#or were leads in TGW/TGF | Explore Tumblr posts and blogs

florrickandassociates · 5 years ago

Text

TGF Thoughts: 4x05-- The Gang Goes to War

under the cut

This episode starts with Caleb and I don’t totally hate it. This means the writers are doing a good job with him so far. I’m surprised I feel that way considering I loathe the plot he’s here for.

This is the first case heavy episode in ages and I have more thoughts on the fact that somehow the space from 6x19 has become military court than I do on the case. As always, that’s not to say it’s bad (tbh, this case was the exact right blend of simple and captivating it reminded me of old school TGW). It’s just to say I have literally nothing to add.

Lucca’s off to visit Bianca. She is still extremely uncomfortable with very wealthy people.

Oh, a mention of babysitting! Kind of sad I’m surprised.

I forgot to mention that this ep is on the shorter side, almost network length. Woo!

Lucca describes her life as “I have a toddler. I’m trying to make partner.” Remember how last season either Lucca or Rosalyn (or MAIA hhahahahhahahaahahhahaahahahhahahahaahahhaahhaah) were going to be made partner and that plot just vanished?

Lucca says that of work, family, fitness, friends, and sleep, the three she’s chosen are work, family, and sleep. I believe it. Though we’ve seen Lucca exercise probably more than most TGF characters? But that was before she had a baby.

If you leave your phone on while you’re on a plane and someone places a voice call would your phone actually ring?

Marissa TOTALLY has a crush on Caleb.

Oh, a Francesca mention AND a mention of Lucca and Marissa being friends?! The continuity fairy likes me today!!!!!!!!

Caleb threatens to quit (I think he knows he wouldn’t be taken up on that offer) unless Mr. Firth lets him take a month for this case. Come on, Caleb. This is TV lawyering. This case will take two costume changes and you know it! Months are a thing for real lawyers.

Diane and Adrian aren’t in their offices, so when Firth finds a partner to assist on the military case (I do not understand why this is a thing he is doing in the first place, but alright), it’s Liz. How conveniently awkward!

(Adrian just isn’t in this episode-- he is apparently at a conference in New York-- and Diane is barely in it, and I’m fine with that. LET LIZ AND LUCCA SHINE!)

(Liz and Lucca are my faves, if that wasn’t obvious.)

Awkward awkward awkward, fucking your boss is very awkward. I hate everything about this plot in theory and yet somehow like Liz, Caleb, and maybe even the idea of Liz and Caleb, but every time I think about the boss/employee dynamic my only thought is: NO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Liz’s divorce! Continuity fairy has blessed me again!

I do really like Caleb.

I somehow almost turned that last thought into a rant about Maia and I’m not gonna do that to y’all in this Maia-free season.

Rich people are getting away with more shit in Julius’s court. He’s resigned to it, until he meets his alter-ego from the play again. I get that they want to use this device to show why he’d change his mind so suddenly but omfg please don’t remind me of the last episode.

My first thought was “maybe that long ass episode was even longer and this is a cut scene” but Julius seems to be wearing a different tie in this scene than he was before. Oof.

JUDGE KUHN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I love Judge Kuhn. I think I said this last week but it isn’t often we get truly good, considered characters who want the best and actually take fair steps to see it happen. Judge Kuhn is great.

And so is the actress playing her. Her expression as the seat shrinks-- which is some Kingsian bullshit-- makes the joke work.

This episode relies a lot on that device Jane the Virgin loved where back to back scenes will be linked by a theme or a word. In this case, Julius and Liz/Caleb are both dealing with continuances. Yay for structure, even a simple case related structure!

“A sofa would have blown up here”... I can’t, y’all. “A conference table would have blown up here”. Is this a joke about coronavirus or a real need for more graphics or both? I lean towards it being a joke, but before I say that lemme play these credits side by side with last week’s…

Okay so there are differences. Last week there was an aerial view of a wine bottle exploding while this week there’s a second one in the background. They replaced an exploding coffee set with the sofa text. There are some other differences too. But not enough to convince me they didn’t have footage they could have used. So I think it’s a joke.

Welcome back, season two Diane. I missed you, ya weirdo!

(But like actually Diane is staring out the window at a bird, not doing anything or responding to questions. Why so weird?!)

Now that Diane isn’t hunting down answers on 618, she has “nothing to do.” Oh, suddenly no one in the world is in need of pro-bono assistance? Sure!

Continuity on the SWATting, too!

AND A WILL REFERENCE.This episode may be nothing special but it sure is endearing.

Diane explains that Judge Kuhn is tough but fair and Will ended up liking her. That’s a pretty good summary.

Diane spots the woman who she dreamed was Weinstein’s lawyer in a meeting, drawing dots. Guess that’s one of the drawbacks of having windows everywhere. She chases her up the stairs to STRL and asks if they know each other because, and I quote, “I had a dream and you were in it. You were Weinstein’s lawyer.” HOW FUCKING WEIRD ARE YOU TRYING TO BE, DIANE? Are you microdosing again?! (This feels so season two.)

Props to this lady (do we know her name? Has it been said on the show) for taking that weird-ass comment in stride and joking she probably didn’t do very well. She needs a favor-- she has a case in front of Judge Cain and wants Diane to sit with her.

Diane asks about the dots. Apparently this lady draws-- and counts!-- dots. Hundreds of thousands of them. During meetings. Because it’s calming and nothing matters. See?! Season two!

Lucca does get a little bit of work to do on vacation-- Bianca wants to buy the resort.

Case stuff happens.

Someone explain to me what the fuck this bright neon lighting in the office late at night is all about. Why is it so bright?! Why do the colors change!? Am I just supposed to accept this?! I suppose it’s no weirder than a woman who draws dots instead of taking notes-- and admits to it-- but WHAT IS HAPPENING?!

I know there is supposed to be some sort of parallel between the case having an element about disobeying your superior and the Liz/Caleb dynamic, but as you will recall, I hate everything about the boss/employee plot AND find it incredibly boring so if you would like to see analysis of that parallel… I’m not your gal.

Oh look I can see the office bathroom of Willicia sexytimes in Liz’s office

My god this lighting is distracting.

It sounds to me like Caleb is in the legal field for idealistic reasons. I can’t get a sense of if wanting the country to stay the same is liberal or conservative or admirable or misguided but it’s definitely something. (I have a feeling he means “stay the same” as in “return to 2016” though.)

Since she has not been in the military, Liz worries out loud that she hasn’t lived much of a life. This leads to flirting and intimacy and another hookup. Bleh.

Creeper from Kurt’s office comes to visit Julius and compliments him while basically telling him to keep quiet and be corrupt. He promises Julius the chance to move up the ladder and implies Julius should rule in favor of some rich donor.

Julius, who, like all characters on this show and maybe just people in general, does NOT like being told what to do, promptly does the opposite. And he feels really, really, really good about doing the right thing.

Case stuff happens.

Lucca now gets invited to play poker with a bunch of millionaires and celebrities. Lucca is highly uncomfortable. The names of the celebs are bleeped which is… not as clever as I think it was meant to be.

Also I’d be uncomfortable in this situation too. I’m just ready for this plotline to go somewhere beyond “Lucca is uncomfortable with rich people”.

Recapping goes fast when most of the show is case stuff.

In another throwback, Diane (lit by the weird lighting) is watching what looks like a parody of SNL allowing 45 to host? Or maybe it’s just some unfunny bit that goes on too long? Odd target for a parody at this point in time.

Whatever the point, it prompts Diane to start drawing dots of her own.

Lucca’s luck at the poker game is fantastic. Bianca encourages Lucca to keep her winnings-- she wouldn’t give back a stuffed animal or goldfish won with someone else’s money at a carnival, would she?

Case stuff, now involving 45, happens. This is a missing season two episode, I swear.

Wow lol those establishing shots and stock footage do NOT convince me that Lucca lives in Chicago. Nor do they convince me that anyone involved with the show has visited Chicago.

Case stuff happens!

Another Lucca and Marissa scene! Lucca asks what to do about her poker winnings. Marissa says Lucca should keep the money because Bianca doesn’t need it-- get Bianca a gift if she feels guilty.

Diane sits next to the seemingly nameless lawyer and they compare their dots. Unfortunately for Diane, the case she’s decided to sit in on as a favor? It’s another case in front of Julius, and it also gets 618’d. How convenient for the plot! When Julius doesn’t go for it, Diane is intrigued and reenergized. She boldly goes to Julius’s chambers to suggest trading info about 618.

No matter how many times I write “618” in the context of Memo 618 I still think 618 = Loser Edit.

Case stuff happens! It’s good for Caleb and Liz!

MALCOLM GETS MENTIONED BY NAME! CONTINUITY!!!!!!!!!!!!!!!!!!!!!!!

Caleb and Liz continue the tradition of using meals as code for sex and now I have to watch them kiss. Pass.

Lucca gets Bianca a gift of a goldfish and a giant stuffed bear (a reference to their earlier convo about carnivals). Cute, but I still don’t quite get where this plot is going.

There’s a “Skye and Moon” logo on the plane. I wonder if that is the name of Bianca’s cosmetics empire.

Oh, it’s over. This episode was perfectly fine. Nothing challenging, nothing innovative, but a solid and enjoyable outing closer in length to the average TGW ep than the average TGF one. After last week’s long-ass episode, this is really all I wanted/needed.

#tgfthoughts #the good fight

3 notes · View notes

antiphon · 6 years ago

Text

mantis-blades replied to your post: the preview for the next episode has me tired...

I can’t stand Blum and I can’t stand the both sides are wrong false equivalencey nonsense they have been trying to shove down our throats this whole season.

First of all: I can’t stand Blum either. I share Marissa’s reaction to him: he’s boring. He’s a human embodiment of the Themes of the Show, but he’s toothless (unless you’re Maia, but honestly, Maia behaved very irresponsibly several times over and earned her firing).

Part two got really effing long, so it’s under a cut

That said: I don’t think, truly, that they’re trying to say both sides are the same. (For instance, this week I think the show was pretty clearly of the stance that Nazis are bad and Jay punching a Nazi is good and okay - and I guess the moderate conservatives in this instance chose not to align themselves with the Nazis. In the real world, there are plenty of people like “Nazis are awful, but PUNCHING THEM?!?!” The show didn’t have a crisis about the okay-ness of this; it had a monologue confirming the okay-ness of this.) They’ve been asking questions more like, how do you fight harmful lies when no one seems to care about the truth? and more broadly, how far can you go toward monstrous but effective tactics without becoming monstrous? The show has positioned “ethical” and “effective” as, if not dichotomous, at least in tension (effectiveness being the thing that might call you to behave unethically).

The show has a sense of the things that are clearly okay (punch a Nazi, register anti-45 voters, work against CPD on police brutality cases) and things that are clearly not okay (out and cruelly harass a trans girl; not get Kurt medical attention because it would interfere with hunting), but there are places it’s less clear. The hiring question was one - Liz’s “it’s about who we are.” Is it ok, in-universe, to (bad) hire people we disapprove of but that it’s politically advantageous to have around or take ethically murky cases if (good) that makes it possible, politically or financially, to do work that’s important? (This gets consistently negotiated, of course; Liz and Adrian took different sides when it was about hiring. In this case, for what it’s worth, I read the show as being more on Liz’s, or the more lefty, side - but the fact that they’re actively discussing their identity as a firm in these terms indicates that it’s a priority.) Is it ok, in-universe, to (bad) out and cruelly harass a trans girl if (good) it leads to the registration of tens of thousands of anti-45 voters?

The problem is that often as not, TGF is a blunt instrument. So last week we get Diane’s white lady resistance doing objectively horrible things because they like the end result, and both Diane and Liz end up going along with them because they were effective (as opposed to the *~resistance~* meeting Diane attended at the beginning of the episode, where no one could even agree on what the message was)--I wasn’t convinced as an audience member that their action was either effective enough or the only option, so there wasn’t strong tension; it was just a clearly wrong thing to do without a compelling argument for the people who did it. I think we’re supposed to see this as them compromising their values substantially but doing it anyway; I don’t think we’re supposed to see them as Just As Bad. And in general, I just don’t see the kind of both-sides-ism from the show that you’re talking about. When the show works, I see the protagonists - especially Diane previously and especially Liz now, and shoutout to Barbara Kolstad here for making real moves that way, even if it was to get written off the show, because she’s my wife and I respect her - genuinely struggling with this. (Liz taking on the responsibility for her dad’s rape and sexual assault but still getting NDAs instead of just like burning the whole thing down is an example here. She’s treating people with dignity and facing up to it - she’s not Just As Bad As Him in any way - but she’s still protecting the firm.) But it’s...also been known to fail at nuance.

Blum, for instance, has no nuance. He’s an answer to this question in human form - he’s all the way down the line where effectiveness matters entirely and ethics not at all. That’s why he’s boring: he’s the blunt-force trauma version of the Themes of the Show. TGF is trying to acknowledge the ridiculousness inherent in a world that values and responds to Blums and the absurdity of trying to exist in opposition to that within it - and sometimes it succeeds! Pitting Elsbeth Tascioni against Mike Kresteva made for great TV; Liz arguing to Margo Martindale (I forget her character’s name) (Ruth? Eastman?) that the truth doesn’t matter and getting hired for her *~anger~* was a hell of a ride. But the show has felt like a drag for me lately; part of that is that it’s been pretty humorless, but I think part of it is also that there’s been no one really fighting for the other side. Liz makes some stabs at it; Lucca and Jay have done a little, but they don’t have as much power as most of our characters.

But also - I don’t know whether you watched The Good Wife? I’m going to talk about The Good Wife, and the reason is that Alicia’s character arc was also very grounded in this ethics-effectiveness dichotomy. Over the course of the series, a lot of her development was on a path from wanting to do good to being willing to do what she had to, and what she had to would get pushed just a little farther and a little farther. (Alicia wasn’t in the law to help people; she was in the law because it made sense, and she liked being good at it.) But there was also a thing with her where at the same time that people (characters, in-universe people) were pushing her to be colder and more focused on succeeding at whatever cost in her professional life, they hated her for changing in the same way as a person - they only wanted her to be cruel during the nine to five, but how she worked was part of who she was. In I think season six, she sort of tries to facilitate a similar transformation in another high-minded character, but he backs out in the end. something she either hadn’t been able to do or hadn’t chosen to do (spoiler: both). It literally offers us an alternative to Alicia’s decisions and a person, when she’s far along in her like moral decay practically, who makes a different call. In Alicia, we get a protagonist who often makes harmful choices and certainly isn’t a good person, overall, being understandable and maybe even justified in a particular choice while still clearly seeing that she becomes worse - the show doesn’t approve of all her choices and align with her morally just because she’s the protagonist.

I bring this up because TGW was concerned with these things for seven seasons. This question of how much bad you can do (for the sake of good?) before you’re too bad, this question of how much ethically to compromise in order to accomplish what you (think you) need to, they’re baked into the universe of the show and clearly interests for its creators. So when I say I don’t think they’re being super both-sides-y, part of that is because TGW gave us seven seasons of a tension much like the one that TGF is trying to hold without writing off the distinction to make it easier. TGF situates this more in how you behave politically in the world than TGW generally did (except occasionally through Diane), but I think it has a fairly clear sense in that political existence of what goodness means. You might not always be able to accomplish it, and actions rather than people are good or bad (or at least, people are bad as a function of doing bad things), but I don’t think just because the “good” side sometimes does bad things, the show is necessarily heavy on both-sides-ism. It’s less two separate cups and more the string between two cups, with people and stances at different places on that axis.

I also think the show is trying more and more to uncouple the concepts of order and goodness, which have previously been uneasy allies in-universe. (Think of everyone’s horror when Liz suggested the DNC’s arguments needn’t be based in truth; think of how cruel Maia’s retaliatory fake news was. Worse - think how Diane was really presented as having the high ground when she told the Assholes to Avoid lady to do it right next time! Publishing unsubstantiated allegations that were clearly labeled as such was ‘doing it wrong’ at that point.) So some of the things that have previously been presented as bad AND associated with the right are now being presented more neutrally when associated with the left. I don’t think that’s a criticism of the left; I don’t think, for instance, that the first creation of retaliatory fake news by the white lady resistance (the one that closed the other fake news factory - I’m NOT talking about the stuff with the sister) was something we were supposed to see as bad or as an ethical compromise. The normal has changed, in-universe. Certain tactics that aren't necessarily harmful have been decoupled from ethical stigma that they received because they weren’t associated with order and honesty - the world has changed, and our characters are changing along with it. It’s totally possible that I’m misreading this situation, but I do think it means we’re seeing people in positions we would previously have considered compromised without seeing them as compromised. I don’t think the show has done a terrible job with this, though.

I also think the show is weaker when it takes this on outside of the workplace - it’s clearly decided it wants to situate some of its dilemmas in Diane’s personal life and not her professional life, but it benefits from having to work this out within existing, robust character relationships, not just a single person’s struggles or via some characters who are about as central to our understanding of the show as the NSA guys. So a lot of the white lady resistance stuff feels pretty thin to me, and that could be causing me to give it, and in particular its bad behavior (mostly just the thing with the sister, right? but that was really so bad), less weight than the show wants me to. Maybe it’s trying to be more both-sides-y than I’m reading it because I find the workplace stuff more real and impactful. But I feel like a lot of that has been really neglected - was the stuff about whether to hire conservatives for the sake of expediency just kind of closed when they made Lucca the head of family law, for instance? It’s been really focused on being murky but not on, like, situating that in its world and its story lmao.

#mantis-blades #the good fight #the good wife #alicia florrick #roland blum #nazi cw #transmisia cw #rape cw #meta?? in this economy??#sorry for the fucking essay #I'm sure I've explained some very obvious things in here #trying to be coherent lol #long post #good lord it's so far past my bedtime #me? writing fucking essays about tgf at the same time that I'm complaining about how hard it is to care about? it's more likely than you thi #combine this with the very long messages I just wrote actually defending the chracterization of Maia Rindell #and we might be forced to conclude that tragically I care about this show

1 note · View note

okay-lets-not-panic · 7 years ago

Note

2.To start with I just want to point out that the Kings both said that Diane and Kurt are faaar from being back together. Michelle said 'they're back together... for the night'.But in some weird way I see the point of Kurt's heroism and how it impacted Diane.I don't wanna get into it now,maybe later, but now it would take too long 😜.A lot of things regarding their relationship come back to Kings keeping a lot off camera and how important it actually is for us to see those moments.

Well, it will be interesting to see exactly what they write for Diane/Kurt next season, a big part of me wants to see some kind of serious discussion between the two of them about what went wrong in their relationship, but another part of me just demands fluff. So… y’know, I’m conflicted.

I do actually like that quote ‘they’re back together… for the night’ there’s something so quintessentially McHart about it. They were always like that- even after they were married! And I can see the point of keeping things off-camera up to a point, but eventually that just evolves into the writers abdicating their writing responsibility to the audience. It didn’t matter quite so much on TGW because Diane was a supporting character, but now she’s ostensibly the lead of TGF (or at the very least a co-lead), so her relationships matter more to the show (or they should). I mean we’ve all got headcanons right? But we need some actual canon of substance to make those headcanons. ;)

Yeah, I don’t really get the heroism thing, as I said… so if you wanna write something about it at some point, I’d be interested to read it. :)

#mchart #kurt x diane #the good fight #the good wife #anonymous

0 notes

thedianelockhartsurvey · 7 years ago

Text

Q 2. Why did you start watching The Good Fight?

57 out of 58 respondents answered this question, although some seem to have misunderstood. I’ll list those answers at the end.

- I love The Good Wife. - There was no question about whether I would watch TGF. TGW is my favorite show ever. - I loved The Good Wife - Because I missed TGW - Spinoff of my favorite show. - Just to see how it might be different from TGW - Because I loved The Good Wife. - I adore TGW - I wanted to stay in the "Good" universe, because "The Good Wife" was so good, but ended on a strange note and I didn't feel satisfied with ending it yet.

- CB - Because Christine Baranski, duh lmao - Beacause of Chritine Baranski - Because of Queen Baranski! - Love Christine Baranski and the minor characters

- Because I love Diane Lockhart - Diane and Kurt's relationship - I love Diane and Lucca. - I love Diane and wanted more amazing writing from The Kings. - I wanted to see more of Diane - Diane was the best thing about TGW from pretty early on. I'd watch Christine in anything at this point. Oh, and I needed to see how or if they were going to dig themselves out of the hole they left Kurt and Diane's relationship in. - Because Diane Lockhart was my favorite on TGW. I couldn't be happier that Christine has her own show. - It's a spin off and Diane is a lead - I loved Diane and the Good Wife so I wanted to watch it - B/c of Diane - Diane Lockhart - I was curious about the development of Diane's character - because I love Diane Lockhart - Diane Lockhart is the main protagonist - I was a fan of The Good Wife and wanted to see what happened to Diane as she is my favourite character

- Recommended by a friend - I am all about female-driven shows, and was all but totally obsessed with Diane and The Good Wife when it was on, so it was a no-brainer. Also I've also loved the creativity in direction and writing, so I was definitely here for more. - Knew it would critique Trump.

- season 1, but when season 3 was airing - The premiere - Feb, 2017 (Before Ep 5 released.) - 2017 - When it premiered - The very first episode - Actually because of Julianna Margulies, because I knew her from ER, but from the first episodes on, it was more and more because of Diane/Christine Baranski.

#the good fight #diane lockhart

0 notes

florrickandassociates · 6 years ago

Text

TGF Thoughts: 3x01-- The One About The Recent Troubles

HI GUYS I WROTE A LOT

New season, new naming convention. Well, it’s either that or Diane Lockhart’s joined a reboot of Friends. Jokes aside, I don’t love the new naming convention (I never watched Friends) but I don’t dislike it either. It’s fine. What I do like is that we’ve dropped any sort of counting (unless you consider “the one” counting). (I am just now realizing that last season’s episode titles were more in the TGW tradition than I thought-- they were just another form of counting). Three seasons in, TGF is its own show (with its own titles!), and that makes me very happy.

I’m about to hit play on my third viewing of this episode. I watched at 5 am on the day it was released (worth it, tbh), then again with my roommate after work that same day.

This year’s previously montage works better than last year’s, but I still don’t love it. The selection of clips seems a little random at first: Liz talking about her father? The Assholes to Avoid case that I was hoping to avoid thinking about ever again? Okay…?

It’s time for some tone-setting! “I’m happy,” Diane states as the season opens. She’s in bed with Kurt, waking up in the morning. This is one of those statements that becomes important mostly because it’s so prominent. I believe that Diane’s happy with her life and happy waking up next to her husband, but I don’t think Diane is trying to make a Thesis Statement. I think she’s just expressing that she feels good. The writers, however, definitely want us to note that Diane starts out the season in a good, happy place. This is because they are going to slowly complicate and destroy Diane’s happiness. That’s not a spoiler-- it’s a prediction.

Kurt laughs. “You like narrating your life,” he comments. Interesting.

“You know, there are psychological studies that say, when people are happy, they look desperately for things to make them unhappy. But that won’t happen to us, will it?” Diane wonders. Of course it will. I know these writers. If there’s one thing they hate it’s writing more than a few scenes of a healthy marriage.

Diane and Kurt’s new bedroom confuses me. It has an arch that seems very low and I can’t tell if that’s the angle or not. Also, we only see the area with the bed, the bathroom, and a large sitting room in this episode. It would make sense for Diane to have a bedroom suite and a separate living room/dining room/kitchen, but the way this episode is shot makes it feel like Diane and Kurt only have that one space.

Now Diane’s asking Kurt for reassurance that everything’s going to be alright, and she seems moderately worried that he doesn’t sound certain when he responds. Maybe there are still some issues there…?

“What could go wrong?” Kurt asks, and right on cue, shit starts to blow up. (By which I mean the title sequence rolls.)

New objects/shots this year include: A tea set, aerial shots of a wine bottle, coffee cups (they discovered aerial shots this year and clearly liked them a lot), the same four purses from last year but arranged differently (looks cooler now), new images on the TV (bye, tiki torch nazis), and the entire set where they staged the explosions.

The third co-creator is still listed, because his name will be attached to this show for as long as it runs, but I really want to know: what did Phil Alden Robinson even do to create the show? Invent the basic sketch of the premise and the new characters? Just today I saw him credited in an article praising season 3, and it’s my understanding that he hasn’t even touched TGF since the pilot, back before the Kings signed on.

The Kings wrote this episode, but I didn’t need the credits to tell me that. Robert directed, too, which is only surprising because I wasn’t sure if it would be him or if it would be Brooke Kennedy.

Complaining about this now before I get any farther into the episode: CBS, FIX YOUR CLOSED CAPTIONING. Someone over at All Access doesn’t believe in apostrophes and it’s driving me up a wall.

After the credits, we resume with Julius talking about Carl Reddick, founding partner of RBL and civil rights icon. Julius has to be prompted to add on that last part, but Lucca doesn’t: she read about Reddick in history books.

Lucca’s dress for the interview shouldn’t work, but she pulls it off. It has several different colors and patterns, big gold buttons, and a ruffle down one side.

Here’s Liz’s comment on her father: “When my father died, I could think of no better way to honor his life than by taking over his partnership here.” We know that’s only partially true.

Next up is Reddick’s secretary of 15 years. She refers to him as “Mr. Reddick” instead of “Carl” and seems uncomfortable talking about her experience. Jay and Marissa, who have for some reason been tasked with creating promotional materials for the firm, notice her hesitance. Marissa asks what a typical day was like, and the secretary-- Cynthia-- starts to cry.

Cut to the RBL website, which is very boring and generic. “Who are you?” a publicity consultant asks Adrian and Liz. This reminds me of two things: one, Diane and Will’s conversation in season 4 about firm identity, and two, the fact that Hitting the Fan started off with the line “You’re stable.” Isn’t that very reminiscent of this episode starting off with, “I’m happy.”?! Yikes, we must be in for a ride…

Adrian’s answer is that they are a “mid-size Chicago law firm.” Really? That’s all you’ve got? The consultant pushes further-- he wants their story. Liz says their story is that they’re growing with new hires and a new floor. The consultant isn’t happy with that, either, because he seems to believe there’s only one right answer: they’re an African American firm, and that is their entire identity. Ugh.

When TGF first started, RBK felt like a firm that had an identity and a mission-- a commitment to giving black lawyers opportunities for success in an environment where no one would be a token, coupled with a strong focus on civil rights cases (particularly police brutality cases). I assumed that was the shared goal of Carl, Adrian, and Barbara, but the firm’s gone through enough changes that I’m willing to accept that RBL might now be struggling for an identity. Carl’s dead, Barbara was always the one who would actually put her money where her mouth is (sorry, Adrian), Diane is (as always) interested in being profitable while looking like a liberal legend, and Liz accepted partnership because it was a lucrative offer that fell into her lap right when she lost her job at the DOJ.

Adrian says he doesn’t want RBL to be sold as an African American law firm. Hasn’t he pitched it as such in the past?

“Diversity is in right now. Black Panther. Black-ish. And diversity is something you have in sp-- in abundance,” the consultant says. My God, he’s terrible. He’s also using “diverse” and “black” as interchangeable words.

Adrian gets a reprieve when Jay and Marissa call him out of his meeting, but it doesn’t last long. Cynthia, Carl’s secretary, told Jay and Marissa that Carl repeatedly sexually assaulted her.

“He forced her for 15 years? Why would Cynthia stay for 15 years?” Adrian asks incredulously. “Seriously?” Marissa replies. Woah there. I agree wholeheartedly with Marissa but just because I’d write “SERIOUSLY?” in a recap doesn’t mean I’d ever say it to a name partner with that tone! (But really: Marissa’s very right. “Why would she stay?” is a terrible argument. Cynthia had bills to pay and a family (or at least a daughter) to care for. She likely didn’t have the luxury of looking for a new job. And that’s setting aside the fact that for decades, language around sexual assault wasn’t widely known!)

Adrian asks Marissa and Jay to keep quiet, and Marissa pushes back, asking if it’s so they can cover it up. Marissa! You’re not helping your cause here!

“Marissa, I don’t have the luxury right now of being outraged. That doesn’t mean I’m not outraged,” Adrian explains.

In the hallway, Jay suggests that Marissa give Adrian (and Carl) a break, since the Reddick name brings in half of their business, and if Reddick’s name becomes toxic, the firm could be in trouble. “Well, then, maybe it should be,” Marissa responds.

I loooooooove Diane’s new hairstyle! It’s been ten years; it’s time for a change.

Diane is about to head into the office when she notices Kurt went hunting the previous night with a gun he hates. And to make matters worse, there are blonde hairs on his jacket and Kurt won’t admit he went shooting with anyone. Well, I guess Diane’s happiness didn’t last very long at all.

Maia has a scratched cornea, so she’s wearing big sunglasses. “I wouldn’t wear those when you meet with the partners,” Marissa says, planting a bad idea in Maia’s mind. The sunglasses take two seconds to explain, and no one is going to fault her for this. If Maia didn’t get fired for not doing any work over a two year period, she’s going to be just fine wearing medically-required sunglasses to an internal meeting.

Julius wants to talk to Maia and explains that on the new website, they’re adding associate and partner bios. They just might not be adding Maia’s. “Don’t take it as a criticism. You’re doing a great job,” Julius says. This is basically the only circumstance in which I understand giving Maia praise: trying to keep her from causing a scene by stroking her ego.

Since Maia took off her sunglasses, she now appears to be crying. Since Maia lacks common sense, she does not explain why she is crying, leading Julius to keep heaping on the praise and explain the obvious (it’s about her parents’ scandal). Maia says she understands and that “this is all medical.” THAT’S SO VAGUE, MAIA. You’re looking for the sentence you just said to Marissa: “I have a scratched cornea.” I know this moment is supposed to be funny. It just makes Maia look impressionable (she took off the glasses) and slow (she can’t easily navigate out of this situation when the exit route is obvious). I already think Maia is both of those things, so I’m not complaining about this scene (I did laugh!), it’s just… Maia, why???

Julius is so confused by Maia’s odd reaction that he goes straight to Lucca’s office. Lucca is pumping and doesn’t care who sees, because she’s the fucking best. Julius asks Lucca to talk to Maia about the website.

Diane’s still thinking about the hair when she arrives at RBL. Marissa greets her with an empty mug, I mean, with coffee. Diane asks what Adrian wants to talk to her about, and Marissa says, “I’ve been told I speak too much, so I won’t handle that.” If Marissa weren’t so good at her job she’d need to watch out.

Marissa tries to join Adrian and Diane’s meeting, and Adrian slowly closes the door in her face. Marissa walks away. I love it when this show emphasizes that their main players aren’t all of equal status at the firm, and this episode does a fantastic job of showing it.

Adrian explains the Reddick issue to Diane. He’s (wisely) chosen to go to Diane before Liz about this.

Adrian’s plan is to have Cynthia sign an NDA, and now there’s a “Good Fight Short” to educate us about NDAs. God, this show is weird and I love it.

“Think they’re maybe always in a red folder but I didn’t do my research that well” cracks me up.

“Let’s try to count all the red folders in the show today. You know what who cares just pay attention, put your phone away,” the song continues. Okay, show, I’ll listen to you and put my phone (on which I’m watching this show) away and go run my errands. That’s what you wanted, right?

A storm rolls in as Adrian and Diane pay Cynthia a visit. Thunder is dramatic, in case you were unaware.

Adrian tells Cynthia he knew nothing about Reddick’s behavior. He reaches for the NDA a little too quickly and Diane slows things down.

Adrian promises they’ll have sexual harassment training moving forward. Cynthia reminds him that they’ve always had that-- but partners never attended. Or, apparently, remembered that it existed.

Diane and Adrian hear pots and pans banging in the kitchen and realize that Cynthia’s daughter is home. That complicates things because the daughter anticipates the NDA and doesn’t want her mom to sign.

When Cynthia leaves the room, Adrian comments to Diane that “this house, it reminds me of my aunty’s house.” Diane just smiles, probably because that’s a reference she can’t understand.

The partners hold a secret meeting without Liz, which is certainly a way to handle this but probably not the optimal way. Liz should know what’s going on before any NDAs concerning her firm are created.

Liz notices that the offices are empty, and asks Marissa (who’s walking past) where everyone is. “I have no idea. I’m just staying on the sidelines today,” Marissa says unhelpfully. Great attitude. Very professional. As you’d expect, Liz is not satisfied with that answer.

Downstairs, the MANY partners of RBL are debating next steps. Why do they always pack these partner meeting scenes with so damn many extras? How many partners am I meant to believe they have?!

As we learned in the Assholes to Avoid episode, the most interesting thing about #MeToo is that it’s controversial and leads people to talk over each other. That’s what’s happening in this scene, but it works far better than the show’s last attempt at showing this idea. Unsurprisingly, when they have more to say than just “controversial topic is controversial” they do better.

And, I’m not sure where to put it so I’ll just say it here, I think the Kings have more to say about #MeToo, and a new (and better) angle on it because it hit closer to home. This plot isn’t a reenactment of what happened with Moonves, but the ideas it explores? Once you think about Moonves and the role he had in bringing TGW to life (and keeping it on the air), it’s all you’ll see. This plot is the Kings reckoning with how to move forward and create distance after a powerful man in no small part responsible for their own success turns out to be a serial harasser.

And that’s so much more interesting than “what if we took the Aziz Ansari thing but removed all nuance?” TGW, and TGF, wouldn’t have existed without Les Moonves. I’m pretty certain I’ve heard the Kings and Julianna-- and probably other cast members-- speak glowingly about him (before the allegations, obvs). He allowed TGW to flourish (and TGF to exist, which is kind of amazing when you think about it) while also enabling sexual assault all throughout CBS.

The reason for this meeting? Now they want to pay Cynthia off. Diane suggests letting the story surface, emphasizing that Carl did good things and bad things. Diane also, wisely, notes that if they pay someone off, then it becomes the whole firm’s problem. But it seems they might have already paid someone off, so it’s too little, too late. RBK had, in 2012, agreed to cover all of Reddick’s sexual harassment suits. (This is, apparently, “standard” for CEOs, barf.)

I’d still like to dig into Diane’s “just own it” idea a little more, but I do see why the other partners (the ones who were actually there for the bulk of the time Reddick was) shut it down.

Then Wendy, the stenographer, speaks up: Carl Reddick assaulted her, too. If there are two, there are more than two, and I’m surprised that Liz is the first person to suggest this.

At home, later, Diane scrolls through Netflix (not a streaming site, this is Netflix’s layout with different shows), unable to decide what to watch. I’m sad to report none of the fake shows are any fun, and none of them are Darkness at Noon. I guess Darkness at Noon is probably on AMC All Access, behind a paywall…

Kurt arrives home and asks what Diane’s doing. “Figuring out whether to watch a German series about serial killers or a Scandinavian series about serial killers,” Diane replies. Haven’t we all been there? That’s scrolling through Netflix in one sentence.

Diane has “helped” Kurt pack for a trip, and THANK GOD, she’s not kicking him out (that’s how scenes where the husband arrives home to find his bags packed always go). She’s passive-aggressively packing for his upcoming trip she discovered on their credit card account.

Kurt’s going on a safari. Diane says she doesn’t shoot anymore (I guess since 2x10?) and wants to know who Kurt’s going with. Shouldn’t Kurt be telling Diane if he’s going to go on a safari?

Kurt senses something’s up and asks what’s wrong. Diane says work has her thinking about “men.” Then she tells Kurt she doesn’t think he’s being honest and says she doesn’t like pretending to be the “cool wife who overlooks lies.” Is “Cool Wife” a variation of “Cool Girl” and if so, can we get a Gillian Flynn novel about it, please?

Finally, the truth emerges: Kurt isn’t hiding an affair (though Diane briefly suspects he’s seeing someone named “Holly Westfall” again… idk, have we ever heard that name? Nothing’s coming to mind, because Kurt never cheated on Diane and Peter’s trial never happened.). He’s giving private shooting lessons to 45’s sons.

My GOD, Diane’s reaction.

I love how every time Diane says “safari” she says it with a little more disbelief in her voice.

Kurt says this is just a job; he’s being paid. Can he take someone else’s money then? How strapped for cash is he? This is like the “we’re defense attorneys!” line Diane always goes back to. SURE, but you don’t have to take EVERY case to be profitable.

Diane proceeds to start BANGING HER HEAD AGAINST THE WALL, REPEATEDLY. This scene is simultaneously comedic, dramatic, and ridiculous and I love it. I’m not sure how it manages to feel far-fetched and also character-driven at the same time, but hey, it works.

Diane storms out, saying she’s going to do something she should’ve done nine months ago: conjure up space bugs. Okay, no, she’s making contact with her FuzzyFuzzyCuteCute friend, but she’s doing so in a way that involves moving lots of flowers to her windowsill, and THAT’S HOW YOU DRAW IN THE SPACE BUGS.

In case I haven’t said it enough times, TGF in some ways seems more like it’s a continuation of BrainDead than TGW.

Diane talks to Tara and asks her to break her NDA (some legal nonsense) and come forward with allegations that 45 paid for her abortion. Tara asks Diane why now, and Diane’s answer is kind of bullshit: “because now it’s personal.” And it wasn’t before?! And that matters?! (I believe it from Diane, but come on. You need it to be personal to fight this as hard as you can? The fact that this administration’s policies are having catastrophic effects on families isn’t enough?)

Adrian finally shows Liz the interview with Cynthia, and Audra McDonald could win an Emmy for her reaction shots alone (I can’t say enough times how pleased I am with the addition of Liz). Adrian draws the curtains of Will’s office, I mean Liz’s office, to give them some privacy. Good move.

Liz wants to know if Adrian knew, and she has good reasons to believe he might have. For one, when they were married, Adrian asked how her parents were doing-- suggesting they might have reason to not be doing so well.

Liz goes into her bathroom (first time we’ve seen this set, though we’ve obviously known it existed from ~Willicia sexytimes~) (Not to derail this recap entirely, but does anyone else ever wonder how Willicia would’ve played in this day and age? I wouldn’t consider it assault or harassment because it was obviously consensual, but I don’t know that you can do a boss/employee romance plot as easily today as you could in 2011.)

Liz, through tears, confesses that her father didn’t always treat her mom (or “us”-- I assume meaning Liz and any siblings she may have) well. She’d always rationalized it as the part of “sharing him with the world” while he was “fighting,” but “he was just here.” God, this is devastating, and this scene is spectacularly done.

Adrian tries to comfort Liz, but she realizes something: Adrian put in the glass walls. She wants to know why. Was he trying to force Carl to be more transparent about something? Liz remembers her dad complaining about the glass walls. Adrian says it was just a design choice. Liz doesn’t believe it, but she’s moved on to other things. She’s putting on her jacket and trying to decide her next move. She angrily opens up the curtains even though she’s about to leave her office (just to show that she values transparency) and marches down to the partner’s meeting.

Everyone quiets down when Liz walks in. She grabs a notepad and a chair and begins to take an active role in negotiating payouts. Julius mentions Wendy, and Liz didn’t know about Wendy yet. Her reaction? A long pause, and then: “My dad raped the stenographer?”

Have I mentioned yet that Audra’s great? She delivers the line with a fantastic blend of anger and resignation. And I love the line itself, particularly the use of the word “rape.” Aside from Cynthia’s daughter, Liz is the first person in the episode to call Carl’s actions what they are, and it’s meaningful to hear the word from her. Liz isn’t shying away from what her father did; she is trying to figure out how to name it and address it. Pretty remarkable.

Liz volunteers to make the deal with Cynthia. She immediately begins to ask Jay for help, but she thinks again and goes to Marissa instead (and says “rape” again) to find out if there are any others. Adrian and Diane should’ve had Marissa on this yesterday.

LUCCA!!!!!!!!!!

Sorry I’m just happy to see Lucca Quinn, who is the best and does not get nearly enough screentime. Because Lucca is the best, she’s meeting with the partners. She thinks something must be wrong-- that she’s about to be fired (no!!! I don’t even like thinking about that!!). But nothing is wrong. “In fact, consider this a promotion,” Adrian says. He offers Lucca the position of head of divorce law. (What are the odds we get through this arc without a cameo from David Lee?)

People who know more about the law than I do, is this even remotely plausible? Shouldn’t this be Lucca’s specialty if we’re going to see her head it up? Have we ever seen her on a divorce case?

The guy they had hired to head up divorce law had “harassment issues at his last firm.” “And that’s a problem these days?” Lucca jokes, not knowing just how bad her timing is. No one else laughs. (I! Love! Scenes! That! Show! That! Some! Of! The! Characters! Are! Junior! Staff!)

Lucca does not seem to want this promotion, but she realizes she’s being told, not asked.

Meanwhile, Maia’s spending her work day staring at the company website. Adrian stops by to see her (guess Lucca didn’t talk to her) and console her about the website. Maia now chooses to explain her scratched cornea. She doesn’t explain it clearly, so Adrian continues with his speech. “This is not a reflection of how we feel about you. It’s a branding thing.”

I suppose the same could also be said of the fact that the main poster for this season of TGF features Diane, Adrian, and Lucca when the first two seasons had posters featuring Diane, Maia, and Lucca. Maia adds less value, to the show and to the firm!!!!!

(I don’t hate this Maia plot, I just think it’s silly and unnecessary, and Maia’s still done nothing to prove to me that she’s interested in her job and/or good at it.)

“You keep up the good work,” Adrian says. Forget good work. What WORK?

The partners fussing over the website has made it a Big Deal for Maia, and now she’s pissed! Luckily, Marissa’s there to teach her how to be a badass.

“I’m a third year associate, and they are treating me like I was hired yesterday,” Maia fumes. Well, are you doing the work of a third year associate, or are you doing the “work” of a new hire who hasn’t yet been staffed on projects and just stares at the company website all day? Hmmmmm?

Marissa blames this on “the curse of short people.” Is Maia short? She’s never seemed short. Rose Leslie is, according to Google, 5’6”, which is hardly short! Then Marissa starts rambling about “the volcano of Vulcan” and, whatever, Marissa, I think Maia’s problem is that she has scumbag parents, not that she’s short.

Marissa’s advice-- which is basically to be more confident-- isn’t bad advice. But that’s not why Maia’s not on the website. Maia could be Lucca levels of incredible and her name would still look toxic on the website.

Maia’s so awkward she makes me look confident.

Marissa commands a “tall lady” not to wash her hands after using the bathroom and what, that’s gross, why are you doing this Marissa?

Marissa has a gift for Maia: Sunglasses that are “cool.” Marissa then breaks the doctor-approved sunglasses. Seems… unwise.

New, cool Maia gets a theme song and a leather jacket. She makes quite an impression on the image consultant in the elevator, and he asks her out. She rejects him. Ha ha.

Liz and Jay head to Cynthia’s next. They remember meeting each other before. Liz mentions the NDA, and Cynthia responds, “Your father wasn’t a bad man.” “I don’t understand how you can feel that way after everything that he did,” Liz replies.

Liz seems like she’s close to getting a signature on the NDA when Naomi Nivola, the reporter from 2x05, appears at her door asking about sexual harassment. Cynthia’s daughter tipped her off. I’m very happy to see Naomi again, not because I think she’s a wonderful character but because I thought Adrian’s “starfucking” excuse was too weak of a conclusion to her plotline last season. I’m almost glad to know she still holds a grudge, because it doesn’t let Adrian off the hook for some shitty behavior. Adrian isn’t Carl Reddick levels of disgusting but he’s done some troublesome things (and the way he talks to the female characters is a little condescending, no??)

(I went to re-read my thoughts on 2x05 and Naomi as I was writing this, and apparently I said I thought an episode about NDAs as they relate to #MeToo would be interesting. Hah!)

It’s still raining.

“I’ll talk to Naomi, find out what she knows,” Adrian decides. “You?! No,” Liz replies. Adrian actually asks why not!!!

Liz goes to settle with the stenographer next, and, again, she insists on doing it herself.

Maia is holding an NDA and sitting out at one of the associate desks, surrounded by a bunch of black men (does the firm have female associates?). Maia’s holding a red folder, and while that should mean she’s working on a case, she probably just picked it up because it was BOLD LIKE HER. What are work files if not accessories to make you look badass?

Maia’s also got her feet up on the desk. YOU’RE AT WORK, GIRL.

Julius asks Maia to move her feet. “Yeah? What do you need?” she replies. Julius is too stunned to actually play rank. Maia takes this as a victory. She shouldn’t. She can do this once, maybe twice, before it stops being cute and confusing and starts looking like what it is: an entitled white girl acting out and being disrespectful. If she wants to create distance from her parents’ scandal-- the actual issue here-- then she needs to be mature and develop a plan to work around it. She could, for example, take on lots of charity work and write an op-ed about deciding to help turn her dad in, and what she’s learned about the world from having her world crash down. Acting out in designer boots, red lipstick, and sunglasses is going to make Maia look like the oblivious child of privilege she is.

Why does this show insist on saying that Maia’s biggest weakness is her lack of boldness? She’s just awkward. She’s plenty confident. She just expresses it poorly.

I know this is a comedic subplot but Maia does not really behave like a human being??? Who would have that interaction and then feel self-satisfied? This is her place of work!!! She looks ridiculous!! She just talked back to a partner!!

Wendy doesn’t want to sign the NDA, and she doesn’t want any money. She says she’ll never tell anyone, because “there are so many people who want to destroy men. Black men.” And she doesn’t want to be a part of it. Interesting perspective, not one I agree with but one I’m pleased the writers included because it adds some nuance to the episode’s exploration of #MeToo.

Naomi and Jay talk in a not-very-interesting scene that includes some weird and unnecessary close ups of Jay. Main takeaway: Naomi thinks it’s Adrian who assaulted Cynthia.

Don’t really get why it’s great that Naomi thinks it’s Adrian. I suppose she’s a good enough journalist she wouldn’t publish a story there was no evidence for, but Adrian being able to deny it without lying hardly seems like cause for celebration. And would Naomi really drop it if Adrian said he didn’t rape anyone?

Eric and Don bailed on the safari, so Kurt’s still around. He winces when Diane hugs him, and Diane doesn’t let it slip. Kurt, being Kurt, says nothing is wrong.

He goes to the bathroom, and Diane’s phone rings. It’s Tara saying she won’t come forward.

Diane joins Kurt in the bathroom (lots of scenes in bathrooms this ep) and notices he has a huge bruise on his shoulder because Eric or Don shot him. We don’t get to find out-- and neither does Diane-- because Kurt’s signed an NDA about the incident. HAHAHA!

Adrian has his interview with Naomi. He denies they’ve asked Cynthia to sign an NDA, and denies he harassed her. And that’s it, until Naomi reveals THE REAL STORY: Assholes to Avoid.

I wonder, IRL, how much this would hurt the firm. I also am still not sure why they took that damn case. 2x05 and whichever ep was Assholes (I mentioned I’m glad we’re not counting days anymore, right?) annoyed me more than basically any other s2 episode because they were tied up so neatly, so I’m happy to see both cases come back to complicate things.

Now shit gets weird. I assume this next scene is one of the “soliloquies” the Kings mentioned that the season would include, and I like the idea more than the execution. The characters taking turns verbalizing their inner thoughts in eloquent speeches to no one? Sure! I’m down! Diane suddenly beginning to talk to a Trump-shaped bruise THAT MOVES AND TALKS in the middle of an episode? I’ll just say I hope they’re not all like this.

“The footman to the king. I am married to the footman to the king,” Diane starts. Then TrumpBruise talks back (don’t love this impersonation). I think this would work just fine as a monologue, and I definitely don’t need the animation. I couldn’t see it the first time through and the episode was better for it.

Anyway, Diane’s upset that Kurt’s become a worthless servant to a family she loathes, and she connects this to her ongoing thoughts on the State of Masculinity.

“What has happened to men? Where did the real guys go? Why do we now have these snide little creatures with slicked-back hair and cologne? What happened to Paul Newman and Burt Lancaster? What happened to men who were slow to anger and responsible and who didn’t cry like whiny little bitches? When did Trump and Kavanaugh become our idea of an aggrieved man, quivering lips, blaming everyone but themselves? You’re not fit to kiss my husband’s feet. A truthful man, uncomplaining, never passing the buck, never punching unless he’s punched. When did he become the exception?” Okay. But toxic masculinity is not a new thing. This isn’t insightful enough for me to applaud it and it’s not offensive/wrong enough for me to actually want to dissect it. I like that the show’s taking risks and like the soliloquy idea but this is… meh.

Bruise starts talking about how happy he is. He’s taunting Diane (well, technically, Diane is criticizing herself) because she was happy earlier, and now she’s not and this asshole Bruise is sooooo happy.

So Diane’s solution is to leak Tara’s abortion. Interestingly, she imagines TrumpBruise calling her out on breaking Tara’s confidence. Implying that Bruise has a conscience (or enough savvy to push her buttons), even one fueled by Diane’s imagination, feels weird to me. Diane’s imagining Bruise has a conscience?!

FRANCESCA IS STILL AROUND!!! My wish to ditch Colin and keep his mom came true!

Francesa is singing “I Wanna Be Sedated” to her grandson. Of course she is.

I’m unclear on a few things with this scene: who is Francesca talking to? Does Francesca know them? This must be Lucca’s house (?) if Francesca is leaving and taking calls for Lucca, but why does Lucca have a land line, and why would a client be calling her on it?

Francesca has an Instagram. God, I would love it if that account existed.

Lucca’s baby is really cute. What’s the kid’s name? Is it Joseph?

Francesca tells Lucca she’s the perfect divorce lawyer. Anyone else feel like we missed a scene or three with this Lucca/divorce law plot? Why would Francesca say that? Does she know about the opportunity? Was Lucca working divorce cases and doing great? MORE LUCCA NOW.

Maia’s still wearing her sunglasses the next day (unclear if this is for medical reasons or because she doesn’t know when to just stop). She’s sitting in on a meeting of the partners about the new Assholes scandal.

Adrian says they need to get their story straight, that they didn’t know they were taking down the site. That’s blatantly false, and Maia speaks up to say so. Adrian says they didn’t. Um, they did. Julius asks Maia to step out, and Lucca, who has a seat at the table, defends Maia. Julius says “this should be a partner thing” and Maia gets up to leave. Lucca, who is also not a partner unless we did, indeed, miss multiple Lucca scenes, asks Maia for her opinion.

On her way out, Maia says RBL should “own it. Our client wanted us to take down a #MeToo site. We didn’t agree, but we took it down. Because we’re that good.” Meh. That’s really the only way out of this. But as a client, I would not be reassured by that, especially not if I had brought my business to a firm specifically because of its values.

Adrian takes Badass!Maia’s advice, word for word. And it works. This particular client also wants to know who Maia Rindell is. He typed in ReddickBoseman.net instead of .com (but WHY) and it landed on a “really really cool” page about Maia.

Liz and Adrian immediately go to find this cool site, and Adrian shows how hip he is by typing a url in the search bar. What pops up is a site with the RBL logo and several ~fashionable~ pictures of Maia and her Miraculous Sunglasses. It’s hilariously terrible. They’re not bad pictures, but it’s sooooooooooooooooo inappropriate and ridiculous. It’s also unnecessary, and I know I’m overthinking a sight gag (and it is an effective sight gag) but if Maia wanted to be on the website that badly, she could have, you know, SAID SO instead of making a fucking website.

Lol @ Maia staging a photoshoot at the office. Why wouldn’t she?

The website has the tagline “younger-tougher-smarter”. Well, one of those things is true, and you all know which one it is.

Cynthia’s back, in the office, to sign the NDA. She does.

Marissa’s prepared her research on Carl Reddick. She leaves it with Liz, in a green folder.

Diane goes to Naomi with Tara’s story. We don’t hear her tell it, so there’s a chance she thought better of it, but omg, how shitty, Diane!!!!!

Liz and Adrian share a drink. Adrian says he did suspect that Carl might have been having an affair, he just never thought it was assault.

“Your dad was really good to me, Liz. He’s the reason I have a career,” Adrian explains. “Me too,” Liz says, raising her glass. Damn. I don’t think those words were chosen unintentionally. Lots of layers to this scene.

Adrian decides to lighten the mood by mocking the image consultant. Liz, who’s wearing heels similar to the ones Maia was wearing earlier and has her feet up just like Maia did, comes up with an identity for the firm: “We’re a firm with no past. Not anymore. We’re starting over. That’s refreshing.”

Then they toast to Peter Florrick’s State’s Attorney campaign slogan/the writer’s perpetual favorite phrase: “New beginnings.” But it’s still storming, and the folder with all of Carl Reddick’s past misdeeds is sitting feet away. Dramatic!

As the credits roll, there’s an actual count of all the red folders in the episode. Heh.

I’m very on board with this season so far. Can’t wait to see what happens next!

Couldn’t all the episodes of this show (and TGW) be called The One About the Recent Troubles, though???

#the good fight #tgf thoughts #i feel so out of practice. what are words and how do i make them go together?!

19 notes · View notes

florrickandassociates · 6 years ago

Text

TGF Thoughts: 3x06-- The One with the Celebrity Divorce

One more to go before the new episode! I’m making progress! This recap contains ONLY ONE complaint about Maia!

There’s a promo for Strange Angel tacked on to the front of this episode. I have no interest in it, or, really, in any other CBS All Access show (Twilight Zone intrigues me but I don’t like horror). But, I’m curious: are any of y’all watching other All Access shows? Aside from one episode of One Dollar (which was terrible) and the Big Brother live feeds, I pay for All Access just for TGF. And TGF is the only show, probably ever, I’d be willing to subscribe to an entire service for.

“America Goes Poddy” is a hilariously terrible name for the show’s Pod Save America ripoff.

Diane’s listening to America Goes Poddy (sorry, I’m laughing again, it always gets me when this show uses really juvenile humor) and they’re talking about how now Democrats are doing well in the polls because of ALL THE THINGS THE RESISTANCE DID. “Who are the badasses doing this?” the Poddy Guys ask. They seem to have picked up on the fact these are linked.

One thing that always makes me uncomfortable about TGW/TGF is that sometimes they wind up on the wrong side of the fiction/reality line. This episode will do a fairly good job staying on the right side of it with the Melania stuff later, but I don’t love hearing about how #Resistance has made an impact in the polls when I know it’s fake and it hasn’t done a thing because it’s fake. There’s a way to make political plots high-stakes and realistic (the DNC impeachment stuff last year) and there’s a way to make political plots high-stakes and so unrealistic they can’t be taken seriously (#FlorrickForPresident2016).

GUYS, can I rant about a TGW thing? I was reading Becoming earlier this week (highly recommend, for anyone who still hasn’t picked up a copy) and was reminded of the Obama presidential announcement. This led me to google pictures of the announcement, which in turn led me to realize the 7x06 plot in which Alicia and Peter stand inside a hot gym in winter coats to have an Obama moment is even dumber than I previously believed. And I previously believed it was one of the stupidest things the show’s ever done. See, I had always thought they just copied the venue, which in itself seems like a stunt, but no, they weren’t content to just do that. They also had Alicia wear the same hat and color scarf as Michelle Obama. THIS WOULD NEVER FUCKING WORK; EVERY GODDAMN TALK SHOW WOULD MAKE FUN OF IT, SEASON SEVEN IS THE WORST, UGH.

#Resistance has more members and a new HQ, and they’re celebrating America Goes Poddy’s publicity. Now they want to do even more Resisting and go after Melania.

“I’m sick of just calling us ‘The Resistance,’” Rachelle says. I am too. They are now Book Club. I’m fine with that. It kind of makes me want to start an actual book club. (I don’t talk about it all that much, but I read a ton and always want to discuss books!)

At the office, the partners are arguing about how to handle Blum. Diane points out that Blum could work somewhere other than their office, and that the problem is having him in the building. She’s completely right. If Blum is in their space, with easy access to their files and staffers, he’s going to be harder to get rid of down the line. Adrian either doesn’t see it or doesn’t want to see it and says it’s not necessary to get a separate space. After all, they’re having their (highly paid) investigator watching him round the clock (really amazing use of resources) and he’s not a wizard. This is not a good counter argument. Diane is still right.

Liz’s take is also correct. She just wants to stop giving him attention, and I’m completely on board with that. He is a drain on their time and other resources and he “lives on attention,” so she wants to withhold it. Sounds like a plan to me! And the easiest way to starve him of attention is to send him off to some bland office space far away from anyone else. If he’s smashing windows and provoking every associate in his path, he’s going to be hard to ignore.

I like Marissa’s strategy for dealing with Blum too. She doesn’t let anything he says faze her (even when he talks about fucking her mother), replies back with snark, and eventually just starts singing show tunes in his face.

Marissa starts monologuing while Blum’s in the bathroom-- about how Blum is Jewish, about how he’s horrible but she likes him a little because he’s funny, and about how she can’t let him know she finds him amusing. I wish this monologue were a little longer; I think Sarah Steele does a really phenomenal job with it.

Lucca takes a meeting with Tituss Burgess (well, his character’s name is Wade V, but I’m so distracted by the familiar face!). He has a client who wants to speak with Lucca about a post-nup, but the client is a celebrity (he is a celebrity hairdresser) so everything’s top secret.

Jay does some digging to uncover who the star client might be. Did no one tell the person who populated the fake webpage with images that Megan Hilty is a character on this show? Or is it a strange little easter egg that she’s on this page, twice?

When Jay finds a picture of Wade V with Kim Kardashian, he decides that she MUST be his client and takes his hunch to both Lucca and Adrian immediately.

Just want to call out how much I love the face Lucca makes after Jay tells her it’s Kim Kardashian. She looks so amused and stunned!

Wade V’s client calls a burner phone. Lucca talks into it and gets no reply.

Adrian comes to Lucca’s office immediately after Wade leaves. He’s VERY excited about the Kimye divorce and wants to make a huge show. This is obviously the wrong call, and Lucca pushes back. “Lucca, this is a really big deal,” Adrian explains as though Lucca isn’t aware. Lucca pushes back more and explains her reasons for wanting it private; Adrian relents.

I’m enjoying the Lucca/Jay dynamic. It’s playful.

Blum has a half-naked woman parading through the office. Go away, please.

Adrian talks to Blum about how he has too many “personnel” accompanying him. You know where this would not be a problem? In a separate office facility, like Diane suggested. Adrian, you’re smart, but other people are sometimes allowed to have good ideas too.

Watching Blum seems like a terrible use of Marissa’s time. She’s good at it, but she’s also good at her real job.

Diane’s getting pretty serious about her axe throwing: she’s looking to buy her own set of axes.

Word has spread that there’s a Kardashian coming into the offices, and several associates decide to hot desk in reception.

I like that there are now a few named associates that I recognize. Even if they get, like, one line an episode, their presence makes it feel like the leads aren’t the only employees of the firm.

Lucca’s noon meeting arrives, and it’s not with a Kardashian. It’s with a blonde named Zelda. Jay tells Adrian they got a little ahead of themselves. Oh, really??? Googling his clients and deciding it must be Kim K, then spreading the word, wasn’t a good strategy?! I’m so shocked.

Zelda isn’t the client either. She hands Lucca a burner phone that immediately begins to ring. The woman on the phone has a thick Slovenian accent, and Lucca realizes that she’s talking to (someone who is supposed to be) Melania Trump.

And now it’s time for a song!

I don’t have much to say about the substance of this case, but they pull this off as best they can. Since the writers never confirm it is or isn’t Melania, the episode feels more character driven (how would these characters respond if…) and it doesn’t really matter if it’s realistic or not.

Lucca tells Jay she’s not sure if what just happened was a joke or not. She asks him to dig into Zelda Raye.

Marissa’s still trailing Blum. He runs into Lemond Bishop, and they start chatting. Marissa doesn’t stop him. Very effective. Almost as effective as having him in a separate space where he can’t run into anyone.

Lucca and Jay inform the partners (the ones that matter) about Melania. Liz laughs and Diane and Adrian look stunned. Liz doesn’t buy it: why would Melania want an opinion from a mid-sized firm, in Chicago, with mostly African American lawyers? Good question.

Liz and Diane convene an emergency meeting of the RBL chapter of Book Club to discuss whether this is a prank, a trap set by a mole within Book Club, or something for real.

Bishop wants to hire Blum in addition to RBL. Well, that was predictable.

Bishop gave $200,000 to Georgetown, because Dylan’s aged up several years and Georgetown is the only school these writers acknowledge. I hope Bishop didn’t get any college bribery advice from Flicka. Sounds like he “bribed” the admissions office the normal way, though.

Diane buys some fancy axes.

Zelda shows up at Lucca’s house with a ringing phone. It’s “Melania”. Lucca advises her to bring up divorce and Melania wants to get off the phone. Then Lucca mentions annulment, and Melania’s intrigued.

“America Goes Poddy” is still hilarious.

Diane and Liz tell the Book Club their theory about the leak-- and disclose that there’s a potential Melania divorce at their firm. Is that legal to disclose? Rachelle thinks there’s a chance it’s real.

Polly! That’s Young One Who Does Computer Things’s name!

Marissa’s still singing the same song at Blum. Heh.

Blum calls Julius in and offers to pull some strings and get him his judgeship. Julius turns it down and Marissa calls him out on it. She advises him to take Blum up on his offer and then piss him off later-- it’s what her father does, after all.

Wade arrive with a hatbox full of burners. One immediately starts buzzing and Lucca fumbles to find it.

“Melania” praises Lucca’s advice and says she wants a divorce. Lucca gets suspicious and asks about a well-known Melania impersonator. (I’m a little sad we didn’t get Laura Benanti on this episode.)

Vernon Jordan is back! He was in an early TGW ep, too.

Has the n-word been used on TGF before? Or is this scene the first time?

Zelda storms into Lucca’s office and begins to grab the burner phones like a child. Zelda’s firing Lucca, but it’s clear from her words and actions that this is coming from Zelda, not “Melania”.

“You’re mean!” Zelda exclaims as she stomps out. This is one of my favorite scenes of the episode simply because it’s SO WEIRD. “What the fuck?” Lucca mutters to herself before Zelda rushes back in to grab the phones AGAIN.

Jay intervenes, Zelda leaves, and Lucca and Jay start cracking up. This is delightfully absurd.

Julius takes Blum up on his offer. He also eats lettuce. Yes, that’s worth noting. If you’ve seen this scene, you understand what I mean.

“Melania” asks Lucca for the pee tape, which she knows is at RBL. This is news to Lucca. “We got played,” Diane responds the second she hears. I lean towards agreeing. There are too many coincidences here and not enough reasons Melania would go to Lucca out of all the lawyers. Could she choose the firm because it has the tape and still also think it’s a good firm? Maybe, but the firm having the tape would still be more important than the firm itself…

Lucca slowly realizes her firm has the Golden Shower tape. And no one told her.

Apparently Zelda also represents the Melania impersonator. Meh. Now Lucca’s supposed to break off all contact, which is probably the safe move.

“You told the receptionist to answer the phone, ‘Law offices of Roland Blum?’” Diane reprimands Blum. And the receptionist AGREED to do this? This is why he needs to NOT BE IN THEIR OFFICES. There is a clear solution here! I have no patience for Blum and even less patience for arguments about avoidable situations.

Bishop fired Charles Lester because he wants Blum. Damn. See, this is why you don’t take Bishop on as a client. It’s what I was just saying about avoidable situations: if you don’t want to ever have to decide if you want to let an obnoxiously loud man into your firm because he’s buddies with a drug dealer client of yours, you can start by not having a drug dealer client.

Wade comes back to talk Lucca into representing “Melania” again-- he offers a face to face meeting. Lucca accepts, then lies to Liz about it. This could blow up in her face, but I think she knows what she’s doing and it’s a calculated risk: if she goes and it is something real, Liz and the rest of the partners aren’t going to care that Lucca disobeyed them. And if she goes and it’s not real or it’s suspicious, who’s going to find out? (Well, unless there are cameras and/or it’s dangerous to go, but the chances of that seem slim to none.)

(Speaking of cameras, we ever going to acknowledge that Maia fucked someone on the office conference table and it was caught on camera or nah?)

OMG I haven’t even mentioned that Maia IS NOT IN THIS EPISODE yet. I forgot about her. She’s still credited and I don’t think she’s gone for good, but I can’t imagine there’s any Maia arc worth paying Rose Leslie for at least two episodes where she doesn’t have to do a thing. I do wonder if they’re phasing Maia out for S4, though.

Speaking of S4: YAY FOR RENEWAL!

Diane again suggests moving Blum offsite. PLEASE TAKE HER UP ON THIS.

Adrian explains that Blum is “a different flavor from what we’re used to” which is EXACTLY THE TYPE OF BULLSHIT LANGUAGE THAT KEEPS ABUSIVE WHITE MEN IN POWER. He is “a different flavor” and whatever flavor he is is unacceptable.

I also like Liz’s reaction to Blum: “I ignore him.” Unfortunately, Liz may be able to ignore him, but as we’ve seen already, others don’t have that much self-control. And no one should be expected to have that much self-control! Sure, Marissa and Liz can handle themselves around Blum-- but the receptionist couldn’t. Maia couldn’t. And while I blame Maia for her actions, she never would have acted out the way she did if the firm had supervised her properly while she was working with Blum.

The vote doesn’t go Diane’s way, so she goes to throw axes. Blum follows her there. She wants nothing to do with him, but he keeps blabbering. Shut up!

“I’m happy to become you in order to get you the fuck out of my way,” Diane tells Blum. I want to see that. (No one this season believes in the high road! Not a bad thing, necessarily-- just an observation.)

Lucca goes to the hotel room where she’s supposed to meet Melania, and “Melania” appears in shadow. That’s… about what I expected. So we never get an answer about if it’s her or if it’s not. That’s fine with me. I don’t really want an answer.

La la la, this scene is really long, I don’t care. The point is that she’s in shadow; I don’t care about anything else she’s saying because it’s either a fake who is a fake on the show, or someone who’s supposed to be real that is actually fake. Either way, why should I care?

“Melania” mentions the pee tape again, at which point it becomes clear (to Lucca) that this is not Melania. It’s also clear to me it isn’t her, but I have the benefit of knowing I’m watching a fictional tv show.

#tgfthoughts

6 notes · View notes

florrickandassociates · 7 years ago

Text

TGF Thoughts: 2x06-- Day 443

Sorry for the delay, guys. I liked this episode but for some reason I found it super boring to rewatch and kept putting off writing this. (I think you will be able to tell that I was writing this just to write something.)

A chair sits in a brightly lit, half unfinished room. This turns out to be the studio where Adrian is recording an interview with Cable News (they say it like it’s a proper noun in this episode so I’ve decided it is). Adrian looks uncomfortable doing this—the strange room, the logistics of the interview, the soundcheck, the unmanned camera.

We only hear Adrian’s side of the interview, and we have no context for it, so it sounds awkward. He misgenders someone (he can’t see the rest of the panel) (this is just like s5 Alicia!) and makes a comment about a case and then it’s over.

When Adrian arrives at the office, he’s wearing a black baseball cap. I am not sure why but it’s a look.

Marissa applauds him when he gets off the elevator—apparently the ten words he said were super impressive. Marissa also informs Adrian that Diane and Julius are in his office and there’s a visitor there for him. What, exactly, is Marissa’s job?

There are still boxes left over from the party. That’s a lot of booze.

“The next time they ask me to be a pundit, tell me no,” Adrian laughs, thinking he made a fool of himself.

“Wait, wait, wait, we’ve got to discuss Lucca,” Diane says as Adrian starts to leave. “We can’t ask her if she’s pregnant. It’s illegal,” Julius explains. “And Lucca’s not saying anything,” Adrian understands. The partners quickly realize that Lucca’s not saying anything specifically so she isn’t bumped from “the biggest case of the year” which goes to trial in two months.

Julius’s solution is to “talk to her friend Maia” to get info about Lucca’s pregnancy. Well, that’s shitty. Also, where is Liz? In this episode, but also in this scene specifically. We get Julius for this but not the name partner who is a mother?

The dude involved in the Peeper case Adrian referenced on Cable News shows up in the conference room, wanting Adrian to represent him.

And it’s Adrian’s lucky day, because a prominent Chicago lawyer we’ve never heard of is in reception too! Diane seems more impressed by him than I would think, since I was long under the impression that Diane Lockhart was supposed to be one of the biggest names in the Chicago legal world.

Ok I take that back, this Franz dude says “And Diane Lockhart, I know you,” when after introducing himself to Adrian. Ok, good.

He also knows Julius. Where has Julius been these past few episodes? I thought he was a series regular. Maybe he went for a visit to the New York office. Or he was spending time with the six children he has.

Franz was impressed with Adrian’s Cable News appearance too. It apparently has 300,000 likes.

Franz tries to stand while everyone from RBL sits, and Adrian won’t let him. I’m reminded of the Supreme Court Superlawyer in W4x09 who preached at Diane, Will, and Alicia. Adrian remains standing, so Franz can’t literally talk down to him.

Then some weird pantomiming of fighting happens. I am unsure what is going on, but I do know that Adrian’s air punches have been gifed and are on GIPHY or something, because on my commute home one day this week I looked up for a second and saw a gif of Adrian from this scene on someone else’s phone screen. (Sadly, he selected another, non-TGF gif to use in his conversation.)

Oh, we are talking about Wilk Hobson again. I didn’t realize he was in multiple episodes—I only remembered him from 2x05—but he popped up last night when I was rewatching 4x17, and IMDb says he’s also in 2x10.

Franz wants to talk about the lawyer killings. In fact, he informs RBL, “the big six firms have been meeting over the past few weeks to discuss how to address this problem.” I’ve never heard of the Big Six firms, but I guess that makes sense. If all firms in Fictional Chicago go through as much turmoil as LG always did, I can definitely believe there’s an alliance of six firms we’ve never heard of before.

Franz extends RBL an invitation to meet with the Big Six, because he saw Adrian on Cable News.

After the meeting, Diane and Adrian are shocked and Julius is so excited he’s had to leave the room (lol no he’s just disappeared without an explanation again). “What DID you say on Cable News?” Diane asks.

Now we get to see the Cable News panel from the other side, and I’m still not sure why what Adrian said is impressive. It lasts for about five seconds and he offers some mild pushback. That’s it. I feel like if you’re going to bother with showing something from one perspective and then later filling in the blanks, the scene should make sense the second time around. It still seems awkward and abrupt to me, and even though I’ve seen the episode and know what Peeper is, I don’t get what Adrian’s talking about. I am not sure what would get this clip 300,000 likes?

Diane and Marissa (who’s popped up because… idk she has) encourage Adrian to go on Cable News again.

The fact that Adrian has a framed picture of himself with Obama is fantastic but it doesn’t really help me believe that his office is anything other than Diane’s office, redecorated. Just swap out the Hillary/Diane pic for an Obama/Adrian one…

Adrian was doubting his Cable News abilities, but not anymore!

Julius goes to talk to Maia about Lucca’s pregnancy. Maia is at a table rather than a work station and Julius asks why. “I got here too late,” Maia says. Why would you tell your boss that, Maia? I can’t imagine RBK is chill with people strolling in whenever they want (though actually, maybe they would have a flex hours program) and you probs shouldn’t tell a partner that you arrived to work too late to grab a desk.

Julius asks Maia about Lucca’s “condition” and they both know what he’s talking about. “I think she wants to be thought of as a lawyer and not an expectant mother,” Maia explains. Yeah, something like that. And Lucca’s not even slightly wrong to assume her pregnancy would affect things.

Case in point: seconds after Maia says this, Julius doubles back to ask Maia to take the lead on the next step in Lucca’s big case. Maia is stunned and runs after Julius to protest her new assignment. It’s Lucca’s case, after all. When Maia asks why she’s been put in charge of the motion, Julius says “I’m a partner, and you’re an associate, and I want you to take it.” Good ‘ol Julius. I think he takes pleasure in lording his power over underlings.

“Is this about Lucca’s condition?” Maia asks. Um, yes, it obviously is. Equally obvious is that Julius would never say that out loud.

“No. It’s about you having a chance to be first chair,” Julius replies.

“Does Lucca know?” Maia asks next. “No. Go ahead and tell her!” Julius tells Maia. Seriously, he sounds delighted to give Maia this task.

Maia immediately goes to inform Lucca. “You are different since your ride-along,” Lucca observes after Maia makes a comment about being fine without a desk. What? First Maia was different after prison, now she’s different after her ride-along… can we stop saying Maia’s changed so much? And if we’re going to stick with that narrative, can it at least be consistent? I don’t even understand what her ride-along would’ve changed or how her comment about desks is possibly related to it.

Lucca jumps right into talking about the case, and Maia hesitantly tells her about what Julius asked her to do. Lucca asks why, and Maia says she doesn’t know, but Julius was asking about her “condition.” Lucca just goes, “Oh, fuck.” She’s not thrilled that the partners are assuming things about her work performance.

“You haven’t even told me, and I’m your friend,” Maia says. … Lucca is v obviously pregnant (she’s showing!). But, as she says, it’s not that she’s unaware that others can tell—it’s at least in part “just having those words [I’m pregnant] come out of my mouth. It feels weird.”

“Now, here’s the other worry. I’m on the partner track. For the first time in my career, I have some traction. And now I’m worried they’ll use… this to penalize me,” Lucca explains.

This prompts Maia to say what may be the smartest thing I’ve ever heard Maia say: that the partners can’t legally penalize Lucca for her pregnancy, but if she continues to keep it a secret, they can blame “performance” and make moves against her without being liable.

I do not remember much about the opposing counsel in the COTW, Amber Wood Lutz, but I remember that she was on last season and I expected her to become a recurring player. And here we are again.

“Every time a new lawyer is killed, I think of you,” she tells Adrian. I definitely don’t remember this rivalry. It was probably a thing. I just don’t remember it.

Mike from Veep is a judge now! He keeps saying that trials are nothing like what we see on TV. He even makes the same comments twice. The point—which could’ve been conveyed in far fewer lines, IMO—is that this trial is going to become extremely theatrical (even by TGW/F standards) since Adrian’s in Cable News mode.

This case is not that interesting. It could be, but it’s not much more than an excuse to talk about the alt-right and neo-Nazis. So, I probably won’t comment on it much, if at all.

Diane and Adrian head from court to a meeting of the Big Six Plus RBL, which is being held in a space that looks like the Cheesecake Factory but for people who think they’re too classy for the Cheesecake Factory.

Amber Wood Lutz is also in the Big Six. Adrian believes this is because they are “pretending to be diverse.”

I really don’t know how I’m forgetting this Amber/Adrian rivalry from last season. It’s quite intense.

Oh God, I’m only just at the credits? Can you tell from how sloppy my writing is that I just want to get this written? This episode wasn’t bad and it wasn’t great. It wasn’t even that interesting. I like writing about things that give me a lot to chew on, and I like writing about things that are so terrible I can rant for pages. Recapping something boring… is boring.

This episode was written and directed by women! (Finally.)

RBL is asked to donate $40,000 pretty much immediately after they sit down at the table. The widow of a wealthy lawyer needs $40,000 donations from seven firms? Why the fuck does she need $280k?

“We are being hunted,” Franz says. The show would like us to believe, at least to an extent, that the lawyer killings aren’t being investigated thoroughly because the police and lawyers aren’t friendly and everyone hates lawyers.

Now we get a rehash of the debate about giving the police your firm’s client list that we already heard in 2x03. That reminds me, when do we get to learn more about Liz’s husband?

Adrian comes up with a good next step for the Big Six. And then he’s on Cable News again (okay, it’s called Review of the Day). This time, he isn’t doing an interview remotely, but it’s the same show. If the show was in Chicago this whole time, why was Adrian doing the interview remotely from a studio in the first place?

There is another black man on the panel that night—“I’m the young, angry activist. You’re the older Obama statesman. That’s the only way they keep two black pundits on the panel, if we both stick to our lanes,” the other panelist warns. Adrian waves this advice off.

There’s been another lawyer killing, only this one may be racially motivated as well. Or, at least, that’s what Cable News thinks. This goes about as well as anyone who has ever watched a panel on actual cable news would expect, which is to say that people start screaming at each other about racism and making claims they can’t support based off of baseless assumptions they’ve made.

Adrian then insults Asshole Panelist and says he’s being overpaid to “ignorantly yap your mouth off.” Heh. I get why that one might go viral.

This makes the other panelists mad. Asshole Panelist thinks Adrian is playing high and mighty and the other black panelist accuses him of intentionally coming after his job. Even the host isn’t thrilled: Adrian mentioned money, and you’re not supposed to mention money.

Adrian’s second appearance is poorly received by some of his peers, even though this time, he was sure of what he was doing. Diane (playfully) accuses Adrian of intentionally stirring up trouble, and Adrian doesn’t deny it. Instead, he smiles and laughs.

For some reason there is a young woman who wants an autograph in reception at Adrian’s office. Don’t y’all have security?

Case stuff happens.

Lucca waits nervously to talk to the partners. She chats with Marissa a little and informs her of her pregnancy. “I’m telling everyone now,” she says. Marissa says she’s going to throw Lucca a shower—with a stripper. I want to see that! The shower, not the stripper. (Though…)

The partners congratulate Lucca when she shares her news. It seems genuine enough, and I’d love to believe that the partners won’t hold Lucca’s pregnancy against her. It’s certainly possible not to! I just need to see it to believe it with these people at this firm on this show.

“The birth date is scheduled for May 22nd,” Lucca says. It’s SCHEDULED? Honey. I’ve never spent any time around babies and even I know that you can’t make a baby obey your schedule. Lucca claims she’ll be back at work on the 25th. I’m curious to see how Lucca’s priorities and expectations shift over the course of the season. I think it’s very reasonable that she would want to keep working and I definitely don’t expect—or want—to have that choice invalidated. But a lot of what Lucca’s saying right now sounds more like denial of the realities of being a parent and nervousness about losing the things that are part of her identity than an actual plan for parenting.

Julius Cain is the father of six. I am assuming he doesn’t spend much time with any of his SIX kids given that there are six of them, and in nine years we’ve never heard about a single one. Poor Julius. The writing for him seems to consist of excuses for why he’s been absent and revelations that are out of left field. (Though I do buy that he’s the father of six. If you told me he was the father of six and he was very involved in his kids’ lives, I might have a problem believing that.)

Yeah, the partners are just putting on a show. They’re still going to watch Lucca very carefully. And they’re going to keep Maia ready to step in. If this case is so big, why is MAIA the backup plan? No offense to Maia (or maybe offense to Maia)—she hasn’t proven herself capable of this so why would the partners trust her with a big case?

The Big Six are back at Fancy Cheesecake Factory because that’s their favorite spot. I don’t even know what’s going on. It’s about police suits. I don’t care, since I know this whole conversation is lead-up to the reveal about Franz trying to woo RBL into dropping their police brutality suits so he’ll get more business from the police. It’s also a theoretical debate about issues I can’t have a stance on because they’re created for the show. Are the police failing to investigate lawyer killings? I mean, IDK, because the lawyer killings are fiction.

JULIUS wants to pursue police brutality cases and DIANE wants to drop them because “it’s worth every fucking irritation in the world!!!” to sit with the Big Six? What kind of opposite land is this where the Trump voter wants to hold the police accountable and the Hillary voter who gives no fucks is obsessed with status? (I don’t think it’s out of character for Diane to consider trading her values for status. I just think it’s weird that right now Diane is concerned with status, and also that she’s literally screaming at Julius about this.)

ALSO WHERE IS LIZ?

Lucca and Colin are in court with Judge Friend (hello!) and Colin tries to move the trial out by four months, to the week Lucca’s due in May.

OH FOR FUCK’S SAKE WRITERS, DID YOU NAME THE EPISODES AFTER REAL-TIME DATES JUST TO DRIVE ME MAD? Lucca and Colin hooked up after the Rindell case (202), but that was five months ago, even though it was the 415th day of the Trump administration and this is the 443rd day. And the 443rd day is in April, but May is four months away. Writers. If the dates aren’t going to have any bearing on the timeline of the show, maybe pick a different gimmick? Plus, it’s fucking annoying to memorize numbers.

Lucca and Colin fight in an elevator about the timing. Colin is more than a little annoyed that Lucca seems to be expecting him to ignore her pregnancy. While I agree that Lucca is expecting everyone to just ignore it, I feel like maybe if Colin wants Lucca to be more open with him, he should be supportive of her and her decisions and not incessantly propose to her (when it should be obvious to anyone who has ever met Lucca she would not want that) slash lash out against her in court.

Apparently Colin knows—or Lucca believes he does—that Maia would be the one to try the case if Lucca couldn’t. Why would Colin know that? And again, why would this fall on Maia?

Marissa hatches a plan because she believes Franz has ulterior motives. In a cafeteria, she chats with his assistant. His very chatty assistant. Turns out he wants the business of the police.

Case stuff happens. The jury is totally captivated by Television Personality Adrian Boseman, and the judge isn’t having it and tries to tell Adrian not to play to the jury. Diane objects and asks what, specifically, Adrian is doing wrong, and for the judge to rule on her objection.

“To quote a lawyer that I respected, ‘I want a ruling that I can appeal,’” Diane explains. Awwww, it’s a Will reference! (Will says this in W116, to Judge Lessner). IMO, these small, subtle references to Will are meant to show that Diane’s thinking about her former partner. And how could she not be thinking about him each time another lawyer is murdered?

Diane did not witness Will asking for a ruling he could appeal, so I imagine he must have told her the story at some point. Since there’s already a scene in W116 where Will recaps his case to Diane (he’s talking about auditioning for Bishop and groveling), it’s so easy to picture a conversation between them about this moment.

Back at Fancy Cheesecake Factory, Adrian and Diane fuck shit up by announcing that Franz is trying to land the business of the police (and that’s the only reason he invited RBL to the meetings in the first place). When the lawyers start arguing over one another, Diane and Adrian, satisfied with the mess they’ve made, leave. Hehe.

Lucca and Colin haven’t settled on a court date, so Lucca decides to tell Judge Friend that she’s pregnant and Colin’s the father. I don’t have much to say but it’s a really fun scene.

Colin shows up at Lucca’s office and explains his motivations. He didn’t want Lucca off the case: he wanted Lucca to be able to relax and not be stressed about the case! “This was for your benefit!” he says. “Oh my God. I didn’t think this could get any worse, but here we go,” Lucca responds accurately.

Colin is concerned Lucca might miscarry if she’s stressed. He asks if he can be even a little concerned, and she says that he can’t. Especially not if he’s going to express his concern that way!! Lucca also says she regrets having sex with Colin, and Colin’s all “I didn’t regret it.” Sigh. Lucca’s turned him down so many times. If there’s a way to win Lucca over—and there might not be!—this is definitely NOT it.

Anyway, Colin has info to help in the Peeper case. Which means that more case stuff happens and RBL wins.

Adrian calls Marissa (at work) to thank her for finding dirt on Franz. And to give her a 10% raise. “This is the first raise I’ve ever gotten,” she replies. “First of many, I’m sure,” he says. Aww. I like what they’re doing with Marissa and Adrian this year. It’s clear she respects him, and also clear that he’s recognizing her work when she does a good job (also clear is the fact she is doing a good job).

Adrian goes back on Cable News and finds out that J.D. (the young black man) is no longer on the panel.

On the panel, Asshole Panelist starts crying reverse racism. Adrian decides to burn all bridges with the show and its inanity, and he tries to stir shit up by getting the white panelists to say the n-word. Heh. Diane watches the clip (with a glass of wine and, likely, some drugs) at her desk and laughs.

Then she swivels around in her chair and hallucinates the Trump Mask People fucking. She laughs even harder. How many scenes of Diane laughing loudly is too many? I don’t think there could ever be too many scenes of Diane laughing.

I love Adrian not giving a fuck about what the host of the show has to say. He tells him off and then the ep ends with Adrian looking at himself in the mirror. This is a much better Adrian-centric episode than last week’s effort.

#I'M DONE WITH WRITING THIS!! FINALLY!!!#it's not even like it's a long post by my standards #The good fight #TGFThoughts

11 notes · View notes

florrickandassociates · 7 years ago

Text

TGF Thoughts: 2x04-- Day 429 (1)

If TGF can do two episodes in one, I can do two recaps for one episode. This recap covers Liz’s part of the ep.

The episode begins on a promising note, informing the audience that there will be two chapters: Liz’s Case and Lucca’s Case. One second in, and it’s already apparent that this episode will be (a) innovative and (b) focused on Liz and Lucca.

I have a feeling I’ve heard the Kings talk before (like, season 5/season 6) about wanting to do an episode like this. Does anyone else recall this? At any rate, I’m glad the writers have TGF to experiment a little more with structure. And I think this particular structure works better on Fight (an ensemble show) than it would have on Wife (a show with one lead).

After we’re informed we’re going to be watching “Liz’s Case” first, we see a sheet of paper with ABC written on it. Jay is running active shooter training with some of the members of the firm, including all of the name partners, Lucca, and Maia (who doesn’t get a seat at the table). This is both timely and a good way of furthering the KILL ALL LAWYERS fears without hitting you over the head with it. (This episode, in general, is light on the KILL ALL LAWYERS stuff, as well as on Trump commentary. There’s just enough to remind the viewer that it’s still weighing on everyone, especially Diane.) A delivery man barges in, making a loud noise and spooking everyone. Yep: they’re definitely still on edge. (A little goes a long way: these are the kind of details I love.)

Also, I appreciate that Jay is running the training. Last week I was impressed/surprised he knew how to deal with the ricin scare, and now I’m assuming that office safety is part of his job (or something he’s volunteer to help with).

Marissa walks in and whispers something to Lucca; we don’t hear what it is.

Someone asks a question over the phone. It’s Liz, but it’s impossible to tell since the connection is terrible. This is relatable. I don’t even want to know how much time I’ve lost at work waiting for clients to figure out how to improve their phone connections.

Liz’s connection is terrible because she’s in the car. And why is she in the car? Because she’s taking her son (!!!) to a doctor’s appointment. I’m so glad the writers didn’t forget about Liz’s son. There aren’t enough parents in The Good Verse.

Liz drops her son off at school, where she learns that his favorite teacher has been fired. They let him go in the middle of the year? Sorry. Not the point.

Liz jumps into action as she heads into work, getting on the phone with the principal and explaining that this teacher was one of the few who was able to get through to her son. Liz walks past Lucca and we see a brief snippet of what’s going on with Lucca before going back to Liz. (Can’t remember if it was at this point or slightly later I realized we were going to get info on what was happening with Lucca, but whenever I had that realization I had to pause the TV because I was so excited about the idea. One could say I liked this episode.)

Liz points out to the (white) principal that the fired teacher was one of few people of color at the school. “Our push for diversity is renowned,” responds the principal. Hm.

Speaking of diversity, before I forget to mention it, after last week I was worried about TGF centering itself on its white leads and becoming too enamored with Marissa. This episode focuses on Liz and Lucca, and while this focus is a little overdue, it does make me hopeful that TGF understands that its black characters are also leads, and that an episode can focus on two black women. That’s especially important for the show to do after it pretty much traded Barbara for Liz.

(I’m still so conflicted on the lack of Barbara. On the one hand, the writers seem to have a great grasp on Liz and they did not understand how to write Barbara at all. But I don’t like calling it a good move to get rid of Barbara, because if they’d just written her character well and given her consistent development, if her fourth episode also showed her POV (ok, fine, her fourth episode was actually the most Barbara-centric one but it wasn’t like this) and expanded what we knew about her life, then maybe I wouldn’t be writing something right now about how the writers had to write her out. I’m a broken record about this, I know, but it doesn’t seem fair to praise the writing for Liz when I know the only reason we have Liz is because the writers failed Barbara/Erica.)

“Yes, I’ve heard about your push quite a bit at the school assemblies,” Liz tells the principal (like she already thought the school wasn’t doing enough…). She also says she thinks they’ll be in touch, since at this point she knows she’s going to try to help the teacher keep his job.

Lucca asks Jay to help her with something; he agrees. As she walks off, Liz approaches him. Now that Jay’s helping Lucca, he doesn’t have time to help Liz, so Marissa jumps in. Liz is reluctant but she goes along with it.

In an informal meeting of the name partners in Diane’s office, Adrian explains that they’ve had lots of cancellations for their party. “The lawyer killings. Our chemical scare,” Diane understands. (Um, why would these people have RSVP’d yes in the first place? The party wasn’t thought up before the chemical scare. It’s what Adrian talks to Diane about at the end of Day 422.)

“I say ‘fuck it,’” Diane responds. “You’ve been saying that a lot lately,” Liz comments. Indeed she has. “Making up for lost time,” Diane winks at the camera. She doesn’t, but, like, come on. This line is extremely meta.

Diane then swivels in her chair and stares Liz down. It’s kind of comical-- not because it’s silly, but because Diane really doesn’t give a fuck and she doesn’t care who knows it.

Adrian picks up on the tension and asks Diane what’s going on after Liz exits. Diane laughs and answers a call on her laptop instead of responding.

It’s Kurt! He’s away on a trial somewhere, sitting in a hotel room. To be completely honest with you, I didn’t remember where Diane and Kurt’s relationship stood. I assumed from the fact that Diane was alone and microdosing they were separated. I also believed this was a pretty safe guess based on the seven years of Alicia/Peter relationship limbo we had to endure in TGW. These writers have never met a separation they didn’t want to prolong until the absolute last minute possible.

And indeed, even though Diane and Kurt were on good terms in 1x10, they’re still “giving it time.” Then the connection breaks up (‘cause miscommunication and technology being unreliable are THEMES this week) and Kurt thinks Diane said the separation is over. Diane closes the laptop instead of attempting to call back. I dunno, I feel like if I was in the middle of a convo like that I’d call back on a cell phone, send a text, something…?

Now the teacher is in Liz’s office and she’s offering to represent him in arbitration. “You are the only teacher to break through Malcolm’s shell,” she explains. She continues by saying that she’s always advised to put him in private school, “but if everybody abandons the public school system, it’ll implode.” Yes, thank you, Liz! (Also, I see why you didn’t get along with Alicia. I’m sure Alicia would also say she supports public schools but, um, she wouldn’t send her own children there unless she absolutely had to. And Liz would find that hypocritical.)

Liz then calls in Maia. That’s right. Maia is working! THANK GOODNESS. Maia has almost nothing to do this ep, and the little that she has to do is work. Yay!!!

Malcolm’s public school is a charter school, which is… not exactly what springs to mind when I think of “believing in the public school system.” I was a bit surprised the writers didn’t delve into this, especially since other than a few mentions about the threat of unionization, it doesn’t really matter that it’s a charter. And charter schools are their own can of worms.

Elsbeth barges in (HELLO!!!) and only Maia recognizes her. She’s in the wrong place-- she’s looking for Lucca-- so she compliments Liz’s jacket and leaves.

Marissa goes to the school and pretends to be the mother of a second grader. She rambles a bit too much about her TOTALLY REAL husband, but it works. Marissa makes a vaguely racist comment to try to get a teacher to make an explicitly racist comment. She doesn’t get that, but she does get an explanation for why Mr. Coulson (Malcolm’s fave teacher) was let go: he’s gay.

Arbitration begins, and Nancy Crozier is representing the school. Seems she’s on the PTA. So… she has a kid?! I guess that doesn’t surprise me, but now I’m curious about the personal lives of all the recurring characters.

When it comes out that the principal had fired a teacher from her previous school (a Catholic school) because he was gay, we immediately get a reaction shot where Maia’s visible. It’s not Sad Puppy Owen from 4x09, but it’s just a little thing that clues us in to how Maia’s feeling.

The school used an algorithm to decide which teachers to fire so there would be no bias. Maia jumps in with the counterargument before I can scream it at my screen: “All algorithms are pointless unless they are based on good data.” Absolutely. An algorithm is not inherently objective.

I know I am now nitpicking stock footage (would you expect anything else from me?) but in this stock footage of Chicago it is Christmastime (see the red and green lights on the buildings) but in the show it is March.

Also, not at all the point, but one of the buildings in the stock footage now has a huge TRUMP sign on it so I am going to headcanon that Diane (and the others) have to walk past it every day, multiple times, ‘cause I think that’s fitting.

Now we’re at the poorly-attended RBL office party. There’s a lot of champagne and very few people. There are 18 non-RBL people there; Colin Morello makes 19.

I still don’t get why Colin has to be a series regular, but I do like that the writers are making full use of the fact that he and Liz used to be coworkers. They chat about work for a few seconds until Colin sees Lucca through the glass walls (so! helpful!) with a man. He instantly gets jealous.

Guests 20 and 21 arrive. They’re the algorithm boys from last season. One of them hates a lot of things, including swearing. And, apparently, elevators. What he does like, though, is Marissa. Adrian refers to Marissa by name and as an investigator, which I’m sure would make Marissa happy if she knew about the interaction.

Diane and Liz chat at the bar. Liz asks for advice on dealing with Nancy Crozier, but Diane sees right through it: “This is a thing you do, isn’t it? You ask for advice in order to ingratiate yourself.” Probably true.

“You know, your ‘fuck it’ mode is starting to feel more like ‘fuck you’ mode,” Liz responds. What powers of observation you have, Liz! It’s almost like Diane walked into your office last week, said “fuck you” and left! Oh, wait…

(Also, Liz is wrong. It was Liz’s response to Diane’s ‘fuck it’ mode that made Diane angry enough to say ‘fuck you.” What’s Liz’s endgame?)

“Just appreciating your style,” Diane responds. “I’m just doing my job,” Liz says. Uh-huh. It’s her job to drink with Diane, pretend to ask for advice (ooh, it is a pattern), and then report back to Adrian? “And using what I confide in you to undercut me?” Diane counters. Liz sighs. “Look, I thought Adrian already knew you were thinking of leaving. That’s all,” she explains. Um. Does that track? I thought Liz approached Adrian about bringing on a new partner and told him about Diane, but she could be telling the truth. I am going through Day 415 to see exactly what Liz said, and omg, now I have to watch the Rindell nonsense again and it’s just highlighting how great Day 429 is. The All Access player really needs a 10 second skip feature.

Ok, Liz DOES tell Adrian “She never said anything to you?” so it’s possible that she was trying to be proactive about a situation, not trying to undercut Diane. The whole thing where she suggested Diane take time off and then told Adrian that Diane requested that time… not sure how to spin that one. But best case scenario here is that Liz is just blunt and didn’t mean anything against Diane. A girl can dream, right?

Diane says “it’s more fun to go at each other” in response to Liz, and nope, NOPE. 100% disagree. It is far more fun to watch them be friends. This plot is not fun and I spend every second it’s on screen trying to figure out a way to interpret seemingly malicious actions as benevolent. So… yeah. Sorry, Diane. It’s more fun for you to be friends. And you seem like you could use a friend right now. (Did Diane lose all her friends?)

Diane does offer Liz advice on dealing with Nancy: “She plays at being the nice girl while being tough. She’s good. But her rhythm is thrown off by objections.” The first part, definitely (I’m shocked that still works for her). The second part, is that a thing we’ve seen before?

Elsbeth arrives at the party and Diane’s excited to see her. Who wouldn’t be excited to see Elsbeth? Elsbeth is the best.

Elsbeth doesn’t seem to understand why the offices don’t have furniture (answer: they do; it’s been put in storage for the party). But she doesn’t spend too long wondering, because Diane asks her to sit down and compliments her dress. That’s right: Diane compliments Elsbeth’s wardrobe.

“Ooh! What do you think they’re talking about?” Elsbeth remarks when she sees Lucca spit out her drink. And then things get meta.

“It’s weird,” Elsbeth says. “We’re just the background characters to their story.”

“And they’re just the background characters to our story,” Diane points out.

“And we’re all just background characters to his story,” Elsbeth says, speaking of the bartender. “He could be the hero, and we could be the villains of the story.”

“Or we’re the heroes, and he’s the villain,” Diane spins. “That’s what keeps us humble. Not knowing,” Elsbeth says. “Or paranoid,” Diane counters.

I love this exchange. Is it incredibly on the nose? Is it an all caps Thesis Statement for the episode? Is it one of the least subtle things I’ve ever seen? Is it as obvious about the point it’s making as I am being right now, saying the same thing four times? Hell yes, it is. Is it still great? Yep.

The show is poking fun at itself, Elsbeth is exactly the kind of character that would start talking like this, and I totally believe that Diane would be game for this kind of conversation given her state of mind. It fits to have Diane thinking about these things-- even if only while making small talk with Elsbeth-- when she’s already questioning so much.

(I also like how every time Elsbeth suggests something that would have negative implications for Diane’s view of herself-- that she’s a background character, that she’s a villain-- Diane recenters the narrative. I am not sure that Diane’s doing it on purpose, but, uh, she is used to seeing herself as the hero.) (I don’t mean that as a negative thing! Just an observation!)

Diane turns the conversation even darker, because Elsbeth is a surprisingly good confidant: “You know, last week, I was walking down the street, and there was this homeless man digging for bottles in the trash and yelling at the top of his voice about the president and the country and how we’re all going insane. And I realized: that’s what my inner monologue sounds like. And that when I decided. I’ve got to change.” “To what?” “To someone who’s not going crazy.”

Well. There’s a lot going on there. As seems to be the theme for Diane this season, she’s feeling what everyone else is, but taking it one step farther.

Elsbeth doesn’t know how to react, so she compliments Diane. Then she compliments Diane’s necklace, and Diane gives it to her, along with her belt.. I… don’t know that I like this. It’s cute, but it seems so off-kilter it also worries me.

“I never thought you liked me, Diane,” Elsbeth says. “Hey, you know what? That’s my fault,” Diane admits. That’s sweet!

I don’t know what to make of this scene as a whole. Part of me thinks it’s a nice little Diane/Elsbeth moment where Diane’s No Fucks Given policy allows her to connect with a peer. A bigger part is worried that this scene might look like a warning sign (for what, I don’t know) once we get a little farther into the season.

I don’t get why this Colin/Lucca scene is here, in Liz’s story, right after a scene Liz also isn’t in. I understand that we have to see it before we know what’s going on for the story to work, but something (in editing, writing, or directing) could’ve been done here so this didn’t stand out. Also, Lucca invited Colin to the party, knowing she was pregnant and he was the father, but she has no plans of telling him he’s the father? Alrighty then.

And now for a third Liz-free scene in Liz’s section of the show (this one is, at least, related to her case). Marissa and Maia head down to the 22nd, where everyone’s talking and dancing and there’s music blasting. It is a much more exciting scene than the 23rd. But Marissa and Maia don’t join the party: instead, they discuss algorithms.

Nancy, who has now practiced law in Chicago for 8 full years, literally says “I’m just a small-town girl from Michigan.” I’m going to take that as a shout-out to the fans.

Liz’s son is throwing a ball against the wall, repeatedly, and driving Lucca crazy. She tells him it’s annoying. And because Lucca as a Parent is a THEME, we get to see Lucca interacting with a child (and, of course, Lucca’s reactions to her interactions with a child).

“And would you consider state-mandated testing to be a subjective data point?” the mediator asks. I don’t know if I would call it subjective but I would call it a terrible metric! (But I’m ahead of the episode. The minute I heard state-mandated testing I was ready to rant about testing practices and the costs of teaching to a test. I’m a little shocked that Liz didn’t go there immediately.)

Lucca dared Malcolm to make something out of paperclips, and now he’s totally caught up in crafting a paperclip zombie. Awww. My favorite detail about this scene is that Liz picks up a paperclip to help her son with his project, even as she’s still thinking about her case.

Liz realizes something: Malcolm’s score on the state-mandated test went down when he had a better teacher. He got a 92 last year, and a 73 this year. I assume those are percentages, not percentiles? I don’t recall much about these exams, but aren’t these sorts of things usually scored by percentile and not accuracy? Oh, my God, why do I care?

Tbh, this is just making me really grateful for my own education. I didn’t get a single letter grade or percentage based grade until I was 10 or 11 (maybe on a math test before that?), and grades didn’t “count” until 6th grade. We also weren’t ever assigned homework until 3rd grade. I have some complaints about my (private) elementary school, but I think that system worked well. We could learn without the fear of failing an exam. And while I’m sure I would’ve done just fine if I’d had grades when I was a kid (I love structure and I always have), I bet it really helped the kids who don’t test well.

What I’m saying is, and I’m probably preaching to the choir, teaching to a test, particularly a state-mandated standardized test that will determine staffing and funding, is a terrible idea. It doesn’t help the kids learn, it requires teachers to spend time on lessons that may not be as beneficial to their students in the long-run as something that builds critical thinking skills, and it encourages teachers to lie and cheat to keep their jobs.

Liz, Marissa, and Maia get to work going through the exams from the last few years. Maia spots the eraser marks. Of course there are eraser marks.

I wonder how many of the characters on this show (and on TGW) went to public school. My guess is that the list is pretty short.

The cheating teacher denies that she cheated. She claims the students just realized their mistake at the last minute. All of them. Repeatedly. It’s ridiculous, and Maia’s pretty persuasive. (Yay, Maia!) They still need to find proof, but it’s obvious they’re on the right track.

Kurt is in Diane’s office with some roses. Marissa texts Diane “Where r u? Kurt’s here!!” AGAIN WITH THE “WHERE R U”! Marissa would not write like that on an iPhone!!

Marissa asks Kurt, the ballistics expert, if he knows any eraser forensic experts. Not a dumb question, because such people exist! Even if Liz/Maia/Marissa end up with the wrong expert witness initially (they grab Lucca’s witness instead), eraser forensic experts exist!

I don’t understand Maia’s wardrobe. I cannot find the words to describe her style.

When it becomes clear beyond a doubt that the tests were tampered with, all Nancy wants to know is if she can see her daughter’s test.

Liz tells Mr. Coulson the good news, but… it’s too late. He’s accepted a position at a private school that will pay more. “I still believe in public schools,” he says as he leaves. Ah, a TGW (TGF) victory.

As Liz contemplates her next move, she sees Malcolm and Lucca sharing a sweet moment. Aww.

#The Good Fight #YOU CAN TELL I LIKE AN EP WHEN MY RECAP OF THE LESS INTERESTING HALF OF IT #IS ALREADY LONGER THAN MY ENTIRE RECAP OF LAST WEEK'S EP #TGF Thoughts

10 notes · View notes

florrickandassociates · 8 years ago

Text

TGF Thoughts: 1x01-- Inauguration

For those of you familiar with my posts, you know what this is. For those of you new to this fandom, I write obnoxiously long recaps of every episode (and you can find them all here). I started doing this with 6x01 of The Good Wife and I’m continuing the tradition for The Good Fight. They’re obnoxiously long because I try to be detailed, but they’re in bullet points so it should be easy to skip around and find comments on a particular scene.

As always, I’m happy to elaborate/explain/discuss any of the ideas in here. I’m hoping to get a 1x02 recap up before 1x03 goes live, but we’ll see.

Often, it’s easy to tell what a show wants to be from the way it introduces itself to the audience. First impressions aren’t all that matter—but they’re important. They’re especially important on the spinoff of a show that had an opening scene so iconic the writers recreated it seven years later, expecting viewers to get the reference. TGW’s opening scene set the tone for the whole series, so the bar was high for TGF, a show that exists essentially because CBS wants more money. How do you craft an opening scene that sets the tone for a show where the premise is PLEASE GIVE US YOUR MONEY?

The answer, it turns out, is to begin the series with a scene that acts as an argument in favor of its own existence. As Diane watches last month’s inauguration, we’re given a reason to care about this show about a diverse group of women fighting back. Why should we tune in to this show? Because we’re ready for a fight, too.

So, the opening moments of TGF—Diane, alone, watching that man’s inauguration—are irrelevant to most of what follows. You could argue (as I think the Kings have tried to, bizarrely) that Diane decides to retire to run away from the shitshow, but, come on. You and I both know that Diane decided to retire because the Kings needed a way to make her extremely vulnerable to the scandal they created. We know she would’ve retired if Hillary had won (that “shattered every glass ceiling” line they say they had to replace was terrible, btw), and we know she would’ve retired if this spinoff had aired a year earlier. As far as I’m concerned, the opening scene stands alone, and that’s fine.

In fact, since it sets the tone for the whole show (which will, undoubtedly, become more political as we get into the episodes written/filmed post-election), I’d argue it works (much, much) better as an opening scene than the Maia intro (here’s a new woman you’ve never seen before! She is a lawyer!) or the Diane intro (here is a house in France that will be important to this episode and only this episode!).

As much as I hate to admit it—because admitting it means that we’re really living in a world where that man is POTUS, the most recent presidential election gave TGF the reason it needed to exist. The moment I saw the tagline “GET NASTY”, it clicked into place. Suddenly I was excited about TGF as more than a weekly check-in with some characters I used to love. Suddenly I liked the name The Good Fight much more than The Greater Good (the show’s working title). Nothing had changed about the show itself—the “fight” in the title was still about recovering from a fictional scandal; the show was still something that came about because CBS wanted to profit more off of TGW—but it felt different. It felt necessary. And, even better: the show knew it.

The Kings claim they didn’t expect Trump to win, but they do have a knack for being eerily good at predicting what the political mood will be like in a few months. They seem to be right on the money with The Good Fight, even if they had to rethink the opening. The name and premise of the show, both decided in advance of the election, are about struggling.

(I know the Kings think there’s something darkly funny about watching Diane watch the inauguration or whatever but come on. They’re marketing to an audience that would not only understand that “Get Nasty” is a reference to “Nasty Woman” but be driven to watch by that reference.)

Before I move on: Hi, Diane… I’m sorry, but I have a message from the future—one fucking month in the future—this is really happening and it is a horrific shitshow.

Diane turns off the TV, drops the remote, and walks out of the frame as Erin McKewon’s “You Were Right About Everything” begins to play. She has the right idea.

A few seconds in and TGF is already spot-on with its music choices. Yay! (I don’t know if I like the songs used in The Good Universe because I associate them with the shows or because the people choosing them and I have similar tastes in music, but I’ll take it either way.)

Diane’s dark living room gives way to an image of an unfamiliar face against a black background. Moments later, the lights come on, and we see Maia Rindell, nervously waiting to take the bar exam. It’s hard to make much of her from this glimpse—who wouldn’t be nervous waiting to take the bar exam? Why would a character be on this show and not be a lawyer? One thing, though, is clear: she’s just starting out her career.

Cut to the French countryside, where Diane is touring a beautiful estate. She takes in the view and smiles: she’s going to love it here.

Then we’re back with Maia, sometime later. She’s waiting impatiently for her bar exam results. When she learns that she’s passed, she screams, alarming her sleeping girlfriend, Amy.

Maia begins to jump up and down on the bed and then jumps on top of Amy. It’s super adorable.

(Before I continue: I’m happy that a) Maia is queer, b) this is not remarked upon or treated as a huge reveal, and c) she’s in a committed long-term relationship. Seeing as TGW had a total of zero lead characters in relationships that resemble the ones most people actually have, this is a welcome change.)

Also: Maia and Amy’s apartment is amazing; they live behind a giant clock.

The music continues, and now Diane’s in a setting both familiar and unfamiliar: it’s familiar because David Lee and Howard Lyman are there; it’s unfamiliar because it’s an office in New York City instead of the old L/G/KeyboardSmash offices. Okay, I know they’re still in Chicago. But that... is definitely New York…

Anyway. Diane’s announcing her retirement. She stands and walks around the room, totally in control. The firm has grown since we last saw it. David and Howard congratulate her, and David secretly rejoices as the music ends. More power for him!

You know what I find odd? Lucca isn’t in the opening sequence. She’s ostensibly also a co-lead, so where is she in this sequence that starts of the show? My hope is that this doesn’t indicate she’s less of a co-lead and was instead an intentional move so her appearance later is more sudden. (Then again, this sequence doesn’t hint that Diane knows Maia or that Maia’s going to work at Diane’s firm, so… I see no reason Lucca couldn’t have been included too.)

The firm now has NINE name partners (LDGLLGLKT) because the Kings think they’re clever. I’m less amused by this than I am excited to know they (finally) understand that the audience is so over the name changes.

It’s Maia’s first day at LockhartKeyboardSmash, and she’s making friends one of the other new associates.

Maia wears a rosary ring, but she is not religious. Hm.

She is, however, nervous. She seems to be a very nervous person in general, though maybe that’s just my impression because we’re mostly seeing her in environments where she’s uncomfortable. (Maia is such an Alicia-esque character—the original casting call for her said it, not me!—that I wonder if Alicia used to act like that, too. Did Alicia struggle to put together a sentence without hesitating, the way Maia does? If so, when did she get that out of her system and learn to pause strategically instead? Law school? Being a politician’s wife? Gradually over time? Ok back to Maia now.)

I would never want to receive a job orientation from David Lee, and that’s all I have to say about that.

David calls off names of the new associates, and his tone changes when he gets to Maia. Be a little more obvious with your ass kissing, would you?

“Say hello to your parents for me, would you?” David tells her. He also informs her that some flowers have arrived for her, because apparently her parents are clueless as to the fact that she might not want to publicize, on her first day of work, that she’s the daughter of prominent billionaires.

Maia tells her mom not to send any more gifts; she doesn’t want to seem “entitled.” At least someone has some self-awareness! “Are people not being nice to you?” Maia’s mom, Bernadette Peters (!!!!!) asks. That one line is enough for me to recognize that it’s amazing Maia even understands that entitled is a thing people might call her.

Lenore, sitting in her office that looks like a living room but is really adjacent to a trading floor (what?), asks Maia if she wants Diane to give her her own office. Oh boy.

(Maia may not want to be seen as entitled… but I have to ask why, right out of law school, she took a job at her godmother’s firm. I’m not saying she shouldn’t have taken the job or anything... I’m just saying that while she understands she’s being perceived as entitled, she’s not exactly rocking the boat trying to accomplish things without her privilege. She seems pretty damn comfortable benefitting from it.)

Maia tries to rid herself of the Flowers of Privilege by mixing them in with the other LGKeyboardSmash floral arrangements. Howard walks by and assumes she’s a florist. Heh.

Maia is then called into Diane’s office. I love Diane’s new office, especially the wallpaper.

Diane also offers to give Maia her own office. This is because Diane is Maia’s godmother and she wants to spoil her. Oof. I get the impulse to help, but in what world is that helping to do anything other than make instant enemies for Maia?

Diane gives Maia a folio (is that what those things are called? I’m blanking on the word) that was given to her by Chicago’s first female public defender. She calls it a “baton” and tells Maia it’s her turn to carry it. Awww. It’s amazing how instantly I buy that Diane has a goddaughter even after seven seasons without a single mention of Maia.

Diane brings Maia into a deposition. Before we find out the topic of our COTW, we learn that Lucca’s not at LGSKGJSLG38527;;jslfj82745K anymore. What a shock.

Lucca’s been at Reddick and Boseman, the firm she’s at now, for four months. “Alicia too?” Diane wonders. “No, just me,” Lucca says pleasantly, but she doesn’t offer any further comments, so it comes off like unspoken shit went down. I don’t really care, though. I know why Alicia and Lucca aren’t working together and aren’t as close as they were, and it has nothing to do with them and everything to do with TGF’s plot. I don’t want TGF to tell me what Alicia’s up to, because I have my own headcanons. This line is the bare minimum for addressing her absence, and that’s fine by me. (I hope she and Lucca didn’t have a falling out, though. I would love to think they’re still friendly and working together, but obviously, if that were the case, there’d be a strong reason for Alicia to still show up frequently in TGF, and that’s not going to happen.)

Adrian Boseman walks in, interrupting any chance we had at learning more about Alicia’s whereabouts. I like you already, Adrian! No, but really: I like Adrian.

He sizes up the room, noting that all of the lawyers his firm brought are black and Diane’s whole team is white. Diane laughs off his comment. Sure, Diane.

The case is a police brutality case, and there’s a video. Case stuff happens; we spend a lot of time watching Maia react to it. Also there’s metadata, a word the Kings will never tire of using.

Maia thinks they should settle for 4 million (Diane’s asked for her opinion). Diane says they’ve been asked to settle for under $500,000. See, they’re representing Cook County now.

Adrian encourages Lucca to “play the radical” but she doesn’t want to; she thinks Diane will know. Lucca does anyway.

Diane makes an argument about Adrian’s firm taking on police brutality cases to make a profit. This is something I’d be interested in learning more about. The Kings said they’ve done their research on this, but I’d like to do a little research of my own.

“We’re both using this case, Lucca; why don’t you just stick to the facts?” Diane says. This is one of those arguments where it’s hard for me to determine who’s right and who’s wrong because we’re not given all the facts, but I think I’m going to side with Lucca here. There’s using a case to make a profit, and using a case to do good and make a profit. Only one of those sides contains “doing good,” so why would I suddenly only focus on the profit part?

Maia has the same questions I do. “Are we on the right side on this one?” she asks.

“We are on a necessary side,” Diane explains. Hold up. I understand that it’s necessary because this is how legal procedure works in this country and all that. But how is it necessary that Diane defend racist police departments who use unwarranted force and beat the shit out of black people? How is that a necessary side? Diane didn’t take on this case because she believes in the innocence of these particular policemen. She took on this case because Cook County is a good client to have. If she can sleep at night, then fine. But don’t tell me it’s a necessary side just because they might be innocent. You could say that about literally every single side of every single case. Isn’t that the whole point of trials? Everyone’s entitled to representation, innocent until proven guilty?

Diane continues with her speech: “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. That’s why you don’t go on instinct. You wait. You listen. And watch. Eventually everyone reveals themselves.” Argh. I find this so unsatisfying as an answer. It’s not bad advice to keep an open mind, but it feels like Diane’s not saying “keep an open mind instead of making snap judgments” but rather saying “keep an open mind because it’ll make you feel better about representing people you’d rather not be representing.” On second thought, that is useful advice. After all, Maia still has to defend clients she thinks are guilty, and maybe that would help her do it.

“People I thought were saints, they, um, they weren’t.” The Kings have said this line is about Alicia. If you follow me on Twitter, you know this has been under my skin for days now. At first, I thought Diane would never say these words. I’ve reconsidered. While I still think it’s odd she’d think of Alicia before, I dunno, the liberal legend who turned out to be a rapist (W205—I’m writing W in front of TGW episode numbers and F in front of TGF episode numbers, btw) or her dad who accused his best friend of being a communist (W419) or her husband who she discovered cheated on her, I suppose it’s possible, especially since this scene comes right after a meeting with Lucca. (Also, why would Diane have learned this lesson from Alicia’s betrayal in W722 and not from 40 years of being a lawyer?)

But, it irks me a little that Diane would use Saint Alicia as an example here. If anything, Diane was one of Alicia’s biggest critics throughout TGW’s run, and she was always suspicious of her (she never bought into the Saint Alicia myth!). In W101, Diane believes Alicia’s being entitled and trying to upstage her (Alicia is really attempting to help a client and clumsily moves a little too fast). There’s another season 1 episode where Diane is and remains convinced Alicia’s using SLG to fight Peter’s battles (this thought has not crossed Alicia’s mind). There’s a season two episode where Diane asks Alicia to join her new firm behind Will’s back, and the second Diane finds out Will knows about the new firm, she says that Alicia must’ve told him (Will didn’t know that Alicia knew). Diane befriends Alicia in season 3 in order to discourage her from sleeping with Will. Even in the later seasons, there are episodes like W620, where a misunderstanding is enough for Diane to believe Alicia’s scheming against her, or W703, where an even sillier misunderstanding leads Diane, for the second time in like five episodes, to mistrust Alicia. And that’s not even including the time that, you know, Alicia plotted for months to leave Diane’s firm and take clients with her. But sure. Diane thought Alicia was a saint.

I think what’s happening here is that the Kings thought they’d be cute by referring to Alicia as a saint, because SAINT ALICIA. The problem is that they put those words in Diane’s mouth, and now it sounds like Diane is saying she actually bought into the Saint Alicia crap. But maybe that’s the part of the point. Maybe Diane’s trying to save face just a little bit. After all, it’s easier to admit that you mistakenly believed in the same larger-than-life myth everyone else bought into than it is to admit that you had your suspicions, truly believed you knew someone, and were proven wrong. Ironically, if Diane’s trying to teach Maia that people aren’t always what they seem, she’d be better off telling her the full story.

(Um, also, I’m being a little unfair. Obviously a lot of the reason why Diane would reference Alicia here is that she was hurt—whether she “should have been” or not—by Alicia’s actions. I’m not questioning why Diane would mention Alicia; I’m questioning why she’d use the word saint to describe her own views towards a woman she’s been suspicious of since day one.)

At Reddick/Boseman, the attorneys are having an internal meeting about settlements, and we get our first glimpse of Barbara Kolstad, who would be my new favorite character if I didn’t also love all of the other characters. Barbara asks Lucca for advice on how to handle this. “I think Diane’s got something to prove and she’s out to prove it,” Lucca says. (Oh yeah! In all of my talk about Diane’s reasoning, I forgot to mention that this is her last case and she doesn’t want to lose it. Also, that reminds me that the last time Diane thought she was working her last case, the client fired her and hired Alicia instead. Yes. Diane definitely thought Alicia was a saint.)

Barbara understands what Lucca’s saying. I really like the way Erica Tazel plays Barbara’s thought process—her eyes express everything.

Seriously, I can’t wait to see more from Barbara and Adrian.

Reddick/Boseman is quite obviously the old LGksadjklasjflkahg set after some (minor) renovations. I think, mostly, they just painted, redecorated, and took out the central conference room. I don’t think there’s an in-universe reason they’re in the same space; I think there’s a budget reason.

Lucca has to put on a British accent so Adrian’s call will be put through faster. Haha, it’s just incredible that Lucca has a believable British accent. I don’t know how in the world they came up with that one.

Adrian is amused by Lucca’s fake/real accent, and I’m amused by his amusement. Unamused? Lucca.

Now we’re watching a retirement slide show for Diane. “Good Luck Diane! We’ll miss you!” a slide reads in an ugly font. The narration on the slideshow says that Diane was an assistant district attorney. Wait. So she practiced law somewhere other than Chicago (since it’s ADA and not ASA), and she didn’t start out in a private firm?! Woah. Also, omg, young Diane!

Diane’s many friends congratulate her and joke that if she wants to come out of retirement, they’ll have work for her.

The Rindells appear and briefly talk finances. Hmmm. Then Maia and Amy arrive, and Lenore asks when they’re getting married—they don’t have the Supreme Court excuse anymore. (So, Maia and Amy have been together for a while.)

A photo of Diane and Will pops up the slideshow next, and Diane wistfully stares at it. I’m glad that made it in. <3

Then the party’s over, and… that was fast. I was expecting to spend a whole act there.

Outside in the valet line, Maia’s dad gives her a weird warning about her uncle Jax.

Case stuff happens. Maia notices that there’s a car in the background of the video that has its own camera, so there’s an alternate recording of the events somewhere. What a great thing it is that Maia has enough money to know that! (I kid, I kid. It’s an important find.)

The familiar TGUniverse score is back now, but it sounds a bit more up-tempo and seems to have percussions now. Fine by me.

Maia feels triumphant for a moment, then Lyman mistakes her for a florist again (… ffs, I just wrote “florrist,” with two rs like I’m writing Florrick, because habit), and then she gets a call from Amy, informing her that their apartment is being searched.

Two things of note on the search warrant: one, Maia’s address is listed and it is a bogus address that gives no indication of where in the city she might live, and two, it’s dated 2/24/2017, so TGF takes place a few days ahead of realtime. I expect that TGF will be as bad with timeline as TGW was, so…

Amy tells Maia that the search is connected to Maia’s parents, then gets off the phone to argue with some agents who are trying to tell her what she is and isn’t allowed to do.

Maia calls her dad, who doesn’t pick up: he’s having a drink. Then Diane’s called out of a deposition to talk to her accountant. Uh oh.

Maia arrives at her family’s home just in time to see her dad being taken away in handcuffs. “I didn’t do it, Maia,” he says. “I know,” she replies. But does she?

Diane hasn’t heard the news yet. She turns on the TV and sees what’s going on: BILLIONAIRE INVESTOR HENRY RINDELL ARRESTED. He ran a Ponzi scheme… and now all of Diane’s retirement money is gone.

“FUCK,” Diane says when she learns all her savings are gone. That’s a very well deserved inaugural f-bomb, show!

Now it’s time for the credits sequence. At first, they seem like nothing special: cast names in an ugly font and images of objects you’d find in an office. Then the objects BEGIN TO SPONTANEOUSLY COMBUST IN SLOW MOTION as the score gets more operatic. I’m not sure I understand, but I’m not sure I need to.

(I don’t associate most of the TGW/TGF score with Alicia—more with the general feel of TGUniverse’s Chicago—but it’s weird to me that the piece of music in the TGF credits is the one from the 6x21 scene where Alicia and Grace turn Zach’s room into a home office. It’s possible they’ve used it before, but it only took me a second to place it. And I’m bad at identifying instrumental music, so I must strongly associate it with Alicia. Weird. 6x21 is an episode so Alicia-centric that when I wrote about it, I suggested that TGW no longer needed most of its non-Alicia series regulars!)

This episode was directed by Brooke Kennedy. I like it when Brooke directs, since she’s the producer most involved with the day-to-day on set. She has a very good understanding of the show’s themes, and she’s usually able to find interesting ways to visualize those themes.

This show was not just created by the Kings: there’s some other dude listed as a creator. I’m not even going to bother to write his name here, because… well, because I haven’t heard much about his role in the creative process, which I take to mean that he was called in to help with the show when it looked like the Kings weren’t going to be involved, and the moment the Kings returned, his level of involvement decreased significantly. I’m curious to know the real story.

Apparently you can see some dude’s bare ass in the first scene of act 2, but it’s so hidden in shadow I’d have to raise my screen’s brightness all the way and really look to see it. And, I’m sorry, CBS, but I really don’t care enough about this guy’s ass to get excited about the nudity.

The naked guy is with Lucca. Lucca’s watching the Rindell scandal unfold on TV. She recognizes Maia and watches carefully.

Maia, Amy, and Lenore wait for the family lawyer to arrive. Maia was on the board of a foundation, which might’ve been a front. Amy realizes this is bad: Maia needs her own lawyer. Lenore tries to convince Maia otherwise, but Maia knows Amy’s right.

Some dude on the news is insisting that Maia must’ve been in on the scheme. As the news plays, Maia showers. Amy joins her and comforts her. I’m excited to get more moments like this from Amy and Maia—not shower scenes, but scenes that show how they support each other from day to day, how well they know each other, and stuff like that.

Diane and her accountant go over the details of her new financial reality. It’s bad. Her money’s gone, even money that wasn’t involved in the fund is at risk (including Kurt’s money; they haven’t divorced yet), and all the charities she’s steered towards the Rindells have also lost their money. The house in France is gone. And Diane can’t even retire. She might not even be able to keep her apartment.

Christine Baranski is amazing. Have I said that yet?

At the next Lockhart Deckler Lee whatever meeting, Diane sits at the head of the table. Brooke positions the camera behind Diane, so we see everyone staring at her. She commanded the room in the earlier scene where she announced her retirement, but here, she’s not the one with the power. And everyone can see right through her speech about not wanting to retire.

Diane’s lost most of her leverage, but not all of it: she can still remind the partners they’re going to lose Cook County’s business without her. The score from W601 beings to play. Not sure why.

In the elevator at work, someone recognizes Maia and begins to yell at her. “I know where you work, you stupid bitch,” he screams. You ruined everything, you stupid bitch, SING WITH ME!

Maia’s new lawyer, Yesha, is waiting for her when she gets off the elevator. Yesha is 25, so Maia doesn’t trust her. Yesha seems capable, but inexperienced, and Maia resents having to get a lawyer at all.

Diane embarks on a quest to find a new job. Might one of her friends that said they’d always have a position open for her be willing to take her on? Everyone thinks she’s looking for an emeritus position. She’s not. And not even her friends have room for her, not now.

Diane gets to say “bullshit” and it feels so natural and appropriate to the moment it was only on rewatch that I processed it as a curse word. I’m glad—and unsurprised—to see that the Kings know how and when to use swear words.

“You’re poison. No firm will hire you,” Diane’s friend, Renee, informs her. Quick! Where’s the nearest desk!? Shove everything off of it!!! Now!!!

After a long and frustrating day, Diane returns home to find Kurt waiting on the stairs outside her home. She invites him in for a drink, and they discuss divorce. “It’s about money. It’s not about us,” she insists. Kurt doesn’t seem to care. Diane says it’s in his lap. Kurt says he didn’t leave her; Diane says that actually, he did—when he slept with Holly. I’m not sure I understand why Diane wouldn’t initiate the divorce? Does she not really want to? Does she not want to accept that it’s over? Does she want Kurt to accept responsibility? Maybe her reasons will become clearer later on. Or maybe she’ll stay married to but estranged from Kurt until season seven and beyond. (Sound familiar?)

Kurt isn’t even sure where they stand now. Honestly, neither am I. Did Kurt really cheat on Diane while they were married?! I still can’t believe that.

At any rate, Kurt still knows how to be there for Diane. She explains her current predicament to him and starts to cry. “How is my life suddenly so fucking meaningless?” Diane wonders. “It isn’t,” Kurt reassures her. I’ve said it before and I have a feeling I’ll be saying it many times over the course of TGF’s run: Christine Baranski is amazing.

I’m rereading this section of my recap, and it just occurred to me that I didn’t even think to comment about what it means for someone as successful as Diane to lose everything she’s known. I think part of the reason my mind didn’t go there is that this screams “NEW SHOW, NEW SCANDAL” instead of “NATURAL PLOT DEVELOPMENT,” but I think I should try to treat it as the latter. Diane’s emotional arc, no matter why it came about, is something that’ll drive this show going forward. For ages, I’ve thought of Diane as a character who works best in a supporting role. She’s well-defined enough to be a lead, but she’s so stable and successful—where’s the story? I can picture her leading a procedural, or a character study drama, but a huge part of her character was that she’d worked so hard, pre-TGW, that aside from firm drama bullshit and ambitions of getting a judgeship, her life was already the way she wanted it to be. She was more captivating than her story arc, if that makes sense. Because of the way the Kings like to write, it makes a lot of sense to me that to promote Diane to lead, they’d want to turn her into an unlikely fish out of water. Now she’s a captivating character with a captivating plot. And better still, a lot of the reason this plot is likely to work is that we know what Diane’s accomplished and how hard she’s worked. When she cries about her life feeling meaningless, we know exactly what meaning she used to find in her life. And, because she was always so stable and self-assured (and well-written!) as a secondary character on TGW, watching her lose everything hits even harder.

Maia’s playing with her rosary ring and lurking in reception, waiting to greet Diane. Diane’s not in a great mood, to say the least.

“We have a little opening right here,” Adrian advises Lucca, observing the icy Maia/Diane interaction. "Go for jugular.” As he says this, from approximately his POV, Maia is literally standing in the opening between two panes of glass.

Case stuff happens. This case is barely there. Lucca makes things personal, and Diane steps out.

Elevator Asshole who called Maia a stupid bitch has returned to complain more about Maia. Dude. It sucks that you lost your money, but you’re a misogynistic asshole who’s hanging around lobbies all day to harass a 25 year old woman at her place of work. You’re pathetic. And scary. And please don’t follow Maia, you creep.

Maia runs into the ladies’ room. Lucca takes care of the creep. He screams he’s going to sue Maia, and Lucca screams at him, “THEN DO IT. BUT RIGHT NOW, FUCK OFF!” YAY LUCCA!!!!!!!!!!!!!! (I want so much more from Lucca in this series. In the first episode, she’s pretty much just playing lawyer and supportive friend. I’ll have more to say about Lucca in episode two.)

Lucca walks into the bathroom, and Maia scurries into a stall, not sure if whoever opened the door is a friend or a foe. Lucca looks straight into the mirror and gives Maia a pep talk.

“When they see you cry, it makes them happy. So get it out of your system here,” she begins. Maia eyes her through the opening in the stall door—Lucca’s positioned herself where she can easily be seen. And she knows Maia’s watching.

Maia doesn’t understand why Lucca, who’s on the opposing side of the case, would be helping her. So Lucca explains it’s because Maia is the New Alicia. At least, that’s the (not very sub) subtext of her words.

No, but really: why is Lucca helping Maia? Lucca may like to say she’s out for herself, and she speaks with the non-nonsense, hard, strident tone of someone you wouldn’t necessarily want to befriend… but Lucca is actually a really kind person. And she’s not just kind to people she knows or had a reason to be kind to. She’s kind to people who should be her competition. I don’t know if there’s something she finds compelling about victims of scandals (my two examples of “Lucca is a kind person” are Lucca helping Alicia and Lucca helping Maia, and obviously Alicia and Maia have some significant things in common) or if she’s normally the kind who would reach out without realizing what she’s doing, though. I have a feeling she doesn’t do this too often, because anyone that’s constantly looking out for strangers is going to have at least a few friends.

(Which makes me wonder: Lucca helps Alicia right away, but only becomes her friend after months of working with each other and watching Alicia’s 7x13 breakdown. Does Lucca help Maia because she realizes she can help, because she wants to help, or because Maia reminds her of Alicia? Or all three?)

“I had a friend. Went through the same thing. Said it was hell for a few months,” Lucca says. Maia opens the door. Lucca doesn’t turn around the whole time, and when she’s done with her speech, she turns sharply and leaves.

Lucca’s speech is long, at least by the Kings’ standards. It’s also nearly identical to the speech Alicia gives her client in W101. I wish I could appreciate this more as a moment for Lucca, but it just makes me think about Alicia. To her credit, Lucca delivers the speech in a different manner than Alicia does. Alicia manages to be empathetic without getting emotional (which is, I think, why she made such a good handholder for clients—they felt her connecting with them but she still always came across as professional). Lucca is clearly sympathetic to Maia’s situation—she’s giving the speech, after all—but it kinda sounds like she’s trying to keep her tone as impersonal as David Lee’s orientation spiel, with only occasional glances (via the mirror) to let Maia know she’s a friend.

Diane gets a case related video and it’s bad for her client.

Adrian stops by to see Diane. She seems almost too tired to talk. But then he says something interesting: “I want you to join our firm.” Diane laughs, but Adrian is serious. He offers to let Diane be their diversity hire. Heh.

Why isn’t Adrian afraid of the Rindell scandal? His firm wasn’t affected by it, because the Rindell fund “never invited black folk.”

Adrian offers Diane the opportunity to “fuck them back” for fucking her over. Why do I feel like Adrian is going to be responsible for most of the swearing on this show?

Adrian—whose office really looks like Will’s office, because I’m pretty sure it is—and Barbara fight over the offer Adrian extended to Diane.

Barbara’s concern about Diane is that “she doesn’t know her place. She’s not gonna be happy until she’s in the inner circle.” I’m not sure what new, desperate Diane looks like, but that totally describes the old, confident Diane. You don’t get to be that self-assured and content making big decisions quickly without fully believing you deserve a seat at the table.

(In the TGW Pilot, Diane had a similar suspicion about Alicia—a junior associate who doesn’t think she’s a junior associate—and that was way off base.)

Adrian argues that he and Barbara are also ambitious like that, and ambition is a good thing. Barbara’s point isn’t that ambition is bad, though: it’s that they don’t want “people who are only happy when they’re giving orders.” She calls in Lucca for backup.

Lucca’s dress has a friggin’ cat on it. I love this show’s costume department.

Lucca argues in favor of bringing Diane in because she’s a good lawyer, idealistic, and cunning. Adrian laughs at Barbara’s move backfiring on her. And now Diane’s a junior partner.

Amy is watching a sex tape. Someone’s put some generic lesbian sex tape on TMZ and is claiming it’s Maia and Amy. “This isn’t even us! This person has a tattoo!” Amy exclaims. Maia tells her to ignore it—she’s a quick study.

Diane’s in her office, looking at a picture of her and Will, when Kurt shows up.

Kurt says he doesn’t want a divorce—he “doesn’t want the door to close completely.” Is the door really open, though? “It is closed between us,” Diane states. Kurt gets a bit agitated: “Then divorce me. But I won’t do it.” I’m curious, everyone: why do you think Diane’s insisting that Kurt be the one to initiate a divorce?

“You Were Right About Everything” begins to play again. Maia and Amy are in bed getting ready to go to sleep. “My parents saw the tape,” Amy says. They don’t believe it’s not her, and that breaks my heart a little.

Diane’s back in the Lockhart/Deckler conference room. Like the first partner meeting scene, she’s standing up. She’s in control, announcing her new firm. She walks around the table on her way out, drops the bombshell that they’re going to have to agree to a $6 million payout on the police brutality case, and defiantly exits the room. “Want the door closed?” she says. She leaves before she gets the answer.

David Lee fires Maia, who’s already having a rough day (week). Maia’s returned the folio to Diane, as though to indicate that she’s giving up (Diane said the folio would force her to accomplish something that would make her feel she deserved it). When Diane goes to return it, she sees that Maia’s being fired.

As Maia leaves the firm, Howard stops her to say he’s sorry she was fired; he likes the flowers. Wait, he knows she was fired but still thinks she was in charge of the flowers? Why would that be the case?

As Diane’s packing up her office, she calls Adrian to let him know Maia’s role in the COTW. She suggests that Adrian hire Maia. This is one of those moments that seems innocent enough—Diane’s just trying to help out her goddaughter who’s going through an awful scandal—but when you think about it, Diane’s first act at the predominantly black firm that took her in when no one else would is to get her (formerly) wealthy white goddaughter a job. YMMV on this. It’s not wrong of Diane to make this suggestion, but it’s this kind of thing that, when unchecked, leads to the lack of diversity Geneva called Peter out on in W412.

Maia sits outside of the firm, staring off into space and watching a WALK sign turn to DON’T WALK. I was going to write something about how Alicia also stared at a WALK/DON’T WALK sign when she found out Will died, but apparently my memory has mixed up Alicia’s feelings after Will’s death with a visual from the scene where Prady realizes he’s lost the SA election. Don’t know what happened there. (I think I mixed up the insert of Alicia watching a mother and child cross the street with the WALK/DON’T WALK?) At any rate, the writers have used this before to symbolize an existential crisis. I think it works because it suggests that there should be movement—walk when it says walk; run when the light starts blinking; don’t get stuck at the light for another traffic cycle—when there isn’t any. Maia’s at a standstill, stuck even when she should be moving with urgency.

Diane sees Maia sitting there and approaches with the folio. “You left this,” she says. “Give it to someone who needs it. I’m done,” Maia responds. “No, you’re not. Let’s go,” Diane decides. “Where?” Maia wants to know. “Someplace,” Diane says. “Why?” Maia can’t wrap her head around this. “Because it’s not over yet,” Diane reassures her. No, it’s not. The Good Fight is just beginning.

#The Good Fight #TGWThoughts #TGFThoughts #(I'm using the old tag for archiving purposes)

27 notes · View notes