As politics and public life have become increasingly surreal, some pundits have distanced themselves from the madness by saying, with a shrug, “This is just ‘the new normal.'” The legal drama The Good Fight, on the other hand, has spent the past two years telling stories ripped from today’s headlines, grappling with sex scandals, immigration crackdowns, “fake news,” and our coarsening discourse. The show signals its point-of-view in its opening credits, where stately music and lovingly photographed images of lawyerly accessories like laptops and business phones switch to shots of those same objects exploding in slow motion.
In other words: The TV series with the most to say about American life at the end of the 2010s begins each episode by blowing everything up … and then slowing the destruction down so we can marvel at the fine detail.
The Good Fight returned for its third season Thursday night. Just as with its previous two years, a new episode will roll out every week, for roughly the next three months. They’ll all be available exclusively through CBS’ subscription service, “All Access.” This arrangement has been both a blessing and a curse for one of TV’s most entertaining and incendiary shows.
The Good Fight is a continuation of the award-winning CBS drama The Good Wife, which aired between 2009 and 2016. The sequel follows one of its predecessor’s main characters — venerable Chicago attorney Diane Lockhart, played by Christine Baranski — as she starts over at a new firm, predominately run and staffed by African-American lawyers.
This new setting has proved to be a masterstroke by The Good Wife/The Good Fight creators Robert and Michelle King, allowing them and their producing partner Phil Alden Robinson not just to work with a more racially diverse cast (featuring heavyweight actors like Delroy Lindo and Audra McDonald), but to confront more directly Chicago’s complicated racial politics.
Not that The Good Wife ever shied away from thorny social issues. During its seven seasons, The Good Wife pulled over 10 million viewers a week with snappily written, morally complex courtroom scenarios, in which attorneys on both sides of any given case used every tool at their disposal — public sympathy, espionage, cutting-edge technology, judge-baiting, whatever — to win. The original series was an incisive study in how modern power-brokers ply their trade.
The Good Fight is a little different in its overall intent, although the show’s basic narrative structure hasn’t changed. …
Source:: The Week – Entertainment