The Good Fight
2017
Original language: English
- drama
The story
Picking up one year after the events of the final broadcast episode of "The Good Wife", an enormous financial scam has destroyed the reputation of a young lawyer, Maia Rindell, while simultaneously wiping out her mentor and godmother Diane Lockhart's savings. Forced out of her law firm, now called "Lockhart, Deckler, Gussman, Lee, Lyman, Gilbert, Lurie, Kagan, Tannebaum & Associates", they join Lucca Quinn at one of Chicago's preeminent law firms.
What it’s like
Crisp daytime interiors in Chicago, with glass-walled offices, cool blue-grey daylight through tall windows, and the flat glow of courtroom fluorescents, give the show a polished, slightly brisk look that shifts with its handheld-leaning camera and quick cuts between the law firm and the city. The sound is brisk too: jazzy and keyed-up incidental music, sharp dialogue delivered at speed, and the murmur of a busy office. Its vibe is sleek, witty, and politically alert, with a crisp professional energy that suits a weeknight watch or a binge across a few evenings. Pacing is brisk and episodic, built around a case of the week that runs alongside a longer, serialized thread about money, power, and the cost of institutional loyalty. The emotional register is wry and warm rather than bleak, and its central figures, two veteran women rebuilding their careers after a ruinous betrayal, are shown with steady loyalty and a good deal of humour. Intensity is low: courtroom tension and some profanity, with no gore, sexual content kept mostly offscreen, and violence almost never on camera. It is made for viewers who like smart legal drama, sharp banter, and character-driven stories about professional resilience.
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