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The thing I have come to appreciate most aboutThe Good Fightis its tone.
Theres showrunners Robert and Michelle Kings signature jam-packed plotting style.
Or maybe those episode titles do not amuse you.
Maybe they inspire only exhaustion.
ButThe Good Fightis sympathetic to that experience, too.
Exhaustion is par for the course.
But Diane is pasther LSD micro-dosing days.
She is plugged in again.
This season could be a scolding or a call to arms.
With Diane in full resistance mode, the show could slide into simplicity.
ButThe Good Fightis not interested in agitprop for its own sake.
Dianes rage is a meaningful, weighty thing, and so is Liz Reddicks grief and Lucca Quinns ambivalence.
in his best Al Pacino impression while shoving a morphine suppository up his ass.
Time also moves in a baffling headlong sprint that left me feeling pretty unmoored as the story flew by.
(Her infant also fails to age in appropriately matching leaps, but …
But the experience of watchingThe Good Fightisnt really about following every plot turn.
That formal design is exactly what makes the show feel so reflective of the world right now.
No one can follow everything at once.
More than any specific political truth, that sense is whatThe Good Fightcaptures so well.
