him; she heads home instead.

Liz and Adrian talk about sleeping together. They had previously said it was a mistake, but Adrian wants to reopen the discussion. All Liz wants is privacy.

Adrian then asks her if she regrets “fucking”. Yes, he says fucking. Those are his words. Liz is like, what do you want to hear? And it breaks up the tension of the moment. THAT is more compelling to me than all the perjury stuff. (Also, neither of them regret it.)

I don’t think I have a problem with them sleeping together… just a problem with it happening off-screen (I don’t need a sex scene-- just want to know how they got there!), being retconned, and then being used to create drama. If they want to hook up, go for it.

Oh, look, it’s a stock footage shot of the outdoors. Busy streets? People walking around? Seems fake.

The stock footage is to show that the rain has stopped, btw. It just feels like it’s designed to taunt me with the idea of public parks and bustling streets.

The ChumHum report is out and the partners look very! Serious! But Liz and Adrian are in the clear.

The investigator basically just finds the firm grew too fast and that’s their only real issue. The Carl Reddick issue will hurt, but it’s survivable.

But they’re still losing ChumHum. They were always going to lose ChumHum. Diane goes outside to enjoy the good weather while she can.

Maia doesn’t show and Blum gets disbarred. It’s fun to watch him squirm, having just lost his power. He rambles nonsensically.

Maybe Maia isn’t a villain. I truly don’t remember this scene happening; I thought I remembered her showing up to defend him! Score one, Maia. This episode is the most interesting Maia’s ever been.

I also don’t remember Diane singing on a park bench. But I like it!

Book Club is threatening Diane now. They’ll destroy her (or kill her?) if she tells on them. Dramatic!!!

#the good fight #tgfthoughts #yall i had to actually spend time THINKING about why maia's choices come across differently than similar choices by other characters #a maia plot made me think about something other than how little she works!! truly incredible

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florrickandassociates · 8 years ago

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A Guide for New Viewers of The Good Fight

Just subscribed to CBS All Access to watch Star Trek: Discovery? Wondering if The Good Fight is worth watching even if you never watched The Good Wife? This guide is for you.

You don’t need to watch The Good Wife (TGW) to enjoy its spinoff, The Good Fight. But it might be helpful to have some background information. That’s where this guide comes in: it’ll catch you up on the premise of TGW, the characters, the relevant plot details, and all the references in each episode of The Good Fight. This guide is meant to be shared and reblogged, and it’s a work in progress, so if anything’s unclear, just send me a message.

The Basics:

The Good Wife premiered on CBS in September 2009 and concluded its run seven seasons later, in May 2016. It aired a total of 156 episodes, all of which are available to stream on Hulu, Amazon, and CBS All Access (I believe they’re on Netflix in some countries– not the U.S.).

The show tells the story of Alicia Florrick (Julianna Margulies), a stay-at-home mother of two, who goes back to work as a lawyer after her politician husband becomes entangled in a sex scandal. The show is part character-study and part legal procedural, and traces “The Education of Alicia Florrick” (that’s what the writers sometimes like to call the show) as she goes from being an innocent victim to someone powerful enough to be a victimizer.

Okay, so how do the Good Fight characters fit in?

Diane Lockhart (Christine Baranski) is one of the three name partners at the firm Alicia joins following her husband’s scandal. Diane is at the top of her game, a liberal legend who keeps a framed picture of herself with Hillary Clinton on her desk. In mid-season 1, she falls for Kurt McVeigh (Gary Cole), a ballistics expert who will only testify for the defense when he’s certain the defendant is innocent. He’s also a Republican, as devoted to his conservative ideas as Diane is devoted to her liberal ones. They initially flirt by joking about Sarah Palin’s memoir, date as their paths cross over the years, and marry in season 5, episode 4. Over the course of TGW, as Alicia rises through the ranks at the firm and eventually becomes a partner, Alicia and Diane begin to see each other as friends and peers.

Lucca Quinn (Cush Jumbo) is a new addition to TGW in its seventh season. She starts out as a bar attorney, which means she’s representing arrestees at bail hearings. When Lucca’s introduced, Alicia is attempting to work as a bar attorney (Alicia runs for office, and loses*, in late season six and needs a fresh start). Alicia’s not used to the fast pace of bond court, and Lucca volunteers to help her out. Quickly, Alicia suggests to Lucca that they start their own firm together. After Lucca witnesses Alicia going through an emotional crisis, they become close friends.

*She wins but then a whole convoluted plotline prevents her from taking office; you really don’t need the details.

Marissa Gold (Sarah Steele) is the daughter of another one of TGW’s series regulars. Her tightly-wound and eccentric father, Eli Gold (Alan Cumming), is Alicia’s husband’s campaign manager. (Her mother, Vanessa (Parker Posey) is separated from her father, and shows up briefly in season 3 as an aspiring politician.) Marissa is first introduced in season 2 as Eli’s sarcastic teenage daughter who wants to go live in Israel– which she ends up doing, for a couple of years–, but in season six, she becomes Alicia’s assistant during her campaign. After Alicia’s loss, Marissa goes to work at a juice bar in the mall.

Where does TGW leave off?

Lucca and Alicia’s firm has trouble getting off the ground as the show nears its conclusion. Because they’re in serious financial trouble, Alicia agrees to rejoin her old firm– Diane’s firm– as a junior partner. She insists that Lucca be hired there as well.

Diane senses an opportunity to achieve a life-long dream of an all-female led firm and asks Alicia to be a name partner with her. Alicia agrees. But, as the drama at the firm plays out, Alicia’s husband, who’s now the Governor of Illinois (Marissa’s dad is really good at the campaign management thing, y’all), is criminally charged with intentionally causing a mistrial when he was State’s Attorney, the position he held before he became governor.

Diane agrees to represent Alicia’s husband. Unfortunately for Diane, the case hits a little too close to home: her own husband, Kurt, was an expert witness in the mistrial under investigation, and so Kurt is called as a witness in the criminal case against Alicia’s husband. When it becomes clear the only way for her husband to avoid jail time is to call Kurt’s testimony into question, Alicia hatches a plan. She asks Lucca to suggest, in court, that Kurt’s testimony cannot be trusted because Kurt was sleeping with another ballistics expert, Holly Westfall, a pretty, young blonde. Diane, who already had her doubts about Holly’s relationship with Kurt, is devastated by this public humiliation and betrayal. Alicia’s husband is able to take a very favorable plea bargain.

In the final minutes of The Good Wife, Diane approaches Alicia in an empty hallway and slaps her across the face. This suggests an end to their partnership and recalls the opening minutes of TGW, in which Alicia slaps her cheating husband across the face in an empty hallway.

What else should I know?

The Good Wife and The Good Fight are both created and showrun by a married couple: Robert and Michelle King. They often co-write episodes, and Robert sometimes directs.

Between Wife and Fight, the Kings created and ran a show called BrainDead, a political horror comedy in which space bugs ate the brains of politicians. This is necessary information because it kind of shows who you’re dealing with.

The Good Shows are very interested in technology. Cases about everything from search engine optimization to NSA surveillance to bitcoin are common.

The Good Shows are also very interested in staying current. The Kings have an eerie ability to sense the next news cycle, so episodes always feel timely.

Every episode of season 1 of Wife had a one word title. Every episode of season 2, a two word title. Season 3, three. Season 4, four. Then the titles count down: Season 5, three. Season 6, two. Season 7, one. Fight titles appear to have the same number of words as the episode number until episode six, when the titles begin to count down.

The Good Wife did an excellent job of worldbuilding. Well-drawn, distinctive recurring characters are likely to pop up at any time.

Many of these recurring characters are played by Tony Award winning Broadway stars. But no, there has not been a musical episode.

Wife loves elevators. There are so many elevator scenes.

Maia and the Rindells are never mentioned on Wife, and neither is anyone at Reddick, Boseman & Kolstad (except Julius Cain and Lucca).

In seven years, the show only killed off one character, so Fight isn’t likely to have that sort of drama. And that character death happened only because the actor wanted to leave. And the character was a straight white male. (Spoilers on this below!)

Episode One (Inauguration) Specific References:

Lockhart, Deckler, Lee, etc.: This is not the same firm we last saw in Wife. The later seasons of Wife involved a lot of drama surrounding the name partners, to the point where it got confusing from week to week (yes, week to week) to remember who was a name partner and who wasn’t. The excessively long firm name in Inauguration is both meant to convey that the new firm is top-heavy and as a humorous acknowledgement that it’s time for a clean break from that drama.

David Lee: The head of family law at Diane’s firm for the entire duration of Wife and a name partner at Diane’s firm when Fight begins. He’s only out for himself, which means that sometimes he’s an antagonist and sometimes he’s sucking up to Diane. He is sneaky and sarcastic, but everyone puts up with him because he brings in a ton of business. He’s also known for always having jars filled with candy around his office.

Howard Lyman: A name partner at the firm when Fight begins, Lyman was first introduced as a retired lawyer Diane invited back to the firm when she needed an extra vote of support in a partners’ meeting. Since then, he’s become a bigger and bigger part of the show and a recurring joke (with, in my opinion, diminishing returns). He’s also super racist and sexist. And he ends up marrying Alicia’s mother-in-law, fun fact.

“People I’ve thought with all my heart were guilty turned out to be innocent, and people I thought were saints, they, um, they weren’t.” Diane’s speech to Maia contains a reference to Alicia. Because Alicia was, at least initially, seen as the innocent victim (the “Good Wife” standing by her husband) of her husband’s scandal, the press took to calling her “Saint Alicia.”

Will Gardner: Pictured both in the slideshow at Diane’s retirement party and in a framed photograph on Diane’s desk, Will was Diane’s business partner for the first five seasons of Wife. SPOILER SPOILER SPOILER SPOILER: He was killed in season five by an unstable client who got ahold of a gun in court.

Brooke Kennedy: The director of the episode. Brooke’s also an Exec Producer, and she’s usually the one on set. She’s directed a bunch of times.

“You’re poison. No firm will hire you.” A variation of this line, said to Diane as she’s looking for a new job, is also said to Alicia, referring to the time she was trying to find a job after her husband’s scandal.

Lucca’s entire speech in the bathroom to Maia: Clearly a reference to Alicia, Lucca gives Maia advice based on what she’s learned from Alicia about surviving public humiliation. Not only does Lucca reference Alicia (though not by name), this speech strongly resembles one Alicia gives in the pilot of Wife when she advises her client on how to make it through trial.

Diane’s framed picture with Hillary Clinton: Mentioned above, this is not something that’s just added in to make Fight feel more timely. That picture has been on Diane’s desk in every single episode dating back to Wife’s pilot, where it’s prominently featured.

Episode Two (First Week) Specific References:

Julius Cain: A longtime partner at Diane’s first firm, Julius randomly disappears for long stretches during Wife only to pop back up as though he’s been there the whole time. Now he’s at RBK.

Marissa’s connections at the mall: Marissa worked at a juice bar in the mall in her last appearance in season seven.

Judge Abernathy: A Wife fan favorite judge. Abernathy is very clearly a liberal (though he strives to make his rulings unbiased). He first appears in Wife 1x02 and appears several times after that. He’s always supporting some new cause– Occupy Wall Street, a blood drive, etc.

Andrea Stevens: An LA based lawyer who showed up for the first time in season 7. She always talks about Lucca’s hair.

Episode Three (The Schtup List) Specific References:

Judge Morris: Another judge who’s been on TGW many times.

Episode Four (Henceforth Known as Property) Specific References:

Mike Kresteva: A character who lies outrageously about everything and gets away with it. But you probably picked up on that.

“One of the partners at my firm, Alicia Florrick, knew [Kresteva]. He made her life hell.” Diane’s description of Kresteva serves two purposes: it introduces him to new viewers and it reminds old viewers about why Diane, who never really interacted with Kresteva, might be so wary of him. Kresteva ran for governor against Alicia’s husband. Kresteva lost, but during the campaign, he routinely made up lies about Alicia’s family, including her teenage son. Kresteva’s first appearance, before he announces his run for office, is as the head of a blue ribbon panel about an incident where a police officer shot an unarmed black man. Kresteva tries to shut down all investigation and sides with the officer, even when Alicia uncovers evidence that the officer was undoubtedly in the wrong. After the panel, Kresteva lies to the public about Alicia’s role in it. In a later episode, during the campaign, his lies get to the point where Alicia realizes it doesn’t matter what she says around him because he’ll lie anyway. She then compares him to Hitler– to his face!– and tells him to “die choking on your own blood.” (Later in the same episode, Alicia’s husband, also fed up with the lies, punches Kresteva in a bathroom at a fancy ball/campaign event. He leaves behind a shattered glass, knowing that anyone who stumbles upon Kresteva will assume he’s had too much to drink (Kresteva is a recovering alcoholic) because that explanation makes more sense than being punched. It’s really satisfying.)

Chumhum: The search engine Diane uses to look up Kresteva’s son. Chumhum was a top client of Diane’s firm for a number of years. It’s like Google and also every other tech company merged into one. Its mascot is Chummie the Gopher. You will be hearing more about Chumhum, and you’ll also see it pop up whenever characters look anything up online.

The process server: They (almost) always have the same guy serve subpoenas.

Alma Hoff: Another lawyer who’s been in a bunch of episodes before.

Judge Stanek: Another recurring judge. He hasn’t appeared since season one of Wife, but he did the trash-can-for-ringing-mobile-devices then too.

Episode Five (Stoppable: Requiem for an Airdate) Specific References:

Judge Glatt: Another recurring judge, and one of the few without a notable quirk.

Neil Gross: The CEO of Chumhum (see episode 4). He is an on-again-off-again client of Diane’s, and, as this episode makes clear, his account brings in a LOT of money for the firm. He has a huge ego, loves to wear hoodies, and cares about justice only up until the point it interferes with his business interests.

Elsbeth Tascioni: If you’ve watched episode 5, then you already know that no words could ever fully describe her. You also probably have a decent sense of who she is and how she thinks. With that in mind, I feel compelled to inform you that everyone’s favorite eccentric lawyer has appeared in many episodes, including season 4's Je Ne Sais What?, for which Carrie Preston (who plays Elsbeth) won the Emmy for performance by a guest actress in a drama series.

Alicia’s advice to hire Elsbeth when you’re in trouble: Elsbeth first appears as Alicia’s husband’s lawyer during his corruption trial in Wife season 1. She does such a good job that Alicia goes to her when she needs representation in season 3, and after that, Elsbeth becomes everyone’s go-to– on Alicia’s glowing recommendation– when there’s legal trouble.

Fantasia: Elsbeth’s assistant. She’s never shown on screen, but she’s always mentioned.

Elsbeth’s recording of Kresteva’s threat: This is not the first time Elsbeth’s saved the day by secretly recording a conversation.

All of Lucca’s talk about her best friend and former coworker who might still be a friend: This is about Alicia. Wife 7x13 is a good episode to watch for more on this, though the Alicia stuff may be very confusing for a new viewer. In that episode, Lucca talks about how she doesn’t have friends but wants to be Alicia’s friend.

Episode Six (Social Media and Its Discontents) Specific References:

Marissa talking about dead bodies: Marissa spent two years in the IDF.

Episode Seven (Not So Grand Jury) Specific References:

AUSA Zschau: An AUSA who’s appeared on the show before, in Wife season 3, episode 7. (Coincidentally, that’s also a fantastic Elsbeth episode.) He’s played by Aaron Tveit, who was a series regular on the Kings' BrainDead.

The Paisley Group: A prominent client from the old firm(s), now in business with Reddick/Boseman/Kolstad.

Episode Eight (Reddick v Boseman) Specific References:

Pastor Jeremiah: A prominent and politically involved pastor who, along with his son, Isaiah, appeared in several episodes of TGW.

The artist whose work is on display at the gallery Lucca and Colin visit: The artist is one of Robert King’s favorites so his work ends up on these shows all the time.

Reddick telling Diane she knows what it’s like to “have a firm that bears your name that lost your mission”: Diane’s old firm became the site of constant power struggles she had to manage, which took time away from her initial goals.

Episode Nine (Self Condemned) Specific References:

Memory Pops: The writers hate flashbacks, so, instead, they do what they call “memory pops.” These are stream-of-consciousness remembrances of people and events, and they sometimes include fantasies and daydreams. They’re unreliable sources of information if you’re looking for the objective truth, but they’re a device the writers use to develop characters. TGW has some stellar episodes with memory pops, including 4x18, 5x10, 5x14, and 6x14 (though that last one is controversial.)

Colin Sweeney: Initially described as “the white O.J.”, Colin Sweeney first appears in season 1 of TGW. He’s creepy and kinky and loves to make others squirm. Originally, he’s accused of killing his wife, but he pops up for various other reasons (sometimes related to business– he’s a successful businessman) as the show goes on and is one of the firms’ top clients. And, he’s fascinated by Alicia, so he always wants to work with her and follows her from firm to firm. He pronounces her name “Alee-see-ah” even though he knows she pronounces it “A-leash-ah.“

Episode Ten (Chaos) Specific References:

Dylan Stack: A tech guy and lawyer who loves to be disruptive. He appeared in a few episodes of Wife, including one about Bitcoin.

The man in the hospital wearing only one shoe: This shot, which may be from Diane’s perspective, recalls the moment Diane realized her business partner, Will Gardner, was dead. After the courtroom shooting (see above), Diane rushed to the hospital. She believed that Will was in surgery, but then learned he was already dead, laying on a stretcher and wearing only one shoe.

#The Good Fight #The Good Wife

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florrickandassociates · 8 years ago

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TGF Thoughts: 1x06-- Social Media and Its Discontents

Thoughts under the cut...

The Kings wrote this one, which always means it’s either a big episode or it contains a topic they’re passionate about. This episode falls into the latter category.

And Jim McKay directed. He’s directed many TGW episodes (and has directed at least one episode every season), and also lots of episodes of shows ranging in style from Rectify to The Americans.

The episode kicks off with a white dude in front of a solid green screen ranting about coding and how men are inherently superior to women. He is very mad about a change in Google’s algorithm that implies that women can invent things. Like, he’s seething. Over the idea that women could invent things. His resentment—and his complete lack of logical reasoning—would be almost comical if this weren’t based on a very real online harassment problem.

We cut away from the green screen to Neil Gross slapping a sheet of paper down on the RBK conference table and explaining that’s just one offensive post made on his social platforms.

The device used to illustrate the content of the posts is reminiscent of how the writers have brought cases to life in the past. Whenever a case requires a lot of talking, the writers like to bring in these illustrations to make the plot clearer and more captivating (see 3x07 and 6x18). In this case, they may also be trying to put faces to posts that would most likely (but not necessarily) be made anonymously.

Neil presents the RBK team with 4,758 “problematic” posts. What, is he only looking at the past hour?

Neil continues to comment on how cool it is that there are black lawyers… while only addressing Diane.

He brings a gift for the RBK team (no sign of it being RBKL yet…). It’s a Chummy T-Shirt with “Team Reddick, Boseman & Kolsted” written on it. I bought the Chummy shirt the CBS store offered and it’s super soft and comfortable. If CBS made this shirt—without the typo, of course—available, I would buy it too. Hear that, CBS? I am telling you I will spend more money on your product!

Barbara’s last name is misspelled on the shirt (it’s “Kolstad,” not “Kolsted’), and she notices immediately. When she points it out to Adrian, he just notes that Neil is bringing in $86 million a year. Wasn’t it $58 million last episode?

Neil needs a new Terms of Service agreement because two of his sites have become “like the Wild West of racism and sexism.” These sites are “Chummy Friends” which is Facebook-like (a way a real life Neil Gross would literally never describe his own site, but character Neil Gross has to because how else would we know what Chummy Friends is standing in for) and Scabbit, the Reddit clone from 5x09. (In 5x09, ChumHum definitely didn’t own Scabbit. Florrick/Agos represented ChumHum at the time, but they were the ones going up against Scabbit in court. I suppose they acquired it.)

Ah, one of the trolls is played by Ophelia’s boyfriend from Sweet/Vicious, which gives me a great opportunity to tell all of you to go watch Sweet/Vicious. Especially if the case this week made you feel angry and powerless. Go watch Sweet/Vicious.

Neil wants the posts gone on moral grounds… and because they’re hurting his business by scaring off advertisers.

“I notice only eyes for Diane,” Adrian comments to Barbara. This is true.

Neil sets a deadline: a new TOS by 5 pm. He then continues to talk about how cool it is that black lawyers exist and how it gives him hope, which he seems to see as a compliment but Lucca, Adrian, and Barbara all (correctly) read as patronizing.

As soon as Neil leaves, Diane suggests splitting into groups to tackle the problem. Barbara immediately overrules her and says they are going to sort the posts instead. (Why wouldn’t ChumHum have given them a digital copy of these posts? That would be much easier to sort.)

Adrian suggests making piles for racist posts, anti-Semitic posts, and threatening posts. He forgets misogynistic, which Diane immediately realizes (and which is a weird oversight I have trouble buying, given that Neil mentioned sexism twice in his introductory speech). Is this meant to be a comment on how Adrian thinks (I mean, you know how I feel about the way he talks to Barbara!)?

Barbara also asks what’s missing, so now I’m confused, because… duh? It wouldn’t just be a white woman who’s bringing up issues of misogyny, even if I bet Diane would list misogyny as an issue before she’d list racism.

Diane calls Maia onto the project through the glass wall. Maia is currently busy, not with work (…) but with a personal phone call to her father. “Dad, I’ve been working pretty hard lately, but, um, I’ll try,” she says. STOP THE PRESSES: MAIA’S BEEN WORKING HARD? Maia hasn’t been on a case that we’ve seen in three episodes, and she’s had a seemingly endless amount of time during the workday to investigate her own problems. Is this Maia’s idea of hard work? Hahahahahahahahhahahhahahahahahahahahahhahahahaha

(Seriously though, SHOW, NOT TELL.)

“But the problem is, I’m an associate. I don’t control my own fate,” Maia says. Ah, so in her first two lines, she’s managed to announce that she’s working hard (when, obviously, she is not) and then inadvertently take my favorite Alicia theme about controlling one’s fate. I want to want your character on the show, Maia, but I kinda just want to buy you a one-way ticket to Mandyville. (To be clear, I don’t care that Maia happens to mention controlling one’s fate; Alicia doesn’t own that issue. I don’t like these lines because they remind me 1) of the ongoing issue I have with the way Maia’s being written and 2) of how much better the Kings did when they explored the same things with Alicia. I know they’re capable of writing better material than this.)

Maia agrees to go see her dad that night. She gets off the phone to go—GASP—do work.

In the conference room, Lucca’s reading a post about the abortion debate. Julius calls it “political” and I’m just wondering: what’s the difference between threats and politics? If your politics are to deprive people of their rights, and you’re stating them in the most abusive language possible, and directing it at a specific individual, how is that not a threat/harassment?

Lucca asks to call a vote on whether this is “political” or “threatening” (also, why can’t it be both?). Julius plays rank and reminds Lucca that she’s an associate and he’s a partner. Ugh. He’s just mad he’ll lose to someone he outranks. I love that Lucca always shares her opinions even when she’s not asked and she’s outranked. Some (like Julius) may not like it, but I admire her confidence. And, I love that she doesn’t speak up to show off or to prove her ideas are the best: she does it because she truly believes that what she has to say is important. (Even better: it usually is important.)

Diane calls a vote on another post, this one about rape. Barbara immediately says it’s a threat. Adrian says it’s not—he’s just making a distinction between a threat and misogyny. Lucca disagrees, vocally. Adrian says the person has to say “I am going to rape you” in order for it to be a threat, because otherwise it’s protected speech. Um, but, as Neil Gross already said, this is ChumHum’s call, not a First Amendment issue. Your right to be a dick on Chummy Friends isn’t protected by the Bill of Rights.

Diane reminds Adrian of this, and Julius goes, “Yes, but the terms have to be fair.” Do they? Legally? Or just for optics?

Maia speaks up to argue against Julius. “And if I’m attacked 50 times a day?” Maia says. Julius says that those who are the most harmed shouldn’t be judging speech. Maia takes out her phone and reads one of the abusive texts she’s been sent.

“But that’s about your parents’ scandal, right?” Julius argues, as though that makes a difference.

“My guess is yes. But sometimes they’re so busy discussing my rape that they, uh, they don’t have time to state their reasoning,” Maia retorts. Then the discussion shifts away from this.

A missed opportunity, I think, to have Maia be able to do more than say, “hey, I got a threat, and it was bad like all these others are also bad!” Has she perhaps noticed a pattern? Spoken with others who face the same threats? Read up on the issue? Picked up on other problems the TOS needs to address? Anything? This is Maia’s only contribution to the case.

Don’t get me wrong (especially since I’m always ragging on poor Maia, who hasn’t done anything other than be poorly written). I think it’s smart to bring Maia into this conversation. She has dealt with this problem personally (on Chummy sites or off), and that insight is valuable. She doesn’t need to save the day or have all the answers (she’s just a first year associate!), and I know that once they’re out of the brainstorming phase there’s not as much Maia can to do get involved. But this harassment stuff is the only thread we’ve gotten about Maia’s personal life that isn’t conspiracy drama about her parents (or the two appearances by Amy in the early episodes, #BringAmyBack), and now there’s a case about it, and the writers are only going to do the bare minimum to tie the two threads together? Maia jumps at the opportunity to help with this project. But is there more? Does she volunteer to help see it through, does it make her want to work on something else as a distraction, is she totally neutral about it to the point where people are whispering that shouldn’t she care, something, anything!?

This case doesn’t need to be a lens to develop Maia. I usually hate cases like that—the ones that only exist to parallel the main characters’ life. But if the show’s going to tackle the topic, why not loop Maia in to a greater degree? Especially after three consecutive episodes where she’s not doing any work. Just give her work to do. Tie her into the cases of the week, and not just the ones that she can relate to. Again, this was never a problem on TGW. If anything, the problem there was that Alicia was on too many important cases. That happened because TGW wasn’t an ensemble show, so, especially at first, everything had to relate to Alicia. TGF is an ensemble show, so it should be really easy for it to find the balance between “Maia’s on every case and everyone needs this one associate on every project” and “Maia never works.”

I KNOW I AM A BROKEN RECORD BUT I’LL STOP WHEN THE WRITERS DO.

Lucca gets a call from Colin and ducks out to take it. He wants to have lunch and also to know what color panties she’s wearing. She says she’s color blind—I think as a joke?

Why does “lunch” always mean “sex” on this show?

Colin goes to talk to his boss about Kresteva’s nonsense. The boss is more interested in his salad than in justice. His boss explains what Kresteva’s trying to do—scare off other firms from taking on police brutality cases by making an example out of RBK, even if that means letting Henry Rindell out on bail. Ah, this is what I suspected but at least we know the strategy for sure now.

Now Colin is “oversight head of whatever, we’ll figure out the title later.” He has no veto power, though. This boss seems fun.

Diane wants to ban every use of the n-word, which Adrian argues against because that would end up banning every rap lyric on the planet from being quoted, as well as Huckleberry Finn. Yeah, Diane. I was with you on the “adding a pile for misogynistic posts” but Adrian’s right here.

Barbara slips up and uses the word “tweets” instead of “posts.” But it’s okay; we all know we’re talking about Twitter here and not Chummy Friends.

I wonder if the writers contemplated calling it “Chummy Chums” or using the word “Chum” in it.

With no segue (deleted scene?), Julius begins talking about how there’s a problem: 50% of misogynistic tweets are sent by women. Okay, and…? How is that a problem? If women are being misogynistic and abusive, why wouldn’t they also be banned?

Lucca and Marissa chime in to say that study (which, naturally, they’ve both read) is bogus, because of how it defines misogyny.

Even Marissa is arguing against Julius. I love it. Diane taps Marissa’s arm like, “not your fight, drop off the coffee and leave” and Marissa, instead of quietly exiting, calls more attention to herself and says, “Yeah, I’m going.” Julius is all, “Who is that?!”

“I’m bored. Teach me something,” Marissa announces to Jay, who is working. People on this show have such odd ideas about their professional responsibilities. Or maybe it’s just Marissa.

Jay tells her to fuck off, I think. Marissa insists: she wants to learn how to investigate!

She asks Jay if he’s ever seen a dead body in person because he’s looking at crime scene photos. He says yes, six. “I’ve seen twelve,” Marissa replies. Jay didn’t expect that. Marissa doesn’t explain this happened during her time in the IDF. It surprises me we didn’t get more exposition there.

Anyway, this conversation makes Jay more receptive to Marissa’s questions, so he tells her she needs to get an investigator license unless she assists a licensed investigator. Marissa takes this as an invitation to join him.

Then Jax walks in and interrupts them and Marissa has to call Maia out of a meeting, because there are labor laws specifically in place for Maia Rindell that protect her from having to work for more than 15 consecutive minutes.

Maia and Jax go into a conference room to talk. There are three windows in the room’s window-wall, and there’s a great shot where Maia and Jax stand behind the window on the left and the window on the right, leaving a lot of distance between them.

Conspiracy stuff happens. Jax warns Maia against talking to her dad because he’ll be wearing a wire.

“I’ve got to get back to work,” Maia says. Do you really though?

(The answer is no, because we follow Maia through the hallways of the office and back to her desk, where she picks up her personal cell phone and phones her father to cancel their plans.)

(Rose is doing a very good job as Maia. I love the way her face changes when Henry insists that they can’t talk over the phone; it has to be in person. She takes it as an indication that Henry really might be wearing a wire, and begins to question everything she thought she knew… again.)

(I like the idea of this plot and the idea of Maia but the writing, ugh.)

More bickering about the TOS happens. I’m going to stop recapping this stuff because I think it’s pretty clear where I stand on it, and once we get to Felix… I just don’t have the time to break down why every argument he makes is wrong.

Colin texts Lucca to meet her now, so she smiles and then proposes a solution to the TOS dilemma: an appeal process. Users will be suspended after a certain number of harassing posts, a panel will review, and they’ll have a chance to appeal. I have questions about the logistics of this, but I like the idea. So does the rest of the room, Julius included. Adrian’s thrilled to have solved the problem well before the deadline.

The policy goes into effect IMMEDIATELY and without any notification (well, we don’t know that there wasn’t a new TOS agreement everyone had to click, but this would’ve been news) and begins to piss off/delight trolls. Now they get to troll lawyers!

Maia goes to meet with Elsbeth. This I’ll excuse because it seems pressing and affects the firm, so it’s kind of working.

Elsbeth doesn’t have furniture in her dentist’s office office, so there are only folding beach chairs.

I think Elsbeth’s “Ada” was designed just to fuck with me, because last week it interrupted an Alicia update and this week it’s playing a song by an artist called “Good Girl” because Elsbeth said, “Good Girl.”

Elsbeth wants Maia to feed her dad false information. Maia’s hesitant, but comes around to the idea. Elsbeth tells her to record the conversation if she does feed him the info.

Lucca and Colin are in bed together, and Colin asks Lucca out for dinner the next night. She wants to know if he means dinner or dinner dinner. The former just means “fucking” and the latter means a date (then fucking). Lucca, we deciphered this code (well, as it applies to “lunch”) during the Willicia affair, but it’s good to get confirmation.

Colin wants the date, and Lucca turns him down.

Ugh, fuck this Felix guy.

But, he reveals something interesting: Diane donated $18,860 to Hillary (which is well over the contribution limit, isn’t it? Where’s he getting this number?), and Barbara donated $23,000. Barbara donated more than Diane did. I’m surprised, but I really shouldn’t be, since a large donation lines up with what we already know about Barbara.

I don’t get how this panel works. They’re going to spend this much time on each Twitter Egg? All the name partners at RBK, for several days, hearing out every troll in person? Why did they institute a new TOS without a trial period or testing it out at all (with mock panels and etc)? This appeal system, in its current form, seems like a waste of time and money. And also weird, because… do you have to go to the RBK offices to appeal? Is there a standard procedure for who’s on the panels? For what happens during deliberations? Do you have to give up anonymity to appeal (that would make sense, tbh)? Are they a matter of public record?

For a show that comes around to the conclusion that we shouldn’t engage with trolls, it sure spends a lot of time on Felix’s antics.

Now Diane and RBK are being harassed online. There’s a never-ending stream of hate. And somehow, in all that, Diane realizes that each account is keeping their harassment to 12 posts. This confuses me. Are their terms of service so vague they don’t tell you what would get you banned (probably; they could just say “continuous harassment” or something like that instead of revealing the exact number or that there is a number of harassing posts you can send)?

So, Adrian wonders if there’s a leak and asks Jay to investigate. Knowing that the trolls will probably talk to a white girl, he asks Marissa to help.

Lucca’s out at drinks with the dude whose ass we saw in the pilot, Zack. He’s her personal trainer. She doesn’t care about him at all, because the only reason she’s out with him at all is so that Colin can run into him and get jealous. Colin doesn’t. Awww, Lucca, you’re starting to care!

Maia goes to meet with her dad, and I wonder if she called first (which… would be the logical thing to do if she’s worried he’s wearing a wire, since he’d need to anticipate the conversation in order to actually be wearing the wire, right?) (unless “wearing a wire” means “making an iPhone recording” in this case?) because there’s a party going on when she arrives home.

At the end of the night, Maia and Henry have a chance to talk. Unfortunately, it plays out exactly as Elsbeth suggested it might, and Maia has to feed her father the lie about RBK.

This Ada thing is a running gag now. Hmm.

Marissa goes to investigate and finds one of the trolls in person. Marissa compliments him, and suddenly he’s let his guard down and tells her everything she needs to know—namely that Felix has their transcripts.

Adrian asks Jay to investigate Julius as the source of the leak. Neither Diane nor Barbara seem to agree with this decision, but they don’t disagree strongly enough to argue.

Ugh, Felix.

I am not the hugest fan of these definitions that pop up in the mean posts. Not sure they’re necessary, nor am I sure those terms are what would confuse a viewer who didn’t already know exactly what this episode was about. Actually, who is the intended audience of this? It seems a little too widely discussed to be these writers’ usual material.

As Lucca, Barbara, and Adrian discuss what to do, Elsbeth arrives, carrying three Vera Bradley bags and grinning. “Oh my God, when did this law firm become a circus?” Barbara wonders.

Felix warns Diane that Neil Gross may have gone to her firm for the TOS for a reason.

Elsbeth updates Barbara, Adrian, and Lucca about the story she planted with Henry.

Marissa enjoys pretending to be someone she’s not for the purposes of investigating. Anyway, turns out Marissa and Jay are investigating Felix’s boyfriend.

Annnnd it works, and turns out the leak isn’t Julius… it’s ChumHum’s offices. Diane realizes it’s a set-up.

Marissa is alerted to a new problem: instead of using the n-word, trolls are now writing “Neil Gross.” Oh, no. (So they DID ban specific words?? I DON’T UNDERSTAND)

Marissa brings this to Diane and explains that one of the trolls really likes her. Diane is confused by how Marissa would even know the troll, and Marissa says, “It’s nothing. They’re easily confused when women offer them attention.” This is her best line since she told Elfman, “God, handsome men are so weak.”

Lucca walks into Colin’s office, angry, and tells him she hates games and to knock it off. He’s not doing anything bad… he’s just not acting jealous, and that makes Lucca mad.

Colin figures it out, and realizes that Lucca’s plan didn’t work. “Let’s go,” she says. I can’t wait until these two just decide to become a couple and stop with the games.

Ugh, I am not here for this Lucca-kisses-and-fondles-Colin-while-he-drives-down-a-dark-and-twisty-road thing. I know these writers well enough to know the car isn’t going to crash, and so it just feels weird and unnecessary until Colin finally pulls over. It also feels exactly like the Kings’ (okay, mostly Robert King’s) idea of edgy sex, and there was more than enough of that on TGW. More 3x01 Willicia type scenes and fewer scenes that remind me of season 4 Kalinda, please and thanks.

Colin lives in a giant house. Why does one person need all those rooms?

Julius notices that someone’s gone through his things and storms into Adrian’s office (or maybe it’s Barbara’s office? They’re both there). Julius, understandably, isn’t happy. He says he was the most loyal employee they had, but no more: he knows he was targeted for this, and that people think differently of him now. He quits the firm and calls Andrew Hart, the lawyer who gave him his card in 1x03.

Diane has to inform Neil Gross about how his name is being used. He’s not pleased, and now he just wants this whole TOS thing to go away as fast as possible. What a shock.

Ugh, Felix. Diane says they’ll reinstate him and he’s sad he can’t keep trolling. Boo hoo.

Diane monologues at him about how he’s a clown and how he destroys his points by being racist and misogynist and how he’s a bully. It’s satisfying, but doesn’t really solve any problems. Like, is the show saying here that harassment is hard to control so it’ll never be controlled, so just don’t feed the trolls?

Diane confronts Neil about the leak, and he responds—even though she’s right—by calling Adrian and Barbara in for another meeting, one without Diane. Barbara is pleased with this: for the first time in weeks, her power doesn’t seem like it’s slipping away from her.

Lucca isn’t wearing high heels!

Colin shows up to RBK and meets with Lucca. He warns her to stay clear of RBK’s finances. Why? Because of the story Elsbeth planted. It’s sweet that Colin warns Lucca. She thanks him, genuinely, but she’s distracted… Maia’s right there, and Lucca knows this means Maia’s world is about to be destroyed even more.

#The Good Fight

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