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The first two episodes of the excellent third season of CBS All Access The good fight (which is now making its first appearance on the streaming service) are interrupted each with vibrant and lively musical performances, one on the NDA, the other on the famous Roy Cohn. This may seem oddly out of place if you approach the show and expect a very tight legal drama (you'll get that), with some of the best actors around The good woman plot lines (somehow?). But where The good woman was always, perfectly good, The good fight all this in favor of an experiment which works often, and even when it does not work, brings a great pleasure to the search for something new. I like it The good fight together in the pleasure center of my mind with my favorite thrill rides, those that stop my heart and actively incite to fight or flight "I could just die on this thing?" I feel so thirsty, because both of them make me gasp (often out loud, much to the chagrin of my much more balanced partner) and yearn for more.
The good fight, for the uninitiated, is a CBS All Access streaming spin-off of the legal and political film hit by Julianna Margulies The good woman, who spent seven seasons on CBS, picking up Emmys and cheering critics along the way.
I hated picking up The good fight not because I thought his predecessor was hanging out under the sign of quality, but because I feared that the creative universe created by his creators, Michelle and Robert King, would collapse, s & # 39; would collapse without Margulies. But in its wake, the masterful Christine Baranski finds more room to play with her already perfectly realized, Diane Lockhart, a lawyer at the top of her form who literally tries to get through a day accursed in Trump America. Sure women, Diane has often taken (worthy) the front of the stage, but hers is a much larger projector Fight, who opens it from the support in the main and opens the viewers to his family life as an element equal to his work.
At the base, the show is procedural. Lawyers at Reddick, Boseman & Lockhart, Chicago, are generally required to handle a case of the week. As Law and order, they are sometimes ripped off titles, or at the very least extremely inspired by the titles. But unlike the usual procedures, stories from one season to the next have the same weight, like the Ponzi scandal inspired by Madoff that rocked the first season of the series or the way Diane spent her second year to fight against a president opposed to all his convictions. These are one-hour episodes that build and build and build; they never let you hang. There is always gain, and storylines almost always ends with "holy shit how did they stuck this landing?" splendor. This is largely due to both the scholarly stories woven through the surveillance of the Kings and the breathtaking performance of the show.
There is Baranski, taking giant hulking chomps out of the landscape, enjoying every second of dialogue that she has given. This is the kind of comic and dramatic performance that her fans expected, but she transcends those expectations by ten. Cush Jumbo would likely accumulate Emmy nominations for fourth-year badociate Luca Quinn if the broadcast had been broadcast on network television, denouncing Emmy voters' reluctance to adopt non-Netflix programs. . Sarah Steele turns into the funniest and most nuanced work currently on the screen as Diane's badistant and investigator of the firm, Marissa Gold, a merciful reportage of The good woman.
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