The Good Fight series one, episode six (Social Media and Its Discontents): alt.rights and wrongs

TGF6I do like how poor Maia’s personal troubles are not only being woven into the legal storylines but also getting us extra Elsbeth screen time. Adrian’s face is a picture every time Elsbeth opens her mouth.

Now Neil Gross has brought his business back to Diane, we’ve got a pretence for delving into the deepest darkest corners of the web. But this week there’s not a lot of digging required, as the ChumHum boss is concerned about posts that are out in the open on his social media sites (“Scabbit” always makes me smile). To think I thought the swearing was eyebrow-raising in episode one!

Maia knows only too well how it feel to be on the receiving end of such poisonous language, as she’s being sent horribly detailed rape threats on a daily basis. Worse still, she’s now doubting if she can even trust her ponzi-scheming dad not to throw her under the bus. I’m not sure I’m convinced by the firm’s failure to recognise her as a liability, especially with snakes like Kristeva slithering around the place, but anyway.

When the firm devises a comment moderation system that involved an appeals process, I didn’t quite imagine that the partners would be convening an actual IRL judging panel – but I’m glad they did because Diane and Barbara wear the hell out of their respective ensembles when an alt-right twat arrives for a ding-dong (with emphasis on the dong). And when they reconvene Lucca wears a Roberto Cavalli dress that is basically all my dress dreams come true. Meanwhile, Maia is following in Alicia’s footsteps by wearing expensive but blandly frigid suits.

When she’s not rocking Cavalli or a delightful pussy bow, Lucca’s being lame and trying to make her new squeeze Colin jealous. It’s just as well this storyline’s relevant to the ongoing Rindell/Kristeva hoo-ha, because her behaviour is cringeworthy and that car scene was one of the least sexy things ever. Bleurgh.

This wasn’t the most sophisticated of episodes, and I didn’t really buy the central premise, but the fashion made up for it.

Published by Shona Craven

Writer, editor, talking head

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