Casual television viewers might be surprised to learn that one of the most compelling shows of the 2010s was a legal drama on CBS. For seven seasons, The Good Wife rose above its polarizing title and procedurals trappings to provide some of the most nuanced drama television had to offer. The Good Wife was not just a typical courtroom drama; the creative team of Robert and Michelle King would never allow that. It was a whip-smart show with an unimpeachable cast that tackled societal themes in an engaging way that few other shows would dare to do. When it ended its run in 2016, it felt like one of the important voices in television had been sidelined. Fortunately for fans, CBS recognized the high quality property they had at their disposal and gave the show a follow-up series as one of the flagship shows on their CBS All Access service. Having recently wrapped its COVID-shortened fourth season, we take a look at the dynamic creativity emanating from The Good Fight.
The Good Fight picks up a year after the events of The Good Wife and follows the parent show’s fan favorite Diane Lockhart (Christine Baranski) after she loses her savings in a huge financial scam. Although she was on the verge of retirement, she is forced to return to work to build back some semblance of a life. Certain complications prevent her from returning to her old firm, but Adrian Boseman (Delroy Lindo) extends an offer for her to come on board to his African-American-owned firm. This also happens to be the firm of the other Good Wife alum Lucca Quinn (Cush Jumbo), and watching this pair on screen together is so satisfying. These two have grown over the seasons as the show has found its footing as one of the best dramas on television. Even more so than the parent series, The Good Fight tackles ripped-from-the-headlines issues in the era of Donald Trump foolishness. The Kings have a very wry sense of humor and cutting tone that the series wears as a badge of honor, fully taking advantage of the freedom that not being on a broadcast network affords them. This show is angry at the state of the world right now, and it is not going to be quiet about it.
The seven-episode fourth season does not exactly pick up where the third season left off. Instead, we are treated to a Twilight Zone-esque alternate history episode in which we flashback to the 2016 election with a historic win for Hilary Clinton. Longtime fans of the show know that the Kings love to indulge in whimsy among their salient political provocations. While it would be easy for this to turn into liberal back-patting by saying how the world would be so much better without Trump, the episode plays out in a more complicated manner. In this reality, there is no Trump presidency and the world is superficially in a better place, but there is also no #MeToo movement; Harvey Weinstein remains in power as a major Democratic donor whose misdeeds are overlooked by the establishment. This alternate reality is only a one episode diversion, but it does a perfect job of setting up the tone for a season in which no one is safe. Liberals may find it easy to dream about how great the world would be without Trump, but there is a larger systemic problem that we should truly be concerned with.
When the season commences as normal, there is a lot of upheaval to process. Maia (Rose Leslie), a major character who was never quite as compelling as any of the others, was properly written out of the show in the third season finale, giving the show a renewed vibrancy. Diane’s law firm of Reddick, Boseman & Lockhart is in a bind after losing their biggest client and getting caught up in a minor scandal. This sets up a fascinating new storyline in which a gigantic multinational firm, STR Laurie, takes them on as a subsidiary. The face of the behemoth is played deliciously by the wonderful John Larroquette. The loss of freedom is not immediately felt, but corporations have a way of bringing out the worst in people. The reason for the takeover is one purely of optics, as it looks good for a African-American-owned firm to be an important part of the white man’s portfolio. The issue of race is a hot button topic for the season, especially in an episode where the DNC tasks the firm with figuring out how to better engage African American voters. This brings up a fascinating debate over reparations, racial slurs and more that is treated with the utmost seriousness.
The fourth season of The Good Fight feels like a show that has completely come into its own. Christine Baranski is at her peak outrage at our hellish reality in the best way. Baranski has always been a real gift as an actor, and the role of Diane Lockhart will likely go down as the defining performance of her career. The rest of the cast is doing fantastic work, as well, from the main ensemble to the terrific guest stars that frequent the screen. The writing this season is truly unassailable, providing thought-provoking commentary and compelling narratives that will have you burning through these episodes. An early mystery is set up concerning an ominous “Memo 618” that provides many exciting turns and revelations throughout the season-long investigation. Rarely does one get to experience a show so pertinent to the moment that is also so perfectly crafted on narrative level. This season may have not been able to be completed because of the pandemic, but it will still go down as one of the best seasons of television to come out of this year.
Video Quality
The Good Fight comes to DVD with 7 episodes over 2 discs, which offers a fair amount of room to avoid compression issues. Due to the limitations of the format, these episodes are not going to look as good as they do in high definition, but the presentation is top notch within the DVD format. Even without the added definition, this is still a sleek show with fine details easily visible. Skin tones look natural, and close ups look quite good. Black levels are a little more problematic here, as nighttime scenes lose some of the outlines of objects within the shot. Colors are rendered favorably, and there is a whisper of texture in the clothing. This is the type of show that would probably have very slow sales if it received a Blu-Ray release, so this is a good option if you want to physically own these episodes.
Audio Quality
This DVD comes with a Dolby Digital 5.1 track that sounds great for the type of show that it is. Dialogue is rendered clearly with a focus in the center channel. Amongst all of the quippy banter, sound effects and the playful score never overpower the dialogue causing lost information. The rear speakers create a dynamic atmosphere as the low level hum of courtroom or office chatter envelops you at all of the appropriate times. The mix has a good sense of directionality so that nothing ever feels like it is coming from the wrong place. You know what to expect when you sit down to watch a legal drama, and this track executes all of the key elements perfectly.
Special Features
There are no special features included in this set.
Final Thoughts
The Good Fight continues its reign of excellence over the course of its abbreviated fourth season. Robert and Michelle King bring their trademark zaniness to the show along with a healthy dose of pointed political commentary. Christine Baranski continues to be a national treasure in her commanding lead role. CBS Home Entertainment has provided a pretty pleasing A/V presentation for those who want to avoid CBS All Access and own these episodes forever. The Good Fight is one of the best shows on television that you are not watching. Recommended
The Good Fight: The Complete Fourth Season is currently available to purchase on DVD.
Note: Images presented in this review are not reflective of the image quality of the DVD.
Disclaimer: CBS Home Entertainment has supplied a copy of this set free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
