Now in its third season, the legal spinoff has become a vehicle for channelling liberal anger at these grotesque times. Prepare to be swept along entirely

There is an extraordinary monologue in the opening episode of the latest series of The Good Fight that exemplifies exactly what the legal drama has become – an extended jazz riff on the traditional television drama form that wants to find out exactly how far it can go. Diane Lockhart (Christine Baranski), who has long been the show’s main vehicle for channelling the madness of the Trump era generally, and the mouthpiece for liberal fury specifically, is at first in conversation … with the bruises on her husband’s back, caused by Eric and Donald Trump Jr who accidentally (buck)shot him the day before when he took them on safari, and which have now morphed into the goblin heirs’ faces and are speaking to her.

Like I said: extended riff.

Eventually Diane cuts them off. “What has happened to men?” she whispers with the kind of Arctic fury only Baranski can muster. “What happened to men who were slow to anger and who took responsibility and who didn’t cry like whiny little bitches? What happened to Paul Newman and Burt Lancaster? When did Trump and Kavanaugh become our idea of aggrieved men? With quivering lips, blaming everyone but themselves?”

Her controlled explosion erupts in the middle of an episode exploring the various manifestations of the #MeToo era.

A planned tribute to the firm’s founder and civil rights activist, Carl Reddick, becomes damning testimony when his former secretary reveals that the revered man sexually harassed and raped her throughout her employment. The stenographer attending the meeting convened by the partners to tackle the problem recuses herself on the grounds that he did it to her too.

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