#tgfthoughts

LOL at this episode title

Liz is on a morning show, talking about Ketanji Brown Jackson and the Supreme Court. She’s positive at first, but ends up expressing her concerns about Ginni Thomas.  

After the interview, a white cameraman makes a finger gun pointed directly at Liz. Unsettling. She immediately calls Jay and tells him to prioritize keeping the firm secure. I still don’t understand why Jay, the investigator, seems to double as head of security.  

She phones Diane (who’s getting high) next and reiterates her concerns about security. She tells neither Diane nor Jay about the finger-gun incident. I love that Liz still thinks of Diane as the one to call here, even though Diane pretty much has no power.  

Diane hallucinates a lot of plants and calls in the doctor. It’s the woman again, who I think (and this is based on having seen the rest of the season but I don’t think constitutes much of a spoiler) is just Bettencourt’s business partner and not any sort of romantic mate. This woman seems to have a very bad bedside manner, though we might just be seeing her through Diane’s eyes. And Diane does not like her AT ALL. They have a very weird staring contest, which I assume is not actually happening.  

The FBI shows up at the firm to talk to Marissa about what happened “last week.” Marissa insists that Jay be present for the convo. The gunman is still on the loose and seems to be affiliated with a white supremacist group, so the FBI suggests that Marissa “take precautions.” Marissa’s takeaway from the convo? She needs a gun.  

Ri’Chard is talking to a producer guy about creating more content like the podcast from last episode. He also brings up a legal issue – a “pushnup,” which is like a prenup but it happens when a couple’s about to have a baby. I don’t remember much about what happens in this episode, but I’m expecting that I’m about to write “case stuff happens” quite a bit.  

ELSBETH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!  

I love watching Elsbeth interact with new people. Here, she meets Carmen. Elsbeth is in the elevator, staring at a sticker on the ceiling that says “BUB.”  

“Are you going up or down?” Carmen asks, just trying to get on the elevator. “That depends on the day,” Elsbeth replies. Carmen leaves the interaction confused.

At reception, Elsbeth learns that Ri’Chard is not “Richard,” commits that to memory, and offers the receptionist a paperweight because she started blowing glass during the pandemic.  

Julius is the first to recognize Elsbeth. Trying to recall if we’ve seen them interact before. Probably?? She gives Julius a paperweight too.  

Elsbeth is surprised that the conference room is Ri’Chard’s office. Ri’Chard doesn’t understand that’s why she’s surprised (he just thinks it’s a weird thing to say) but I’m pretty sure the line is meant to highlight that Ri’Chard doesn’t know who Elsbeth is or how many times she’s been to the office.  

Elsbeth is there because she’s on the opposite side of the pushnup case.  

Ri’Chard and Julius look at each other in confusion, but Julius doesn’t tell Ri’Chard much about Elsbeth (though I’m not sure there’s much more he could’ve done with Elsbeth in the room).  

Elsbeth is at her most quirky in this scene, so of course Ri’Chard underestimates her and thinks she’s “easily confused.”  

Liz is heating up dinner for Malcolm at home. Her kitchen is so pretty.  

Liz gets a call from a woman claiming to be Ginni, asking her to apologize for her remarks on the morning show. Ah, it’s this season’s pee tape/Melania divorce episode. COTW heavy + familiar concept = hopefully a short recap.

The next day at work, Liz does not react to explosions happening outside. She calls Ginni back and gets her voicemail. She thinks about leaving a message, then stops herself and hangs up.

I have mentioned this before but I do really love the little detail that Liz always wears an Apple Watch.

In their next meeting, Ri’Chard comes to understand that Elsbeth is brilliant. Turns out he’s done exactly what she wanted and something something crypto is the real issue.  

Diane watches flowers grow (or imagines she’s watching flowers grow). She’s interrupted by Ri’Chard, who wants her help. He mentions Elsbeth’s name, and Diane’s like, “is she here?!” Then she yells excitedly, laughs, and jumps up from her desk and heads to Ri’Chard’s office. Elsbeth greets her with a similar reaction. I love that these characters are genuinely friends now. I didn’t know I needed Super Happy High Diane interacting with Elsbeth, but I think I did.  

Jay and Marissa go to a gun range. Before I could even fully form the thought, “But wasn’t Marissa in the army; why would Jay need to teach her how to shoot?” Marissa hits the target perfectly, repeatedly, and reminds (tells?) Jay about her time in the IDF.  

Marissa and Jay silently mock some dick-measuring contest going on in the next aisle, but the conversation seems less funny when it shifts to being about political violence. As they shoot, they scream, “BUB!”  

Marissa researches the group that’s supposedly targeting her, using actual Google (sorry Neil Gross) to do so. She ends up watching a video about the signposts of an upcoming civil war, realizing with horror that she recognizes most of them. I have so many thoughts about this wrt how this all turns out after the finale, but I want to keep these as spoiler-free and accurate to my initial thoughts while watching as I can.

Marissa making giant checkmarks on a sheet of notebook paper is absolutely a touch done for dramatic purposes because there is a zero percent chance that this is how Marissa Gold would count to ten lol

God I love these credits.  

At home, Malcolm asks Liz if she’s worried about him because she’s been home for dinner every night lately. Awww, but also that implies she wasn’t before! He seems like a good kid.  

Ginni calls again, just as Liz and Malcolm are sitting down to watch Below Deck. I am very shocked they’re watching a real show that, as far as I can tell, is not on Paramount+. Liz is too curious to not pick up.  

Blah blah blah, they end up talking about Below Deck and bonding.

Marissa’s (correctly) worried she’s being followed.

Liz gives Jay yet another task (how does Jay have the time for all of this?) -- figure out if Ginni is really calling her.  

“Alright. I sound a little crazy. Okay,” Liz says to herself. I am always a fan of lines like this. Alicia used to get them too.  

Jay continues to do anything but his job (a criticism of the writers, not of Jay – and, honestly, maybe some unintentionally (?) good writing to show that Jay’s interests are shifting) as Marissa calls him and says she thinks she’s being followed. I will not nitpick the location of this scene. I will not nitpick the location of this scene.  

Carmen does not like the “bub” sticker one bit and is attempting to remove it from the elevator ceiling herself. It’s interesting to see that this is so unnerving to Carmen, someone who is comfortable around some of the worst criminals out there.  

The tulips outside of the building really make it look like October/November, A+ touch for realism.  

Marissa heads back to the office; Jay follows the men who’ve been trailing her. He snaps a picture of the plates of the totally not suspicious at all black van they hop into and heads upstairs to share his findings with Marissa.

Jay tells Marissa to stop reading scary things online and that he’ll follow her that night to make sure nothing bad happens.

Carmen’s figured out what BUB means and it’s a white supremacist slogan, one Marissa’s already familiar with.  

Meanwhile, Elsbeth and Diane are loudly laughing and drinking and having a generally good time in Diane’s office. Diane even calls Elsbeth “Beth” which feels so familiar and also so out of sync with how I think about Elsbeth that I’m a little shaken by it!  

Diane and Elsbeth get to work; make a deal. Then Diane gives Elsbeth a flower (she’s still doing this, I guess) and Elsbeth puts it in her hair. I will miss Elsbeth. I will miss this show.  

Jay calls Liz with some info that makes it seem plausible, though not probable, that the real Ginni is the one calling Liz.  

The case has been resolved! Except that it hasn’t been! There’s a new lawyer in the mix! Elsbeth and the R&R team have to work together! Cool. I don’t care. But I’ll take more Elsbeth scenes.

Case stuff happens.

Liz watches Below Deck in her bedroom, chatting with Ginni the whole time. Seems like Liz needs more friends.  

Ginni mentions trying to get Clarence to retire. This is an appealing tidbit to Liz, who now has to decide if she wants to try to persuade her new friend who may or may not be a prankster. Ready to be done with this plot, please and thank you.  

Liz flat out asks if it’s a prank. She does not get a clear answer.  

CASE STUFF HAPPENS! Sorry lol I’m so behind on these I’m excited when I have nothing to say.

Walking later that night, Jay asks Marissa why she’s obsessed with the idea of civil war when everything’s fine. Uh, idk, maybe it’s because her firm’s being targeted, she had to hide in a closet with Wackner after a populist uprising last year, her dad was just the target of an assassination attempt, and she’s being followed? (I wish the show would let these things be text instead of subtext.)  

Marissa keeps her reply broad, reciting the talking points from the earlier video.  

Marissa’s shadows come back. Jay instructs her to go ahead and then confronts them; they threaten him with the guns they imply they’re carrying. Marissa, instead of going ahead, circles back. Jay gets her to walk away; the shadows walk away too. So Jay takes out his gun and commands them to get down. They pull out their guns in response. Guess Jay thought they were bluffing a minute ago.  

The men claim to be FBI. And then a lot of black people walk onto the scene with phone cameras recording. A man claiming to be a lawyer appears and tells the FBI agents why they’re in the wrong. It’s extremely effective to the point of being unrealistic. Which is, the Kings have said, the point of this plot – what if there actually was a group that was organized and effective and cohesive in a way that very few actual groups are?  

The FBI agents say they were there to protect Marissa. I don’t buy it. Shouldn’t Marissa know she has protection?  

Jay asks the mysterious man who he is, where he’s going. Good questions. I’d also like to know why they were there at this moment. Was it to scout Jay? Are Marissa’s shadows not actual FBI agents?  

He gives Jay a number (it’s not clear what for) then disappears into a sleek black van. Intriguing...

Diane is looking through one of Elsbeth’s paperweights in the office the next day. Liz catches her and looks amused. I think Diane needs some hobbies. Or some actual work.  

“What does the future hold?” Liz jokes, since it looks like Diane’s holding a crystal ball. Diane doesn’t seem upset or embarrassed at all, which I’ll take as a comment on how friendly she and Liz are... and not a comment on how high she is.  

Liz tells Diane about her Ginni predicament. Diane is just like, if there’s any chance at all it’s real, go for it. Liz reasons that the worst that can happen is that she’s embarrassed. (And, honestly, among her friends, I don’t think the embarrassment would even be that bad if she says “I never believed it but... no harm in playing along, right?”)

Liz catches herself thinking that we’d all get along if we just talked about reality shows instead of politics. Diane gives her a look. I love watching these two.  

Diane’s case involves “legally attacking a fetus.” (There’s some stuff here about complicating Diane’s Pro-Choice stance in order to win a case; I have nothing else to add about it.) Liz asks if Diane wants her advice and Diane does. Liz’s advice? “Don’t.” Solid advice.

This case should probably hit harder than it does. The problem for me, with nearly all TGW/TGF cases, is that there’s an interesting idea that can be summarized in one sentence (Diane arguing that fetuses should have rights even though that aligns her with Pro-Lifers)… and then there’s at least 15 minutes of developing that idea through twists and turns, and by the end of it I have nothing to say other than, “yeah, what a thought experiment!”  

Liz is discussing her divorce (“we didn’t spend enough time together”) with Malcolm sitting next to her. She’s trying to signal to him that she’s just saying stuff. This seems weird! But at least Malcolm is in the show!  

This is SUCH a weird conversation to have around a child?!  

Ginni starts asking Liz if she’s dated recently. I repeat, interesting convo to have around your kid. Maybe Liz is always this open with Malcolm? I’d be kind of cool with that; he seems old enough to hear this. I just need to know he’s hearing and understanding the context, too.  

Turns out it’s Del from last year pranking Liz. Why? Not sure. Will we see Del again? Nope! Is this closure? Also nope! Seems like Liz and Del are no longer dating but are friendly (and even flirty).

Liz asks Jay to prank Del in return. Jay can add “prankster” to his ever-growing list of responsibilities!  

Carmen asks Jay if he wants to get a drink. He’s meeting someone – the mystery man!  

Also the entire ceiling of the elevator is now plastered with “BUB” stickers. This show and its elevators.  

Jay gets in the van. That’s when he meets the resistance leader, played by Phylicia Rashad. She’s great in this role, but I am... a little perplexed by *this* show casting her given her support of Cosby.

Jay says he wants to get involved in their organization because he’s looking for “competence.” Hell yeah. Good pitch.  

Hypercompetent group is called “The Collective.” They want to know what Jay can do to help them. He says he can train people to use firearms. End of episode!

OK TUMBLR IS BEING SO FUCKING ANNOYING RIGHT NOW AND NOT LETTING ME MAKE A BULLETED LIST. Apologies for formatting.

We start off with a warning that the episode includes content that “may be sensitive to some viewers... especially viewers who are disturbed by exploding brain matter.” I have so many questions about how this came to be. It’s cheeky and gives off strong BrainDead vibes, but it’s also a serious content warning. So was it required but the Kings got to be silly about it? I never see content warnings other than, like, TV-MA SLV on streaming shows, there was no warning when Will died, and there were no warnings for the (frequent) head explosions in BrainDead, so why now? The tone of this warning feels very “we were forced to have this here but we compromised with the network and we at least get to be silly about it” (like the playful “Skip Intro” button on Evil). But part of me wonders if it was a creative choice to raise the stakes? I can’t imagine why you’d want to? But it obviously tells us that someone’s brain is getting blown out (or that we’re getting a BrainDead crossover), so the writers had to know that this warning would also be a spoiler... I just have a lot of questions okay! 

I don’t love credits at the beginning because they deny me the feeling of, “wait, how are we getting to the credits NOW?” that I somehow get every episode even though I know the credits are always going to come after the 15 minute mark. I’ll forgive this episode.  

We pick up where we left off—in the aftermath of the explosion in Dr. Bettencourt’s office. I know they’re mostly headed there eventually, but I am so glad this scene didn’t end with a kiss.  

I did not pick up on it myself, but whoever noted that the explosion of the credits spills over into the scene (and that’s why the credits roll over the footage) is very right.  

James Whitmore Jr. directed this one. His name isn’t a guarantee an episode is going to be eventful, but he IS one of the ones the writers trust with their eventful episodes. He directed Hitting the Fan.  

The people in the elevator bickering about Fox News has me thinking of BrainDead, specifically the subplot with the actress who is now best known for playing Kendall’s ex-wife on Succession. (She’ll always be Stern’s daughter to me though.)  

There’s more bickering about whether the protests are far left or far right, which is a premise I do not think the writers can sustain for very long. I get it, it’s thematic, but groups of people don’t just stay angry without (1) expressing why they are angry or (2) losing steam. We’ve gotta get somewhere with this. (I’d say the end of this episode gives a pretty definitive answer about who’s doing the protesting, unless it’s an endless cycle of protests and counterprotests.)  

I think Eli’s presence makes the stakes feel a little higher in this episode. The evolution of The Good Wife into The Good Fight happened so gradually that I can accept that this bizarre surreal universe is Diane’s and Elsbeth’s... but there’s something truly eerie about seeing Eli, who had previously been untouched by all of this surreal stuff and in my mind still lives in the pre-Trump world, in the middle of it all, too.  

I can believe the firm being close to the courthouse – that's just smart – but I don’t understand why Bettencourt’s office and the courthouse are so close together the car bomb would be felt in both places. Whatever. Connective tissue holding the episode together. 

This episode jumps right in to Eli being on the stand, which is our first sign that this isn’t going to be yet another “let’s watch our faves be clever and maneuver their way out of bogus charges” episode.  

Eli’s being accused of being the mastermind behind the “Democratic Watergate,” a fake thing that we’d never heard of before this moment. Based on everything that happens in this episode, seems like he’s guilty. Maybe not legally, since he’s too smart and shady for that, but he totally did it.  

I love Eli lol  

I also love Marissa’s “my dad is a lot and I love him so much” look when Eli makes a melodramatic scene on the stand 

Opposing counsel does not take Marissa seriously and knows she’s only there so she can’t testify.  

Hi Frank Landau. 

Marissa instantly knows that Landau walking in is NOT good for Eli. I was going to give the lead lawyer the benefit of the doubt and say that maybe he didn’t see Landau, but, no, he seems to just have bad instincts.  

I love Eli and Marissa saying “fuck” in unison.  

I’ll say this again (and again, and again) in this recap, but something this episode did that TGF has been missing is ACTUALLY LEAN INTO THE CHARACTERS. I’m already getting so much about Eli and Marissa’s dynamic (how they’re similar, different, where there are points of tension, how much they care about each other) and that’s making all of this land much better. I’ve seen the secret surprise witness plot a million times, but this episode makes it feel like I’m always watching Eli and Marissa first and the trial second.  

Marissa corners her dad in the elevator because Marissa knows that Eli did it... and that she inadvertently helped. Marissa’s mostly mad because this was stupid and sloppy.  

“I didn’t do this! Because there’s no proof I did this! So this argument is a massive waste of time.” So what I’m hearing is he totally did it.  

Diane gets in the elevator with flowers and gives one to Eli and one to Marissa. Marissa notices a piece of glass in Diane’s hair; Diane calmly explains that a window exploded on her. She says she’s surprisingly well... I think she’s just drugged up and in shock. Eli and Marissa do too. 

There’s a democratic fundraiser the following night and Ri’Chard wants to invite the associates. VIP Treatment vibes.  

Diane, who is totally okay and not acting at all weird, is sitting in a partners’ meeting cradling a bouquet of flowers. Liz notices.  

Ri’Chard can’t help himself: Liz tries to move on to the next agenda item, and this man hops out of his chair to ask why they’re attending a DEMOCRATIC fundraiser. Liz notes the DNC is a big client. Ri’Chard counters by suggesting they should support local black churches instead. One, religion at work is never going to go over easy. Two, why not both?  

Ri’Chard is also moving across the whole room, forcing everyone to swivel their chairs (since he’s taken away the conference table) so they can’t focus on him and Liz at the same time. 

Ri’Chard also then promises to do something that will mean more money for the equity partners (so, obviously, this goes over well with the audience of... equity partners). Liz wants this too, but doesn’t think it’s practical. Diane spins around on her chair and gives Liz a conspiratorial look.  

All the partners start applauding Ri’Chard, except Diane, who continues silently communicating with her friend Liz. (See! Another little character moment in the middle of a larger plot!)  

After the meeting, Ri’Chard accuses Liz of not liking his ideas and Liz is like, I actually just don’t like you making promises you can’t keep. Apparently the money’s not all there, even now that they’re doing super amazingly well. Ri’Chard thinks it is.  

(Apparently people are quitting left and right. I’d note this for context on the firm’s status but we all know this won’t be mentioned again.) 

Liz asks Ri’Chard to show her his plan before he announces it. He looks at her like he’s never considered that before. Wild. He blames this on his extroversion and says he can get a little carried away in front of people. Yes. That is what happened. That is why he announced his researched and highly appealing plan while commandeering the room: he just got carried away but didn’t intend to do any of that.  

Ri’Chard ends this conversation with “Jesus is Lord,” to which Liz just says, “Oh, yes he is.” I love Liz. 

“But you are not,” Liz whispers after Ri’Chard leaves. I love Liz even more.  

Liz finally – FINALLY – asks Jay to look into Ri’Chard. You would think that (1) Liz would’ve asked Jay to do this on day one and (2) Jay would’ve been curious enough on his own to look into it. I mean, Jay is trying to figure out what happened with the car bomb, which doesn’t seem to have anything at all to do with him or his job. He’s just naturally curious... so wouldn’t he be curious about this random new name partner who just showed up one day? 

Jay also suggests more security. I suggest, once again, that the firm allow people to work remotely.  

Marissa is in maximum snark mode during the next legal strategy session.  

Eli continues to say things that make it obvious he’s guilty, like that you talk about a lot of hypotheticals (“standard rat-fucking") and never do them... or you do, but through intermediaries.  

Between being dragged into an actual crime and being mocked in court, Marissa is fed up. She storms out to go do her actual job (hey, remember when my recaps used to be like 75% complaining about how Maia didn’t ever do work?)  

Eli goes after Marissa and asks what she wants. “You want me to take you on a father/daughter picnic, is that it? You want to go to Disneyland and get photos taken with mouse ears? This is who we are. If you’re in trouble, I help you. If I’m in trouble, you help me.” Harsh.  

“We’re transactional,” Marissa rephrases his words. “Exactly. Always have been, always will,” Eli agrees. I think they both think they mean it right now. There’s obviously a component of this in their relationship, but it’s clear that they actually do care about each other and get along... but they’re so similar that they clash like this often. 

Anyway, Marissa asks to be the one to cross-examine Landau in exchange for her not quitting the legal team/testifying against Eli.  

Diane watches Dr. Bettencourt’s videos while drinking a glass of wine in bed. Seems like she really feels just fine after the explosion. 

This quickly turns into Diane fantasizing about Dr. Bettencourt being in her bed. We all knew it was headed here.  

Absolutely unfair that we are getting a Diane scene about masturbation and anxiety when my Alicia OTPs were Alicia + therapy and Alicia + vibrator.  

The Diane/Kurt banter in this scene kind of makes me cringe but that also makes it feel a lot more real; I do not think most people are very profound when they’re horny  

I have not recapped what is actually going on in this scene because it’s... bizarre!  

Kurt gets a call from work. We know this because his phone says that “Work” is calling.  

“We had nothing to do with that car bomb,” Kurt says, to Diane’s alarm. What’s he involved with that he even has to say that sentence!? (Answer: the NRA.)  

Diane wakes Kurt up to tell him about her latest drug adventure. She says it’s for anxiety and he’s like, what anxiety? Diane references the world around her. What does he mean, what anxiety?! Though in his defense, I’m not sure “Diane struggles with anxiety” is the conclusion I would’ve come to from her actions, either – but it makes sense when I hear it. Also is he aware Diane had to dodge shattered glass when the car bomb went off? I truly can’t tell what the day to day of Diane and Kurt’s relationship is like, which makes it quite hard to have an opinion on if I think it’s a good thing (companionship when they need it, but otherwise they can be very independent) or a bad thing (what kind of relationship is this??) 

Kurt is like, uh, have you considered finding a real doctor? Diane wonders why they’re even having this conversation. Kurt points out that she brought it up. This almost feels like Diane has already moved on without realizing it.  

I think I’ve said this before, maybe even in the part of this recap I wrote a week ago, but my investment in Diane and Kurt plummeted after the whole Holly thing at the end of TGW. Not only does it ask me to believe that Kurt cheated (????), but the entire thing makes no sense and the resolution/reconciliation was hard to follow. At worst, Diane/Kurt’s relationship is confusing, and at best it’s sweet and lets me forget about all the weirdness. That’s still pretty shaky ground, even for someone who generally likes them together.  

Liz at the gym! Liz is at the gym! She’s listening to a law podcast when she hears that Ri’Chard is doing some self-promotion. She inelegantly slips off the treadmill and heads up to work (this seems to be an office gym?). Two cops with riot gear and assault rifles join her in the elevator and their presence does not put her at ease. Their silence doesn’t, either. 

Still in her workout clothes, she barges in on Ri’Chard’s prayer circle and glares at him. He introduces her as “Liz Reddick, daughter of Carl” and I would just love to know... is Carl Reddick’s name ruined or not? This remains unclear to me. 

“What the fuck are you doing?” Liz confronts Ri’Chard once they’re alone.  

Ri’Chard apparently accidentally ended up on NPR. Doubtful.  

Worse – he’s not talking about his own clients on this podcast. He's talking about the firm’s clients. He’s secured permission from everyone involved... except Liz. He’s also using his name instead of crediting the team, which he calls “good branding.” They are both right. And he’d have a lot more ground to stand on if he had, like, actually touched any of these cases. (I don’t understand why he is using the firm’s cases; surely he has his own?) 

Ri’Chard starts telling Liz about how the firm has to update itself and Liz is just not impressed. And why would she be? Ri’Chard might be right about branding and needing an identity and a refresh – this is certainly not the first time it’s come up – but Ri’Chard doesn’t need to lecture Liz on this point like she’s too dumb to get it. Liz gets his point... he simply doesn’t want to understand hers. She’s asking for him to treat her like a partner and he’s responding with garbage about brands.  

Liz raises her voice (though just a little bit, she’s letting her anger show but she’s very far from losing control here, which is a nice touch from Audra) and reminds Ri’Chard that the law firm is a “we” and not an “I” (there ain’t no I in team but you know there is a me!) (Sorry, I’m on a liiiiiittle bit of a TSwift kick right now...)  

THE STARE LIZ GIVES RI’CHARD WHEN HE STARTS MAKING REFERENCES TO SHOW HE GETS IT.  

“You have an idea, any idea. You want to scratch your ass? We talk, we discuss, we agree. And then you can move forward. Not before. You need to stop with this “better to ask forgiveness than permission” bullshit. Do you understand?” Ri’Chard nods. He might understand, but I’m not so sure he cares.  

How much does this man spend on glasses? Somewhat relatedly, Ri’Chard’s extensive eyewear collection is really making me want to have more than one pair of glasses.  

Ri’Chard invites Liz over for dinner so they can get to know each other. It’s not a bad idea. 

To have dinner, they’re going to skip the DNC fundraiser.  

Landau takes the stand.  

“How the fuck would you know that?” Marissa snaps in court when her legal skills are called into question. Great line reading from Sarah here.  

When Liz arrives at dinner, she ends up holding the gate open for a woman carrying a tray of pastries.  

Ri’Chard’s house is chaotic and full of children. Also women. It is a little weird. Sorry, did I say a little? I meant extremely.  

Liz ends up holding the tray of pastries, and a bunch of kids take sweets. All the adults tell Liz she shouldn’t be giving the kids so much sugar. She tries to stop the kids from taking more pastries, then gives up and is like, “you’re not my kids.” Hah.  

One of the women refers to Liz as Ri’Chard’s “work wife” which is a phrase I fucking loathe. Liz seems to hate it – or at least this application of it – as much as I do.  

“Is your house always this confusing?” Liz asks. Ri’Chard calls that phrasing diplomatic, and it really is.  

Ri’Chard saying he has trouble ending things and would never divorce in a house full of children and at least three non-Liz adult women is EXTREMELY weird and it is not made any less weird by them greeting each other with “Jesus is Lord.”  

I know it’s, like, obvious to say that Audra McDonald is really good at acting but I do need to stress that Audra McDonald is really good at acting. She’s playing the discomfort, shock, awkwardness, and growing comfort of being in someone else’s home really well. 

Those Moral Matters posters at this DNC event might be the most GOP looking stock art I have ever seen??? Also this is the same ballroom where the fundraiser in VIP Treatment was.  

Carmen gets to go to the DNC event because Carmen needs something to do so she can appear in the episode. Also, she seems to make the firm a fuckload of money so it makes sense she’d get an invite.  

Julius (why is he even at a DNC event?) tries to snark to Carmen about how silly Dems are and Carmen just looks at him like she’s considering what he’s said but also surprised by it... and like she has no intention of responding. This immediately makes him feel awkward and he turns away from her. 

Marissa’s there too, which doesn’t make sense in terms of her level at the firm but absolutely makes sense in terms of (1) all the partners love her and (2) her dad is Eli. 

Carmen and Marissa exchange a glance that shows there’s still tension there. This is the exact kind of moment this show too often forgets to include between episodes with major plot development. This episode nails the little character moments. This episode feels lived-in and complete.  

This “Hamilton Swings” act is an updated version of the stuff they parodied in 2x05 (of Wife!) and I fucking love it. Not so much the parody. I love the callback. I love that the writers almost certainly were like, that was so fun when we did it in 2010. Let’s do it again.  

Bettencourt is also at the DNC fundraiser. Small world. Diane spills her drink when she sees him. 

Diane’s dress in this episode looks a bit like her 2x05 dress, which I am sure was an intentional choice.  

At the bar, where Diane is cleaning off her dress, Bettencourt appears. He’s spotted Diane, too. She’s worried he’ll judge her for drinking. He doesn’t. 

She seems surprised when he remarks that he should’ve expected to run into her. Hmmm, now what about Diane Lockhart gives off rich liberal vibes? I wonder.  

Marissa appears at the bar next to Diane. “God, is this boring!” she exclaims, not at all concerned that Diane, who is her boss, is in the middle of a conversation. 

Marissa might be a little drunk. She greets Bettencourt, “Hello! Except I don’t know you, do I?” 

“Diane and I bumped into each other on a trip,” Bettencourt says to explain how they met. I bet he’s used this line before, given his line of work. Diane spits out her drink at that. 

Marissa leaves the bar to “stop my dad from killing someone,” a choice of words I’m sure she won’t regret.  

Diane asks Bettencourt if he takes his own treatment since he’s always so calm. Then his wife – I assume, he puts his hand on her back – arrives and ruins the moment for Diane.  

Eli and Landau argue at a DNC fundraiser, which is definitely a great look. But it won’t matter soon. Marissa tries to get Eli to stop, but Eli instead moves the conversation to the men’s room so Marissa won’t follow. Tbh I’m a little surprised she’d listen; Marissa does not seem like she’d give a shit about walking into the men’s room. 

On my first watch, I thought this scene felt like 4x18, where Peter punches Kresteva in the bathroom. What happens here is much less fun. 

And then someone enters the room and SHOOTS LANDAU IN THE HEAD THINKING HE IS ELI. He also says something anti-Semitic while he’s at it. I don’t remember what because I muted the scene looked away on rewatch because I found it quite upsetting. 

Three things here. First, I’ve seen a few theories that Eli ordered the hit on Landau and it was staged to look like Eli was the target. To that, I say... y’all are watching a different show. The assassin says Eli’s name and something anti-Semitic to let the rest of the episode unfold as it does. It's not necessarily illogical like some are saying -- this guy very easily could have an accomplice who said “Eli just went into the bathroom” and pointed and the guy with the gun didn’t recognize Eli, and they both could’ve been too stupid to have him study photos beforehand. Also, very hard to watch the emotional fallout and consequences this has for Eli through the rest of the episode and then go back to this hunting for the biggest twist.  

Second thing. It has taken me a while to get back to writing about this episode. Initially it was because I was busy, but now I’m avoiding it because it’s just TOUGH. When this aired, it felt a little too unsettling but like it belonged to a universe that was like ours but heightened... and now, with anti-Semitism in the news thanks to a certain rapper and the anniversary of the Tree of Life shooting tomorrow (I write this on 10/26), it’s just far too much for me to grapple with.  

Final thing. I am so glad the writers chose to kill Landau instead of Eli. Killing Eli would’ve been upsetting, but honestly not that much more upsetting than the introduction of violence into a universe where violence doesn’t tend to hit close to home (even considering the protest stuff this season, the number of horrifyingly traumatic moments over the course of both serieses is, like, three? Will, Adrian in season 2, this?). Plus, seeing Eli covered in blood and brains is horribly upsetting. Not only that, but killing Eli would’ve made the point and then... what? Made the rest of the show about Marissa’s grief? Felt like a decision made for shock value? I don’t see what the writers would’ve gained after the initial shock. This way, Landau is familiar enough it feels unsettling – the man’s been a frequent presence in this universe for over a decade – but not so beloved (not at all beloved tbh) that it’s impossible to do other things with the plot from here. The Eli and Marissa scenes that follow after this point are some of the best material I’ve seen from this show in ages – maybe some of the best material this show’s ever done.  

Liz and Ri’Chard are wrapping up their dinner when they get an active shooter alert. A very specific active shooter alert that says who the victim is? Weird. There’s a lockdown now, so Liz gets trapped at Ri’Chard’s. Shouldn’t they be calling all their employees and partners who are at the fundraiser!?  

Ok made about 4 mins of progress on this then saw Eli covered in blood and now I have to stop again. I’m not generally squeamish about TV violence (I simply look away if I don’t want to see it) but I can’t handle this. I don’t know what I would’ve done if I’d been writing these during season five of TGW. 

Now I’m thinking about Will.  

Fuck, I’m not sure I'm ever going to find another show I care this much about. I don’t know that I want to. But let me tell you: nothing has even come close.  

AND NOW I’M HAVING FEELINGS ABOUT THE SHOW ENDING.  

Ok lol now it’s 10/30 and I’m trying to power through.  

Marissa finds Eli sitting alone, in shock, covered in blood and brains. “Oh, it was so weird. I was right beside him. And this guy just came up behind us and said, ‘Die, you filthy Jew, Eli Gold.’ Eli Gold. He thought he was killing me.” “The world has gone crazy, Dad,” Marissa replies. “But Frank’s dead because of me. He’s not even Jewish. He's got three kids. And he’s, like, Presbyterian, something or other.” “I’m glad you’re alive, Dad,” is all Marissa can say to that.  

“What am I doing with my life?” Eli starts to wonder. He’s on this train of thought because he’s realized people hate him to the point where they want to kill him. This may be true but that man doesn’t want to kill Eli for anything Eli’s done. Which is what Marissa tells him.  

Eli doesn’t believe that, not fully. He’s thinking about all the bad things he’s done. I’ll come back to this when he talks to Diane, no use in saying the same thing twice.  

“I’ve got to change my life. I’ve got to stop,” Eli frets. “I’ve got to... confess.” Marissa does not like that. And then the cops interrupt to get Eli’s statement. I’m a little surprised Eli was able to get away. Isn’t every attendee being forced to stay where they are?  

Liz and Ri’Chard are now sitting on the floor drinking. I get that this conveys that the vibe is now relaxed and casual, but also, floors are not comfortable to sit on and sofas are. Liz finally works up the confidence to ask Ri’Chard which of the women floating around the house is his wife. Turns out he’s not married to any of them; his wife is dead. The women are her sister, her friend, his friend, and a college dropout.  

He says he “collects female energy” which is maybe the creepiest thing I’ve ever heard. But for those of us who lived through the days of “male energy” and how we had to have Finn Polmar on the show to fill the void of “male energy” left by Will... it’s pretty nice to hear that “female energy” also exists.  

“Watch out. Women have dinner here and never leave,” he jokes to Liz. Uh.  

Liz turns the conversation to work; asks why Ri’Chard is in this. He wants “power, respect, and independence.” This is where my being several episodes ahead changes my take, because you KNOW the first time through this episode, I was like, “how can you be independent when STR Laurie owns you?!” 

He flips the question around to Liz, but doesn’t let her answer, instead guessing that she’s in it for her father’s legacy. Liz says no; she always wanted to be the opposite of her father (and it was here I started to realize there’s a father-daughter throughline in this episode; again, this episode is very well done). This does not explain how Liz came to be running her father’s firm, but of course we know how that happened – she was pushed out at the DOJ and needed a place to land, and then inertia took over.  

“That’s what makes you hot!” Ri’Chard says, and Liz just laughs and points to this as an example of Ri’Chard having no idea when to stop. It is a very good example of Ri’Chard not knowing when to stop; that’s not the vibe here and so it feels weird when he makes it the vibe.  

Ri’Chard then segues into a story about when he was just starting out and a firm made a laughing stock out of him for being dressed the wrong way. And then Ri’Chard remade his image and got stronger.  

$900 on wine. Still amazes me that people actually drink $900 wine. I had a bottle of $25 wine last night and felt fancy. 

The all-clear goes out and Liz heads home. I hope she’s not driving...? They’ve been drinking a lot.  

Diane’s home, still in her party clothes. Kurt’s comforting her. “Nothing seems real right now,” she remarks as she watches the news. Diane starts talking about the “connection between love and death” inspired by a conversation with Bettencourt (which we annoyingly have to get silent flashbacks of). This leads to Diane making a reference to a piece of art and Kurt not getting it, and then Diane realizing he doesn’t get her references. Kurt handles this well: “Diane, I think you’re asking me questions that you know I don’t know the answer to. And I’m not sure why. I’m not here for a literature test. I’m here because I love you. You know who I am. You know what I’m good at. What I care about.” Very fair. If Diane wants someone who understands all her references, Kurt will never be that person, and it’s not fair to Kurt for Diane to hold that against him. She can say his political beliefs are too much or that she’s realized she wants something different, but she can’t just wish Kurt was a different person and expect him to change. 

She then asks Kurt if he loves her, which is so weird??? He says yes, she smiles, they kiss.  

“Have I passed the test?” he asks. Diane says yes, but it seems like this is going to keep coming back.  

In court the next day, opposing counsel is quick to suggest Eli had Landau killed to get himself off the hook. Yeah, no. “Excuse me, what the fuck?!” is Marissa’s response. Despite her passions, the judge rules that she has to testify.  

Ri’Chard and Liz solve the problem of the equity partners not getting the money they’re entitled to by giving up some of their bonuses. HANG ON. THIS IS THE MOST OBVIOUS SOLUTION. WHY WAS LIZ COLLECTING A BONUS WHEN HER PARTNERS WEREN’T GETTING THEIR MONEY? And why is Ri’Chard getting a bonus he’s been there like 2 seconds where did the money for that come from?  

Also, am I meant to believe Liz had any hand in this idea or not? If I am supposed to believe Liz as a manager I do need to see that she’s making progress on this front, because it feels to me like Ri’Chard came in, was correct, won Liz over, and won the battle but gave her credit. I’m missing the “teamwork” scene from this narrative. 

If there are burning cars and massive protests in the street, and the lobby is blocked off, WHY HAS THIS OFFICE NOT YET SENT EVERYONE HOME?  

Turns out that the lawyer who humiliated Ri’Chard is Liz’s dad. Obviously. So are we in Do Revenge now?  

Liz is looking at a picture of her dad when Marissa knocks on her door and asks if she has a minute. You know it’s serious because this is the first time Marissa’s ever asked for permission for anything. Liz tries to push it off til tomorrow; Marissa explains the urgency.  

What Marissa wants from Liz isn’t really advice – it's to know about her relationship with her dad. I fucking love that they’re drawing this parallel and exploring this topic. Even though what Liz’s dad did and what Eli did are very different types of crimes, the situations Liz and Marissa are in because of their fathers’ actions are similar, and I love that the show acknowledges this and gives it a moment. They very easily could’ve had Marissa’s plot exist in a vacuum; instead, they tie it to a loose end from season 3. Really smart, character-focused writing.  

Marissa specifically wants to know if Liz ever opened the folder of evidence against her father that Marissa compiled back in s3. Liz is hesitant to answer at first, wondering how this will help Marissa. Marissa isn’t sure, and that’s enough for Liz to decide to open up: she did not ever look at the file. Marissa takes that in.  

At the office, Eli stares out the window watching the protests. “You look lost,” Diane comments when she sees him. 

Diane asks if Eli has any protection. He does, for a few days. “It feels weird. I’m a mechanic. I’m not a public figure,” Eli notes. “We’re all public figures now,” Diane says. I’m not sure what’s making her say this oh wait actually yes she has plenty of evidence to say this now I’m remembering Mr. Elk and the Diane/Liz love affair rumors from last season. 

Diane pours Eli a drink. “Was there a better time, or has it always been like this?” Eli asks. “I don’t know. Whenever I’m smack-dab in the middle of the time, I always think it’s the worst time, and then five years later, I think, ‘huh, that was a pretty good time.’” Eek.  

“I fell apart today,” Eli confesses. “Well, that makes sense. A person was murdered right beside you,” Diane responds. “And they thought they were murdering me,” Eli continues. “Yeah, so how could you not fall apart?” 

“I’ve been wondering how much I’ve been contributing to all this. Turning the opposition into the enemy, turning the enemy into psychopaths...” Eli wonders. I would say maybe he’s played some role, but I don’t think he’s the problem here. Neither does Diane.  

“How do we get out of this? They’re shouting, so do we just shout louder?” Eli wonders. “I don’t know, but if we don’t shout back, they’ll win,” says Diane, who’s been blissfully walking through protests carrying flowers all season.  

Diane suggests that Eli finish his drink, pull himself together, and “go out there and kick some ass.” She does not seem at all concerned by the fact he’s done something illegal, which to me is the most interesting part about this scene. But before I get there... 

“This country is worth fighting for; it always was. And our enemies want to stop voting from happening. That’s not just galling, that’s the end of America. And we can’t let that happen.” okay that’s all well and good Diane but do you not remember when you yourself tried to rig an election, or the time when you yourself defended Eli for rigging an election? 

“Where do you find your optimism?” Eli wonders. “In a hallucinogenic drug called PT-108,” Diane responds. I love it. Eli thinks she’s joking. 

“Eli, I need you to fight the good fight,” Diane says, SAYING THE SHOW TITLE ON THE SHOW!!!!! 

“I need to know that there is someone out there who can quarterback the game. Because I know our politicians aren’t up to it. It has to be you. The person behind the scene. I’m sorry, if you want me to contribute to your bodyguards, I will, but you have to get back in the fight.” This is a very good pep talk for someone like Eli. It’s also fascinating to me. No one is talking about the illegal thing Eli did. No one seems to care. It was in the pursuit of a goal they all shared and so it’s understandable; everyone’s only furious that it got discovered or that it implicated them personally. No one is really mad about what happened. Eli almost certainly arranged the hacking of a major media outlet, and everyone’s just cool with it. What does that say about our times, about good, about morality, and about how deep this conflict runs?  

Marissa listens in on this conversation and decides that Diane’s right. 

Dr. Bettencourt isn’t at his office the next day; the woman he was with is Diane’s doctor for the day instead. She is not happy about it. The way she says “no” when she’s offered cucumber water has so much sadness and pettiness in it. 

Marissa dances around the truth on the stand. She makes Eli out to be a bumbling old man, unable to figure out the internet. Eli, who knew how to find Becca-the-Twitter-Troll in early 2010. Sure. I feel like you could very easily poke a hole in Marissa’s testimony. (She says she hasn’t helped Eli “use” the software in question, which is true. She just got him a copy.)  

Marissa takes a little bit of a victory lap on the stand, drawing a parallel between Landau jumping to conclusions about Marissa colluding with Eli for the hack and opposing counsel jumping to conclusions about Marissa’s spot on the legal team. Marissa is only on the legal team because of a failed attempt to keep her from testifying, but that doesn’t really matter. 

So if these protesters are just chanting anti-Semitic shit... can we stop pretending that there are protesters on both sides? Like, I suppose they could still want me to believe this is like a war of protesters, but this is preeeeeeetty clearly coming from one side. 

Eli decides to head to DC right away and jump back into work. Marissa asks him to stay another night and have dinner; he says no and jokes they might shoot her, thinking she’s Eli. LOL, dark. 

Gotta say, watching this scene slowly play out the first time with the chanting in the background sent my stress levels through the roof. I was like, THERE’S STILL TIME TO KILL OFF ELI YET.  

Eli says that Marissa’s mom had to talk him into having a kid. Marissa already knew that. “I’m glad she did,” Eli says. “You’re my greatest achievement,” he adds.  

Eli never really got an ending on TGW, so to see him getting one that feels so final – all this talk about goodbye, the car driving away – makes me really emotional.  

I woke up very early on Thursday morning and couldn’t get back to sleep, so I decided to just watch this episode on my phone (I write these on rewatch). I’m sure the show was hoping that the upside-down clips of fake!Love Island would be disorienting, but wow, did this work on me. Between the lack of sleep and how plausible it would’ve been for me to accidentally have my phone upside-down with rotation lock on... I truly thought it was an ad for Love Island and also had to pause the episode to check my phone settings. Good job, show!

It turns out, however, that Carmen is doing a headstand and watching reality TV on her laptop. Very happy to see Carmen at home. It would be easy for the show to have her just be a mysterious presence at the firm, so even seeing her do perfectly normal things is a good reminder that she is a whole person and not just Associate Who Will Defend Anyone.  

(I wouldn’t have expected Carmen to enjoy reality tv, but then again, I love Big Brother so...)

Carmen lives in a studio that doesn’t look like it is brand new!!! I’m ridiculously excited to see an apartment that actually looks like a place someone fresh out of law school might live. I’d believe it if Carmen lived in a studio in a luxury building or a one-bed on the salary she’s surely making at RL, but it’s very refreshing to see a character who isn’t super-wealthy on this show that tends to be about, well, very wealthy people.  

Carmen is smarter than every other character on this show and on most TV shows: instead of opening the door without taking any precautions, she puts the chain on first. Remember how people used to just show up at Alicia’s door when she was the governor’s wife, and she’d always just open the door and look surprised?  

Charles Lester is at Carmen’s door even though it’s nearly midnight. She tries to get him to leave, but he insists on staying. She closes the door to undo the chain, and uses the privacy of the closed door to grab a makeshift weapon, just in case.

Carmen explains her apartment by saying, “student loans.” So she doesn’t come from (excessive) money. (Or she was cut off by her family, but I feel like the early character description of Carmen said something about her family not having money.)  

Lester has something very important to tell Carmen, but all his notes are on different scraps of paper and, even though he says his information is time sensitive, he takes his time looking for the right piece of paper.

He says Carmen can’t say she heard the info from him, blah blah. He’s there to share that in ten minutes, someone at the firm is going to be searched by the FBI. This info comes, of course, from Rivi.  

Do we think Lester has to reference his notes to remember that the FBI is searching a name partner of Carmen’s firm? Or do we think he’s fucking with her? I think the latter.

Carmen was doing exercises to help with migraines, btw.  

Carmen calls Diane to tip her off. Diane and Kurt are already asleep, but luckily, Diane has her phone on full volume and takes the call. She’s not happy about it and asks if it can wait until tomorrow. Asks is the wrong word—she instructs the caller to hang up if it can wait.  

Even though Carmen can’t say where she got the information, Diane knows it must be from Rivi. Seems obvious enough.

Kurt gets out of bed and starts locking up guns and getting to work; Diane calls Liz. Liz is in bed with a guy we’ve never seen before and she does not really want to talk.  

Liz notes that the info also could’ve come from Wolfe-Coleman, since Carmen is “tangled up with some rough characters.”  

I’m sorry, fake Netflix CEO man... WHY ARE YOU STILL TRYING TO KISS AND PLAY WITH LIZ WHEN SHE IS ON THE PHONE TALKING ABOUT PURGING FILES AND THE FBI????  

I don’t even hold this against the character. This is one of those things the writers of this show LOVE doing to heighten tension. They think people behave like this in real life and that it’s funny to have a million competing priorities at once, so they insist on doing things like this. In reality, I would be concerned about any person who did not hear “FBI” and go, “um, what the hell is happening? I should stop trying to fuck rn.”  

Kurt starts burning papers. Is no one going to point out that maybe being on the phone (after you KNOW you’ve had NSA issues) talking about tips from powerful criminals and asking questions that are pretty clearly about document destruction... is a bad strategy?  

Dude, why are you STILL GOING after Liz clearly tells you to stop!? Do you want me to hate you?!  

Liz adds Jay to the call. He is asleep and also his hallucination from the premiere is (sadly) back. I still don’t get what they’re going for with this, so I’ll just be happy that (1) there is only one hallucination this time and (2) it’s only on screen for a minute.  

This dude is really chanting “Let me see ‘em!” at Liz while she is on a frantic work call! This is how we are introduced to him! This is not funny! If this weren’t being played for laughs/to raise the stakes by having a lot going on I would be calling this man misogynistic!

Liz remembers that Diane has full boxes of files! They spill onto the floor as she tries to hide them! Drama!  

And then the FBI arrives, so Diane asks Liz to take her 9 am with Wackner

The FBI enters, accompanied by... Nancy Crozier! Nancy is now an AUSA for some reason!

Nancy has graduated from “just a girl from Michigan” to using her pregnancy for dramatic effect. I guess she’s aged into being Patti Nyholm, or something. (I would LOVE to see Patti Nyholm show up on TGF.)  

I know the client files are top of mind for Diane, but isn’t it kind of obvious that the FBI would be there about Kurt, given that the FBI was talking to Kurt days earlier?  

9 mins in is early for credits!! (This first act flies, too—did not feel like 9 minutes.)  

I say this once an episode, but isn’t it so fun to see all the characters from season one of TGW pop up in season five of TGF?  

Liz sees her new man, Del Cooper, in reception. He’s a client. They try to be professional with each other. Liz remembers Diane’s 9 am with Wackner and asks the receptionist to tell her when he arrives. She dismissively says it’s “Some judge guy.” Wackner is, of course, already there and watching the interaction with interest. He uses this as an opportunity to “look for the restroom,” observe Liz meeting with someone else, and walk down to the associate floor.

He asks associate Leah (we’ve definitely seen her several times before) where he’s supposed to go for the staff meeting. She asks if he means the partner meeting or the associate one—he wants whichever is more interesting. She says she only knows about the associate meeting, and so he tags along.

Leah and Lucy (the associate from last week; Michael Boatman’s daughter) talk and assume that Wackner is from STR Laurie and thus in charge of the fate of their careers.  

The associate meeting is fairly small—Leah refers to it as their “daily” so I wonder if it’s more like a team meeting than a meeting of all the associates.  

The COTW is about a comedian who isn’t always PC. FakeNetflix is getting a lot of Twitter pushback.  

“Ah, so you’re worried about being cancelled,” Liz notes. “Don’t say the ‘C’ word,” Del jokes. Then he asks the firm to do a sensitivity read of the comedian’s act.

Liz asks why them. David doesn’t get why she’s asking, though obviously Liz knows he won’t be offended by her question since they have a relationship outside of work. Del thinks that RL is the right firm for this task because they are a black firm, and also because this can be an audition for the rest of their legal business.  

This seems like it is better for a PR firm or image consultant? Not a law firm? But sure.  

Diane explains the whole January 6th situation to Liz. Liz immediately understands that if Kurt is in trouble, Diane is the one representing him. Because Kurt is Kurt, I’m willing to accept the “spouses-representing-each-other" trope here. But let the record reflect that, as always on this show, it is a TERRIBLE idea to have your spouse represent you! Just pick someone outside of the firm! JUST PICK ELSBETH, KURT.

Diane asks how her 9 am went; David Lee interrupts to ask Liz why she is being so casual with Del. “David, I am on the phone,” Liz responds. I love that she doesn’t really answer him.  

Leah and Lucy try to turn the associate meeting into a showcase of how great they are; the other associates catch on quickly and all are happy to answer Wackner’s questions. He wants to understand jury trials.

Nancy’s pregnancy act does not work on Judge Farley, yet she keeps it up anyway. Court doesn’t go well for Diane, but it also doesn’t go well for Nancy.

Some of these interactions remind me a little too much of Peter’s trial at the end of TGW, like this one where Nancy goes to Diane with information about Kurt.

Leah gets off the elevator as Diane and Nancy talk, and to Diane’s surprise, Wackner is shadowing Leah! She takes a moment to look surprised before we return to the scene with Nancy.

I like all the little interactions within this Wackner plot. Diane asking Liz to meet with Wackner both connects Wackner to Liz AND shows that Diane would turn to Liz for back-up, and having Wackner/Leah run into Diane in court is a good reminder that even though Diane is dealing with a pressing issue, Wackner hasn’t just disappeared.  

Diane encourages Kurt to talk. She wants to know if he’s not telling her something because she’s his wife or because she’s his lawyer. This is maybe why you don’t hire your wife as your lawyer.  

Kurt says it’s because of politics—Diane doesn’t like that, since this is one issue where their politics should be shared.  

“Diane, this works between us because we don’t let our political judgements overwhelm our respect for each other,” Kurt explains. But... is that relevant to this particular issue?  

Diane asks the same question, essentially, noting that January 6th changed “everything” for her and she can’t treat this like a “chess game” anymore. Kurt wants to know what she’s calling a chess game. She says their marriage is the one thing that’s not a game.  

On one level I understand exactly what Diane is saying and on another level I have no clue what this dialogue actually means. She can’t treat things like a game anymore, but also their marriage is the only thing that isn’t a game? So does that mean she can treat everything else like a game, then? I think what she’s trying to say is that the time for seeing political disagreements as a calm and rational game of strategy is over, and that she values her marriage and won’t play around with it.  

Kurt tells her what he burned—a list of people in his little group. He says he’d protect them just like he’d protect Diane’s book group friends. Oh, wow, I was not EVER expecting to hear about that arc again! This is a pretty perfect time to mention it, though, since Kurt DID protect book group for the exact same reason he’s protecting the members of his club.  

Other than “winning over a new client is important,” I have no idea why Liz and David Lee would gather together a group of partners to do the sensitivity read. I don’t know who IS the appropriate person to do the sensitivity read, given that this is a law firm, but I know this is a bad call.

Oh, they are going to go through line by line dissecting each joke in a group. They get through one joke before Madeline notes that the comedian is “objectifying black men.” A black male partner says he doesn’t mind. Madeline says that doesn’t matter because the joke is racially insensitive.  

Overlapping chatter ensues, and the partners try to make changes to the comedian’s jokes, like substituting Norwegian for Nigerian. This... is not what law firms do. The joke isn’t funny with the substitution, but it also wasn’t funny before. It was low hanging fruit and the correct answer is to just cut it entirely. (Also, if you’re a comedian and all your jokes are about common stereotypes of groups to which you do not belong, you are probably not a very funny comedian!)

Diane has Jay do some more investigating. Jay looks up when Diane says, “ringleader of the insurrectionists,” and Diane is just like, “I know.” Then Carmen walks in.

Diane congratulates Carmen on “hitting the ground running” and then asks again how she knew about the warrant. Diane says she’s covered by the same attorney-client privilege, so Carmen should be able to share. Carmen notes the warrant was actually about Kurt, which does not answer Diane’s question. “So this came from Rivi?” Diane asks. Carmen says she can’t confirm.

“Carmen. You have been here three weeks. You have two clients: Wolfe-Coleman and Oscar Rivi. It’s one or the other!” Diane notes. Yep. I love that they didn’t forget that this isn’t much of a mystery. It’s more about principle than anything. If Diane knows it’s one of two sources and needs more information, I’m sure Jay can figure it out.  

Carmen knows she’s stuck, so she asks if she can make a phone call. “I think that would be smart,” Diane says.  

I’ve noticed that Liz and Diane are both being quite firm with others this season—and I like it. They're spending more time with lower-level characters, and both Diane and Liz have reasons to be more curt this year. Diane is under a lot of stress and it’s showing in all of her interactions; Liz is making a point of seeming in control to establish herself as the leader of the firm.  

Then Marissa walks in. “What is going on with your crazy court judge?” Diane asks. “My?” Marissa asks. “Marissa, I am in no mood for defensiveness,” Diane insists. She mentions Wackner missing his meeting and shadowing Leah. That’s news to Marissa.  

Marissa heads to Wackner’s court to figure out what’s going on.

Wackner is now experimenting with juries. This is interesting to me—I'd wondered before how smart it was to just have Wackner make all the rulings, so exploring the idea of having a jury shows he’s thinking about that, too. Also, it’s another sign that Wackner wants his court to have many of the same structures as a real courtroom. There are still judges, juries, witnesses, trials—he's starting something new, but it feels more like he’s testing out improvements for an imperfect system. I wonder if his end goal would be to set up separate courts, or if he’s more interested in shaping laws/reforming the system? Surely Wackner has ambitions of scaling up whatever conclusions he comes to. So what are they?  

The reason for the juries is that the associates told him that juries are racially biased, so he’s trying to correct it. He also explains how he ended up shadowing Leah, and advises Marissa to go exploring whenever she’s kept waiting. (I have a feeling Marissa doesn’t need to be told this, but then, that’s why she’s Wackner’s “muse.”)  

Marissa notes that Wackner’s court is looking nicer—there must be money coming in from somewhere new. Wackner confirms there’s been a sympathetic donor.

Wackner is dealing with a case about NFT fraud. Marissa says she doesn’t know what that is. I’m going to assume that Marissa is using Wackner’s strategies against him (she had just accused him of playing dumb to get others to talk) because I cannot believe that Marissa, who always knows random facts, ESPECIALLY ones that involve weird corners of the internet, would not know what an NFT is.  

Marissa hears the case is about $4 million, and she’s shocked because this raises the stakes a little more than even she is comfortable with. Wackner has a signed and notarized document saying that both sides will honor the verdict. It is, as Marissa points out, notarized in 9 ¾ court by Wackner about a fictional case. “About a fictional crime,” Wackner adds on.  

I’m a little surprised this is all these writers had to say about NFTs! Maybe they knew that by the time this aired, the actual topic would feel dated.  

Mandy Patinkin is just SO GOOD as Wackner! I’m watching a fictional show about a fictional crime in a fictional court and even I am starting to believe in his ludicrous court!  

Wackner’s jury selection process involves catching potential jurors in traps, like pretending to know the national anthem when they don’t. Smart. Probably super problematic if you think about it too hard and put it in the wrong people’s hands and people start to know the system. But smart, for now.  

Diane is now in the sensitivity read meeting, for reasons passing understanding. They are still talking about the first joke. Jay calls Liz out of the meeting and notes that everyone in the room is old and no one is funny. “I’m funny!” Liz argues. Diane tries to leave the meeting, and Liz tells Diane Jay’s idea about needing younger people. “Oh god yes,” Diane agrees. I’m glad she sees it and a little alarmed that Liz doesn’t! I feel like they should’ve sent the tape to everyone interested in participating, then asked them to write up (separately) anything they found questionable or offensive, and gone from there, ending with a close review of anything that wasn’t previously flagged. If you debate every single line for hours you’re going to get nowhere.

I don’t know why Liz is so concerned that Jay thinks she’s not funny? But she is.

Diane asks Liz to join her meeting with Carmen and Lester. This is a scene I’ve been waiting for! Diane and Liz are both there and so the scene FEELS important. The plot advances. And, most importantly, they address why Carmen is staying at RL!

Lester reiterates that Carmen is super important to Rivi, so if Carmen says she can’t share info, then she can’t share info. Liz and Diane do not accept this. “I am a name partner. Carmen is a first-year associate,” Liz says. “Now, Carmen is free to resign and hang her shingle wherever she’d like. She can even go and work for you. That is up to her. But while she is here, she is subject to the rules and the mentoring of this firm.”

Lester tries to take Carmen out of the meeting. Liz and Diane won’t let him: They need to know if Carmen is staying with the firm, now.  

“You have a lot to learn, Carmen. And you can only do that here,” Diane pitches. I don’t think that’s exactly true, but it’s not untrue.

Here is a question I have about Carmen: she is WILLING to represent drug dealers and rapists. Does she WANT to? She chooses RL, so I’m guessing her interests lie in big law and not in aiding criminals.  

Lester leaves, but not before saying Kurt is about to get a grand jury summons. Diane gets one too. It’s not the usual guy! Too bad.

A bigger group is now deciding on if jokes are offensive or not, and they’re doing so with paddles that are red on one side (offensive) and green on the other (funny). I’m sure this is going to go well.

The group sees the replacement jokes and they are confused. Marissa wants to see the original joke. Julius shows the room, and everyone laughs. The joke is funny—and offensive. Someone from the mail room notes that he would be the butt of this joke, but he finds it funny, so he thinks the comedian should be able to continue with her set.  

Here is where I think I fall on this: Get sensitivity reads to get ahead of any huge issues (like, don’t be Pepsi with the ad with whichever Jenner it was who solved racism). Be aware of the potential issues. Let viewers decide what is and isn’t offensive, and make informed decisions rather than arbitrary rules about what content to show. You’ll KNOW if you are indulging the tendencies of someone with a history of making the same type of problematic jokes (for example, maybe if you are reviewing something by Tina Fey and she tries to write another edgy plot where racial stereotypes are the punchline, you advise her to not do that because, I mean, why WERE there so many episodes of 30 Rock that involved blackface??). You’ll KNOW if you are giving a platform to someone who is actively trying to spread misinformation and be cruel to others. Someone’s going to be offended by everything, and it may be a huge deal and it may not be. IMO, it doesn’t really matter that I can’t make an exact set of rules about what is/isn’t smart to air. I don’t think anyone—not networks, not creators, and not audiences—would benefit from that. Lawyers might, though, for all the billable hours...

“You can’t tell a joke without offending someone,” Jay notes. I do not think this is true! Puns don’t offend anyone!  

David Lee’s counter-example to Jay’s point is Gilbert & Sullivan. Of course it is.

As always, the argument devolves into overlapping chatter. These episodes exhaust me. At least this episode has some fun with the topic of the week and seems to have more of a point of view than some of the past episodes where the only conclusion is, “Wow! Controversy is controversial!”

Marissa ends up in the mail room with Jay and one of the mailroom guys (captions say his name is Jimmy). They are mocking the partner’s ideas of comedy. Jay and Jimmy agree that the best comedy is mean. But, Jay says, now it feels like you need “a permission slip to tell a joke.” Is... this true? This feels like one of those things people who would never actually get “cancelled” worry about because their fear overtakes their ability to understand what really gets someone cancelled.  

Then again, this episode was written by professional writers who would absolutely know better than I am if people are really hesitant to tell jokes.  

Jimmy has started making literal permission slips to allow people to tell jokes about specific groups. Jay and Marissa are down.  

Jay asks Jimmy to make a card for something so inappropriate he wouldn’t joke about it... and Jimmy prints a card that says Greta Thunberg. No one wants to joke about that.

And you know why this joke lands well for me? Part of it is that the vibe of this scene is very fun and laid back. But mostly it’s because Younger tried to make a Greta Thunberg joke this season, and it was quite possibly the worst, most embarrassing thing I’ve seen a TV show do in ages. It wasn’t funny, just mean, over the top, lazy, and never-ending. (Poor Younger. That show had an awful final season.)  

Liz is still worried she’s not funny. She asks Del if she’s funny and mentions Jay’s comment. He says she’s funny, but she’s not convinced he’s being honest. He points out this is a discussion no one will win. Del ends up accidentally saying “I love you” to Liz, which is a big deal for a relationship we’ve seen for all of two seconds. Liz says they don’t have to talk about it, but Del insists on explaining that he meant “affection,” not love. I’m glad they’re talking about this.

“Then maybe we should get married,” Liz says as seriously as possible. She stares at Del and smiles. He laughs and admits that was funny. It was VERY funny!  

Grand jury time! Yet Another Ham Sandwich: The Sequel: The Musical: The Series. (Am I funny? Pls tell me I’m funny and hip with the teens!)  

It’s Diane’s turn first. She does well, but there’s not much to say when Nancy plays the recording of Diane phoning the FBI with the rioter’s name. I did not need the clip from last episode in here. Diane is calm in court, but rushes to tell Kurt immediately. Nancy predicted Diane would do that, so she calls in Kurt before Diane has a chance to warn him.

So, wait, Kurt thought all of this was just a COINCIDENCE? Diane didn’t tell him earlier?! I don’t love this choice, but okay.  

Liz finds a joke permission slip on her desk. Julius has one too. “Did you use it?” Liz asks. Julius doesn’t understand what that even means. Then they trade clothes, because Liz does want to tell a joke about white girl clothes.

Julius suspects the cards are a way to make fun of the partners for being unfunny. The associates are also chatting about the cards, having lots of fun, so it’s clearly not about the partners.

I think now is an appropriate time to mention that TGW and TGF have both been consistently hilarious shows and have been on the air for a combined twelve years. Neither rely on the types of jokes that these cards permit. This is a kind of interesting thought experiment, but... doesn’t it say something that the shows never use these jokes as crutches and still manage to be funny? This is what I meant earlier about people being afraid of cancel culture when they’re not actually really at risk of coming under fire. These writers know how to write things that are funny. They know how to make comedy out of absurdity and subverting expectations. And yet they’re worried about how to have jokes that aren’t mean? Really?

The first laugh out loud funny TGW moment that comes to mind right now is the episode that ends with that obnoxious talk show guy trying to out Diane as a lesbian. That joke deals with identity. But it still holds up 12 years later, because the joke isn’t that Diane could be gay... the joke is that Diane DOES NOT GIVE A SHIT what this pest is saying about her on TV, and so she laughs. And because the tension of the talk show guy’s BIG DRAMATIC REVEAL is cut with Diane’s dynamic, loud laugh, we laugh with her! I’m not really sure what I'm trying to illustrate with this example. I’m just noting that you can be topical, funny, and entirely appropriate at the same time... and these writers are great at finding that balance.

HR starts, like, texting (they TEXT Marissa!!!) employees about the joke permission slips? It’s so bizarrely done that I thought this was going to be a prank.  

Jay decides they won’t go to HR, and Jimmy decides they’ll delay. Why wouldn’t HR just come down and take away the cards?

For this week’s dose of Wackner Wackiness, witnesses will be fully costumed, and it goes without saying that the costumes will be as over the top as possible.

David Cord is the mysterious donor. Marissa spots him and instantly puts the pieces together. Cord explains he met Wackner on the elevator. I can’t say enough how much I like that this season has a lot of moving pieces that feel like part of a whole. Cord showed up as part of a case that caused internal debate at the firm and had a thematic parallel to an ongoing plot, then crossed over into Wackner’s plot once he was established as a character!  

Cord says he’s interested in “disrupting things” so he’s interested in Wackner. I did not need the still photo of where they founded HP that’s used to illustrate humble beginnings, I guess.

Nancy mentions Kurt’s unfortunate last name—she so would. Kurt takes the fifth. Was this thing about needing a reason to take the fifth true in the earlier seasons and just not mentioned? Didn’t Kalinda and Will use this strategy?

Nancy, obviously, plays the recording of Diane reporting the rioter. Kurt conceals his reaction for the grand jury, but he’s pissed.  

Diane tries to apologize and Kurt asks for another lawyer. This is the right move. I can’t be all that sad.

The partners have collected all the cards and are trying to do damage control with HR. (Interestingly, there are certain topics the cards we see don’t touch on. Like, where’s the rape joke card? Aren’t rape jokes what we usually talk about when we talk about comedians getting cancelled? And where are the jokes about minority groups (aside from little people, referred to using the PC name instead of the names that would probably be used in most offensive jokes about little people) not represented in the TGF cast? I find this little bit of self-censorship quite notable, especially given that the writers seem to be arguing in favor of not regulating humor. These omissions, which MUST be intentional, tell me the writers do have their own lines they won’t cross...)  

(My larger point there, and where this funny-but-unnecessary subplot fails for me, is that this whole episode feels like a bit of a panic over cancel culture and winds up being a strawman argument. I don’t disagree with the conclusions the writers come to and I do find some of these scenes funny. But at the same time, I don’t think Cancel Culture is actually about coming after every single joke that makes fun of any person or group (if we must do a cancel culture plot, why not do one about someone who is an odious person and yet still has a following even after they’ve been “cancelled”). And I don’t think that showing HR as a very stern, strict, humorless body is helpful. I’m getting ahead of myself, but all that accomplishes is having Liz win on a point that pretty much everyone can agree on, because no one is actually as humorless as STRL’s HR department! Humor has so many gray areas and if you try to make it black and white, obviously the side that’s saying YOU CANNOT MAKE JOKES ABOUT ANYTHING is going to be the one that is wrong.  

I did just remember that all of these writers have probably dealt with unfun and strict standards & practices departments, and I like the way HR is portrayed more if I try to imagine them as Standards & Practices.

Liz decides she is going to see HR so she’s seen as an authority figure, not someone subversive. But first, Liz has to meet with Del and the comedian.

Wackner and Cord are in Diane’s office. Diane’s skeptical of their alliance. She also points out that it is corrupt for Wackner to be financed by Cord and decide on Cord’s cases. This is true. Cord says he has no vested interest in any of the cases. And Wackner says he’s the “most untouchable man on earth” and quotes a song again. Yet another example of how this court only works if Wackner is in charge.

The comedy meeting does not go well. David Lee is already trying to pitch their other servicces. The comedian finds the censored version hilarious in how terrible it is, and then she starts making fun of it, loudly, and for way too long.  

David thinks it went poorly; Liz isn’t concerned. David is all, “you failed” and Liz asks him to cool it and notes that David isn’t the highest-ranking person at STRL, so he should “stop the shit” and work with her. She’s already sounding more like a boss.  

Julius complements her on being “Boseman-like,” which is true (though I wish she didn’t need to be compared to her ex-husband). “I know,” Liz says quietly, likely because she hates that Adrian is still influencing her this much.  

Del joins Wackner and Cord in the elevator, and this isn’t the end of the episode but I’m going to pretend it is so all the episodes can end on elevators this year. It’s close enough.

Kurt’s new lawyer is Julius. Ah, yes, choose the corrupt judge Trump pardoned who works at your wife’s firm to represent you. Seems smart.  

Liz walks past Diane’s office and the camera follows her up to HR. She tries to get HR to understand humor. They do not. And that’s the episode.

So, a few thoughts to conclude. First, I went into this recap thinking I’d have a lot more to say about cancel culture and the way this episode handled the debate. But I ended up liking this plot—and this episode-- more the second time around. I still don’t think this episode said anything groundbreaking about cancel culture, because I don’t think it actually engaged with the topic beyond the surface. As I noted earlier, coming to the conclusion that jokes should be allowed because we’re all human isn’t really a resolution the real topic. What about accountability? What about allowing for some jokes to be too far without taking the teeth out of every joke? What about the way people panic over cancel culture when they’re not being canceled (this episode felt a little bit like a panic over cancel culture, which is why I reacted negatively to it the first time through) or about how cancellation doesn’t always stick or have meaning? There is SOMETHING to explore here, but I don’t think this episode found that something.  

Second, because I didn’t find a way to work it in above... is it me, or is it actually HELPING the show to not have Adrian or Lucca around!? This season feels so much more focused than the past several, and I think it might be because the writers (who are, as always, very good at adapting to curveballs) had to restructure the show. Lucca always had her own subplots that were separate from everything else, and Adrian’s charisma tended to overpower others’ presence (especially Liz’s) whenever he was in the room. It didn’t help that the writers seemed to LOVE writing Adrian plots, even if it meant neglecting others.  

Don’t get me wrong—I love Adrian and Lucca both. But there’s something to be said for a tighter show with three main interconnected pieces (Liz/firm drama, Diane/FBI and Kurt, Marissa/Wackner’s court) that carry over from episode to episode. Like the titles of the season, these episodes build on each other.  

Also, there’s the right amount of every character this season. David Lee is used sparingly; Jay and Julius are supporting players who sometimes get the spotlight; Wackner is a huge presence but his plot feels like part of the show; Carmen feels important but isn’t being given screentime for the sake of screentime; Liz is finally the type of lead she should’ve been from the start; Marissa has nicely grown into a role closer to leading than supporting; Diane remains a clear lead.  

The ATX stream started mid-sentence, meaning I missed the “Previously On... 2020...” title card and skipped right to Adrian saying “I’m retiring.” It was pretty easy to pick up on the device (the directness of the scenes at the start, their cadence, and their placement in the episode made it clear this was meant to mimic a Previously) but the second title card hit way harder because... well, I had no idea if this was meant to be 2020 or some moment outside of real time until a bit later in the episode.  

Man, before I get any farther into this, two things that I don’t know where else to put. First, this episode had to cover so much ground. They had to write out both Adrian and Lucca—more on that later--, figure out how to deal with all of 2020, figure out how to either wrap up or continue all the truncated season 4 plotlines, and set the stage for a new season... in 50 minutes.  

Second, just wanna shout out the Kings’ other Paramout+ show, Evil, which you should absolutely be watching even if you hate horror. Evil is a Kings show, so it is unsurprisingly topical (sometimes evil takes the form of racism or misogyny or Scott Rudin) and at times very, very funny. I would be recapping it if Paramount+ weren’t attacking me personally by airing it at the same time as TGF. Ever hear of too much of a good thing, people?! (On that note, I am VERY upset with myself for not having made a Good vs Evil joke about the Good shows and Evil. I didn’t even think about it until Robert King made the joke on Twitter, and it was right fucking there. How did I fail so miserably?!)  

So STR Laurie, who wants a 20% downsizing, is still a thing. Noted.

This scene with Landau is the only one in this previously that is actually old footage, right?  

Unexpected Margo Martindale! Yay! (Ruth Eastman is a character who is so much more effective on Fight than she was on Wife and I’m quite glad they’ve had her appear on Fight several times. It kind of redeems season seven. Kind of.)

I don’t think the writers intentionally chose for Adrian’s book deal to be with Simon & Schuster because it is the most politically fraught publisher (the number of stories about controversial memoirs they’ve picked up in 2021 alone...) but I kind of like that Adrian’s Road Not Taken involves S&S. My guess is they chose S&S because it is owned by ViacomCBS.  

“Years ago, I wanted to create a law firm run entirely by women, but it never worked out. So, why not now?” Diane says to Liz. One of the advantages of having twelve (!!!) seasons of Diane Lockhart is that we’ve seen what she’s talking about. And we’ve seen her put this idea forward multiple times, too. I have my reservations about Diane’s brand of feminism, and I’ll say more about how fraught a Diane/Liz firm would be as the show explores the potential issues there, but on the surface I’m kind of excited about the prospect of a Diane/Liz led firm. Diane has wanted this for ages, Liz is a good partner, and this actually makes sense (unlike the nonsensical Diane/Alicia alliance of late season seven, where the only rationale was “well, Alicia needs to betray Diane in the finale, but they’re not on good terms. So maybe we make them business partners so then the betrayal stings more?”). Plus I fully love that Diane would end up running a firm with Alicia’s law school rival.

(Has TGF mentioned that Liz and Alicia were law school rivals? No. Am I still clinging on to that as a large part of Liz’s character? ABSOLUTELY.)

Julius is on trial for Memo 618 reasons; Diane is defending him. So this is still happening. (There’s more old footage here.)  

Do they put these references to one/two party consent in these episodes as a wink at the fans? It has to be intentional. (Please do not ask me what the actual law is on this, this show has thoroughly confused me.)  

I knew Cush was filming stuff for TGF, but I didn’t know it was for the premiere. She was just posting about it a few weeks ago, so either they shot a lot of it right before air or she posted a while after filming. Anyway, yay Lucca!  

Bianca’s still around. And, TGF gets to shoot New York for New York, since Bianca is there. I do wish TGF could do more location shoots; there’s something about seeing an actual skyline that feels more real.  

Bianca wants Lucca, who has never been outside of the country (except to St. Lucia, as Bianca reminds her) to go to London and buy her a resort. It’s supposed to be a three week stay and Bianca’s already arranged childcare. Speaking of children, because of COVID and filming constraints, that’s Cush’s real kid in this scene! You can’t really see him, but I recognized his curly hair from Cush’s Instagram, and the Kings confirmed in an interview.  

Adrian wants to write a book about police brutality cases he’s worked on. Ruth very much does not want him to write that book. She wants him to write a book without substance about how white people and black people can work together. He, understandably, has no interest in writing this book. (Also, you can see in the background that Ruth doesn’t think Biden’s odds of winning the Democratic primary are good—there is a big down arrow next to his picture, which definitely dates this scene.)

Oh, David Lee is in this episode. He acts like an asshole towards Marissa when she’s trying to help him.  

Marissa, not happy with the lack of respect, calls Lucca for advice “for a friend.” Lucca mentions she’s in London and Marissa does not believe her and keeps going on and on about her frustrations and her new desire to become a lawyer—quickly.  

Marissa wanting to become a lawyer because she “hates being talked down to” is not a plot I would’ve expected but it’s also one that makes a lot of sense. I think Marissa’s used to being respected and praised even when she’s doing things that aren’t glamorous, so I see how she’d get very restless when she’s no longer outperforming expectations and is instead taken for granted.  

Bells toll in the background on Lucca’s side and Marissa asks where she is. Lucca again notes she’s in London and Marissa still doesn’t believe her.

I’m going to miss Lucca so much, especially since we’ll also be losing a lot of the Millennial Friendship scenes with her. Cush is fantastic (even if she never really got enough to do here) and she plays so well off of the rest of the cast. I even sometimes liked the writing for Maia (who?) when she had scenes with Lucca, Lucca is that good.  

Jay wakes up sweating and unable to breathe, so he deliriously calls his father-figure Adrian. This whole scene is shot like something out of Evil and (I’m getting ahead of myself here) this plot is the only thing about this episode I felt was a misstep.  

“I think you’re my father,” Jay says to Adrian. Heh, I didn’t catch this line the first time around (maybe subliminally I did, since I just called Adrian his father figure lol) but I love that it is included here. Adrian and Jay’s relationship definitely deserves a goodbye.

Adrian calls an ambulance and also gets to Jay before the ambulance somehow. Adrian notes that Jay might have “this thing from China” and... we’re doing the pandemic, y’all. (Minor nitpick: on March 13th, 2020, when this scene is dated, COVID was not “this thing from China”-- we were all aware of it. March 11th was the day Tom Hanks and Rita Wilson announced they’d tested positive and the NBA shut down and travel was restricted and every single brand that had my email sent me a message about their plans and measures. March 12th was the last time I was in my office, and we’d been getting emails telling us to wash our hands and prepare to work remotely for weeks. I went to San Francisco in mid-late February and distinctly remember deciding to leave a burrito unattended on a table while I washed my hands because I was paranoid about COVID... and then I remember making a specific trip to Walgreens to buy hand sanitizer so that didn’t happen again. My point is, Adrian lives in the same world I do. On March 13th 2020, he would not be treating COVID like it was some new thing he’d vaguely heard of.)  

(I am going to nitpick this timeline, but please know that I’m only doing it because I can, not because I think it’s necessarily a bad choice. Lines like this do feel a little forced, but I see the reason for introducing COVID as something new rather than going for the line that’s exactly historically accurate. I also am pretty sure there are references to dates in March/April in s4 of TGF that are now going to be contradicted by this episode, but I truly do not care. The writers get a pass on this one.)  

We skip slightly back in time to the beginning of March after the MARCH 13TH title card, or maybe this is supposed to be after March 13th and my own memories are preventing me from believing these face-to-face interactions were happening. Who knows.

Michael Bloomberg is... here, again, I guess? He asks Diane to assist with a Supreme Court case about gun control. I guess it does add some weight to the plot and make the stakes feel higher.  

Oh hey, this case is the 7x17 case!!!! Love that continuity.  

Diane and Adrian are both at the office late, working, and there is an unnecessary split screen that feels even more unnecessary when you consider that the editing alone was enough to create the parallel.  

Diane and Adrian have a nice convo (which I’ll really miss, their dynamic is great and this really feels like a successful partnership) as they wait for the elevator. When the elevator dings, they nearly tumble down into nothingness because... the elevator never came. Apparently this is a reference to an law old show I’ve never seen that killed off a character this way, and it’s meant to be a wink at how they are not going to kill off Adrian.

I do not know why I remember this, but I do: after they killed off Will, a critic (Noel Murray; I just googled to confirm my memory) who didn’t want to spoil things tweeted, “Exactly 23 years and 2 days ago, Rosalind Shays fell down an elevator shaft.” Please tell me why I remember this reference that I didn’t even understand well enough to have tracked down the original tweet in under a minute. (https://twitter.com/NoelMu/status/447942456827326464)  

Back on this show, Diane and Adrian share a drink and talk about their wishes. Diane wants to argue in front of the Supreme Court, and Adrian encourages her to speak up. His own near-death experience motivates him to trash the book Ruth has him writing, and Diane trashes the (bad) legal strategy someone else prepared for the Supreme Court.

DIANE IS WEARING JEANS!!!!!! Tbh, I think my favorite part of this episode is how many slice-of-life scenes and settings we get. These are always my favorite moments. I love the satirical and political stuff too, but the character moments are what get me invested enough to write these. (Yes, Diane in jeans constitutes a character moment.)  

Diane tells Bloomberg she wants to be involved and advocates for herself. Kurt gets a call on their landline (hahaha) from Adrian.

God, I love Diane and Kurt. Not only is their banter fun, you can just see a different, more relaxed side of Diane in these scenes. Diane tells Kurt she has good news for herself, but bad news for him since she’s arguing for gun control. She asks him to help her prep for court, too.  

So this is before Jay is rushed to the hospital, because now we are back at the hospital with Julius, Diane, and Marissa. I do not believe any of these people would be setting foot in a hospital like it’s any other day on March 13th, 2020. But I'm trying not to nitpick.

I get why they chose to give Jay a rather severe case of COVID. I just don’t get literally anything else that follows from the initial shock of Jay having COVID.  

I see why the writers chose March 20th (the actual Illinois stay at home order) as the next date for this timeline. I still do not believe that people were in this particular office on that date.  

You know what else I don’t believe? That RBL just shut down for two weeks and was like, no work is being done. Did law firms really do this? I can believe it if it’s an excuse to cost-cut, and I know there were massive layoffs, but this seems... really weird???  

Why are they setting up a teleconferencing infrastructure (didn’t they have one at LG? In season five?) if they are not planning to do work?  

Lol Diane explains what Zoom is, very slowly. She asks everyone to “download a program called Zoom.com” which is one of the first Zoom jokes I’ve chuckled at in a while.  

Marissa is not happy to hear that there’s no work for her in a work-remote world (this I believe 100%), so she calls Lucca again with more questions about law school.

Love these NYC and London location shots. Wish they could do that for Chicago.

Lucca asks Bianca to help get Marissa into a law school, fast, and Bianca tells Lucca to use her name... then offers her a job.

Marissa is at the office, alone, boxing up her things, when one of the office phones rings with some dude offering her a spot in a law school class. I guess we are really all-in on this! (Why would Lucca have given a firm phone number not specific to Marissa, though?)

Adrian and his corrupt girlfriend decide to shelter in place together. I still do not understand why he is okay with her being corrupt. I also don’t really understand why they’re going from talking about sheltering-in-place to George Floyd. How did we just skip from late March to late May? Are Adrian and corrupt gf having a conversation about sheltering-in-place two months into sheltering in place?  

Okay, I am not doing so good at this no-nitpicking thing. Again, I understand why they need to merge several scenes into one to keep things moving. And I guess they could just be getting around to this conversation.

I’m going to nitpick again, I can’t help myself. How did we just go from a scene of Adrian specifically talking about sheltering in place to a scene of Adrian bursting into a bustling and maskless DNC headquarters room? How!? The only masks in this scene are on TV!! There are like ten people in this scene!  

Anyway, more importantly, Adrian tells Ruth off and screams at her that she needs to listen to him instead of acting like she knows the way forward. He is completely right.  

Why is travel from London closing down in May 2020? Is it because this scene is supposed to be at a different place in the episode? Liz is asking Lucca to come back home from her three week stay in London (which has now lasted three months but travel is just now closing down), and Lucca’s hesitant to come home.

This is all happening via Zoom, btw. Lucca’s in her hotel, Diane and Adrian are at their respective homes, and Liz is in the office. All of this feels right. There is a chat off to the side of the screen where you can see Adrian and the others discussing how to unmute on Zoom. Very real. Though probably not very real in late May 2020. Feels more like April. I am convinced this scene got spliced in later to help the episode flow because everything in this scene (except the TV footage that definitely was added later) feels like it should be happening in the March section.  

Lucca mentions that Bianca offered her a job, and at this point we as viewers know how things are going to go—Lucca's going to end up taking it. Liz types in the Zoom chat that they don’t want to lose Lucca. When Lucca tells them how much Bianca’s offering ($500k/year, go Lucca!), Diane types “Shit.” into the chat. “Shit’s right,” Liz replies. “Yes... What should our counter be?” Diane replies. Lucca is kind enough to point out the messages are not private (again, this feels like March not May) but I think knowing that their reaction to topping $500k is “shit” tells her all she needs to know.  

Diane’s background still says that RBL is a division of STR Laurie. Weird how little we are hearing about the overlords except the 20% staff cut.  

Liz and Adrian chat and decide the only way to keep Lucca is to make her a partner. Which, yeah, if you’d just made her a partner years ago when you told her she was in the running for partner and then offered it to fucking MAIA, maybe she wouldn’t be considering Bianca’s offer. Lucca is definitely one of RBL’s stars, and I don’t think she’s wrong to feel like they don’t value her enough. They treat her well enough to be upset about losing her, but not well enough to have already made her partner and not well enough to actually give her authority (even though she runs a whole department). I’d be pretty unhappy too. It kind of feels sometimes like they take her for granted, and I don’t know that Lucca is one to feel like she owes a company anything. She’s more of an “I’m out for myself” type.  

Madeline and the other partner we’ve seen a few times who isn’t Liz/Diane/Adrian, walk into the office (wearing masks! Which they take off as soon as they enter a room with Liz! Without asking her if she is okay with this! TV logic!) and ask who is replacing Adrian. They think this is a good time to reevaluate having a white name partner of an African American firm, and they are spot on. Liz tries to deflect, noting that Diane is already a name partner and was before Liz even joined, but Madeline and other partner (whose name I really wish they would say so I can stop calling him “other partner”) won’t let up. Their position is that Diane shouldn’t have been made a name partner then—all she did was bring in ChumHum, an account that quickly left the firm. Good point.  

“What is this firm if it’s not African American? It’s just another midsized all-service Midwestern law firm, one of 50,” Madeline argues. The other partner says Liz needs to remove Diane and promote two African Americans to name partner. Liz laughs and asks if they mean themselves. Madeline does not—she's concerned about the number of black associates they’re letting go. Liz heads out, but this conversation is very much ongoing.

And I think it’s a very interesting dilemma! There’s a lot of mileage the writers can get out of this, because I don’t think there’s a right answer or a wrong one. It’s all about what Liz decides she wants the future of the firm to be. If Liz chooses Diane, she might be choosing something that works for her personally or that she thinks is a safer financial bet—but she’ll be choosing to work at a firm that can no longer be thought of as a black firm, and she’ll be choosing to move away from her father’s vision for the firm. And since the plot hinges on what Liz will decide rather than what’s objectively the right path forward, there’s a lot of interesting tension there I can’t wait to see.  

(My favorite thing about Adrian leaving is that Liz will likely get more to do, especially when it comes to managing the firm. Adrian tends to speak up first, but Liz is more than capable of managing without him and I’m so excited to see what she does when her ex-husband isn’t constantly talking over her.)  

Marissa and Lucca video chat with Jay. He’s still in the hospital. One thing that bugs me about how this episode handles COVID is that I never really get the sense that any of the characters are particularly afraid of the virus. Maybe none of them were. But you’d think you’d see a little of that fear, the weird dance of trying to assess others’ comfort levels with masking, etc., in an ep specifically about living through this time. ESPECIALLY since someone they all know and are close to has been hospitalized for MONTHS with this thing! It’s just so weird to go from a scene where people wear masks until they come in contact with other people (when masks matter the most) to a scene of someone in the hospital with COVID.  

And now Jay’s weird hallucinations start as his battery dies on the video chat. I really, truly, hated these hallucinations. I was ready to be done with these from the second they started. They’re weirdly shot, they go on for too long, and they feel like the clunkiest parts of Mind’s Eye when Alicia starts having a debate in her mind about atheism mixed with the (far superior) hospital episode of Evil.  

I don’t have much to say about these hallucinations except that I hated them a lot. When there’s the reveal that Jay is hallucinating a commerical, I almost came around on the hallucinations because that’s kind of funny and inspired. And then several more hallucinations popped up and they had a round table and Jesus got added to the mix and I was like, nope, this is bad in a very uninteresting way. I reject this.  

I feel like the Kings didn’t have much to say about COVID, the actual virus. This episode is definitely more about what the characters’ lives were like during COVID and not the pandemic itself. I think they likely got a lot of their COVID commentary out of their system with their zombie COVID show The Bite (I have not seen The Bite due to it airing on Spectrum On Demand, which I have no way of accessing. Like, I would have to move and then decide to pay for cable in order to watch it.) I also suspect a lot of their commentary on COVID isn’t going to be specific to the virus and is instead going to be about things like mask-wearing and vaccinations becoming political. And, really, that’s just a new variation on talking about polarization... and they’ve been talking about polarization for years.

In fact, they even wrote a whole series about an outbreak of a (space-bug-spread) virus that caused political polarization before Trump was even elected. BrainDead is basically commentary on the pandemic before the pandemic even happened. Soooooo I get why they are more interested in recapping 2020 than in doing a Very Special Episode about themes they’ve been talking about for years. (I still think they would’ve benefitted from at least one character being afraid of getting sick or getting their family sick.)  

There is likely some interesting content in these Jay hallucinations. I hate them so much I cannot find it. You know when you’re just on a completely different wavelength than the writers? This is an example of that.  

Also I’m not a fan of the shadowy directing. I think this is meant to look cooler than it does.  

Have I mentioned yet that I absolutely love the “Previously On” device for this episode? It’s such a fun, propulsive way to get through the slog of 2020. Scenes can be short and to the point, and each scene has to do a lot of lifting to fill in the gaps. I think that leads to scenes that are better constructed and telling on lots of levels—where are people when they’re quarantined? Who’s wearing casual clothes and when? What about this scene defines this character’s life at that moment in time?  

Bizarrely, even though this episode is pretty much all plot (this happens! Then that!), I actually found this to be one of the most character-driven episodes TGF has ever done. There’s a lot of story, but most of that story is about how the characters reacted to 2020 rather than overarching plots that will weigh on the rest of the season. This episode covers a lot of ground, but it does it with character moments that resonate.  

Now it’s July and Diane’s prepping to argue in front of the Supreme Court. Kurt’s helping her witness prep and it gets a little personal... and that ends up turning Diane on. Good to see McHart hasn’t lost its spark. (Remember how Kurt cheated on Diane in season 7 of Wife? No, me neither, because that never happened.)  

Corrupt judge is back. Adrian playfully tries to distract her from work. Then he takes a video call from Liz, who updates him on the conversation she had with John (so that’s his name) and Madeline. I guess that part of May was close to July? Anyway, Adrian isn’t surprised to hear that people are upset at the prospect of Diane being one of two name partners.  

Liz is at the office in workout clothes and I love it!

They’re losing 15 black associates (and Adrian and Lucca) and 4 white ones, Liz says. This sounds like a very big problem. (I’d be curious to know what that is as a percentage of the firm and how the racial composition shifts.)

Liz knows it’s not exactly up to her if Diane stays on as name partner (the other partners get a vote, but I think Liz knows she has a lot of sway here). She’s also wondering if Biden could win, and if so, would it be to the firm’s advantage to be black-owned? Interesting.  

“Well. If you’re thinking it, then Diane’s thinking it, too,” Adrian says. He’s right. “White guilt. It runs verrrrry deep on that one, huh?” Ha. He is right about that, too. I actually can’t decide which of these interpretations is correct, because it could be either even though they seem contradictory. (1) Is Adrian saying it with a hint of mockery because he knows Diane will fight for her partnership even as she would say she’s a huge supporter of black businesses? (2) Is he saying it because he knows Diane would have enough white guilt to realize what her presence as a partner means and think through the implications? I think it is, somehow, a combination. I’m interested in this line because this whole dilemma (from Diane’s POV) is something that’s very familiar. Diane’s always been an idealist who will betray her ideals for personal gain. That sounds like an attack, but I mean that as neutrally as I possibly can. There are so many examples of this that this is kind of just a character trait of hers at this point. Usually those ideals are about feminism, but this situation seems closely related.  

Adrian overhears Corrupt GF talking about Julius, Diane, and Memo 618. You would think she would wait to have this conversation until there is no chance of Adrian overhearing, because if Adrian overhears, he might...

... do exactly what he proceeds to do and hop into a car with Diane to give her a heads up. (I think I’m just going to have to accept that the mask usage rule on this episode is “we use masks to show that the characters would wear them, but we don’t want to have scenes where characters are fully masked because that’s annoying.” If that’s not the rule, then why else would Adrian be masked outside... and then take off his mask as soon as he gets into a confined indoor space with Diane?  

Baranski looks ESPECIALLY like Taylor Swift in this scene.  

Adrian tells Diane what he knows. He dug deeper after overhearing Charlotte, so he has even more info. “If you tell me, I will use it,” Diane warns. Adrian knows that, so he takes a moment to decide. And he decides that he cares more about Diane and Julius than about his relationship with a corrupt judge.  

Diane and Julius are masked in court. Visitor and the judge are not. They use masking in a clever way in this scene: Diane uses being masked to her advantage because it means no one can possibly read her lips, so she can use the info Adrian fed her against Charlotte without any fear of spies. Charlotte, who is unmasked, guards her lips with a folder, as the Visitor watches interestedly.  

Diane convinces Charlotte to recuse herself. Charlotte says she’s making a mistake; Diane does not care.  

The new judge is, unfortunately, the idiot who doesn’t know anything about the law. Uh oh.

Charlotte decides she’s done sheltering in place with Adrian. He tries to talk through the conflict, but Charlotte says “You made your choice, Adrian. Julius Cain over me.”

“The choice was about right and wrong, Charlotte,” Adrian tries to explain. I mean, yeah, but if you’re dating a judge who has admitted she’s totally corrupt, didn’t right and wrong go out the window a while ago?

Adrian seems to think the other people involved in the events are bad and Charlotte is good. I am not convinced. I don’t think she’s the big bad, but I don’t think she’s good.  

Charlotte points out that he invaded her privacy. She is right about that. “You said the choice was between right and wrong. Turning over my emails was the choice,” she said. I get her POV. But also, she is corrupt.  

I do not like the way the part of the scene where Adrian physically restrains Charlotte to keep her from leaving is shot. I don’t think this is an abusive scene but I think it should’ve been shot from a little farther back so we could see it’s more like Adrian reaching out in desperation than trying to choke Charlotte. Because it very much looks like he is trying to choke Charlotte.  

He tells Charlotte he loves her. She says it’s too late and leaves. “Maybe you won’t be with me. But you keep down this path... you’ll be done, I’m telling you, you’ll be done.”

I think something that I’ve been missing in these interactions is that I didn’t quite realize until this scene that the Adrian/Charlotte dynamic is more interesting than Adrian liking a corrupt judge. I think he truly believes Charlotte is a good person who got caught up in some bad stuff, and that she can bounce back from it. I’ve always seen Charlotte as someone who is corrupt for herself and then ended up going along with the corruption of others, too, so I’ve dismissed her and the relationship. This is the first scene that has felt real to me, and the first scene where she’s felt like more than a caricature. Kind of sad it’s the last she’ll get with Adrian—now I’m actually starting to find her interesting. Notice how in these last few sentences I’ve used her name instead of “Corrupt GF”!  

Charlotte says she loved Adrian too, but that’s not enough. Awww.

He can’t really be surprised though, can he?  

Now it is August and we get to see Diane and Liz react to the announcement of Kamala Harris as Biden’s VP pick, and I would like to thank the writers for giving me the opportunity to see Diane and Liz react to this. It’s kind of fan-service, but it’s also a nice tie-in to the girl-power theme of the Diane/Liz alliance.

Diane and Liz realize that Adrian’s probably not a good candidate for 2024 if the DNC only wants one black candidate and Harris is the clear front-runner. Liz suggests keeping him on as partner instead, in a way that very much implies this would be her ideal solution. Diane, being Diane, says she was liking the idea of an all-female firm. Liz hesitantly says she was too, and Diane senses the hesitation.

“Let’s look again at which associates to fire. I’m worried we’re losing too many African Americans,” Diane switches the subject. How have they still not made this decision? If any employees know downsizing is coming, and they’ve had months to act on it, assuming there are jobs elsewhere, people would’ve been jumping ship by now.  

But that’s not the point of this scene. The point of this scene is that Liz corrects Diane: “Black. You can just say Black people.” Very nice moment underlining the tension. Diane means well, but she’s still acting like a white lady who doesn’t know how to act around black people... and she wants to (and, I guess, already does) run a black firm. Major yikes.  

Marissa and Lucca are talking again. Marissa does not want to be in law school—she just wants to be a lawyer. Lucca won’t accept Marissa’s refusal to memorize meaningless rules: “Marissa. I know that you know how to play the game, but you have to pass the bar to get into a position to play the game.” Why does this line make me love Lucca? This line isn’t even anything amazing. It’s just a line that cuts through the bullshit and makes a good point.  

Marissa keeps going, insulting all of her peers and teachers, and Lucca figures out how to cut through that, too: she tells Marissa that she’d hire her as a lawyer if she killed someone, but only if Marissa passes the bar. Marissa is instantly intrigued.  

“Why are you leaving here? I’ll miss you,” Marissa says.  

“Because they won’t pay me what I deserve,” Lucca says in a matter-of-fact tone. “Anyway, I thought they fired you.”  

“But they didn’t mean it. It’s like the smoothie place—they kept trying to fire me and I just kept showing up,” Marissa replies. That checks out. (Love the callback!)  

Lucca tries to get Marissa to come over to England. Marissa shuts that down as Lucca gets a news alert—and it’s not good news.  

Our next date is September 18th, 2020 and I will get my nitpicks out of the way up front! I don’t really know why it is daytime for Lucca when she reads the news, considering it was already the evening in the States when the RBG news broke. And, also, it was Rosh Hashanah, so Marissa probably would not have been sitting in her bedroom studying... she most likely would’ve been with family or friends. OK I’M DONE. FOR NOW.  

Diane is getting ready for her arguments in front of the Supreme Court. It’s almost time! She’s in casual clothes but has on a wonderful mask. She’s standing in front of Kurt’s guns to make a point (love that she’s using her video call background to her advantage) and there are several people in her bedroom getting the tech all set up. I have noted before that they only built one set for Diane’s apartment, and it’s just a massive bedroom. Diane choosing to be in front of the guns does a nice job of cutting off my question about why she’d be arguing in front of the Supreme Court from her bedroom rather than the home office she absolutely would have.  

Kurt walks in and tries to shake hands... he’s clearly not very COVID paranoid, and Diane seems to be, and... that’s something I might have wanted to see? How was Diane okay with Kurt taking risks that also affected her?

Diane confirms she intentionally chose to stand in front of the guns. That’s when Kurt gets the push notification. He pulls Diane into the bathroom to show her the news. He hands her his phone and Diane’s face falls. She starts tearing up. “2020 just won’t let go,” she says, speaking for us all.

Normally I hate things that are like, we’re going to contrive this so the news hits at the worst possible moment! This works for me, because the Supreme Court plot for Diane feels more like something that exists to be a through line for the episode. It would also be a little hard to work in RBG’s death as a main plot point—and it is definitely important enough to be a main plotpoint—if it didn’t also affect something in the world of the show.  

Also, another reason I like this contrivance is that it makes it all the more powerful when Diane says, “It’s over. He gets to nominate someone. Another Kavanaugh! We’ll have a conservative court for the next 20 years. My whole fucking life!” She’s not thinking about how this affects her case (and that case is basically a life-long dream for her). She is thinking about way bigger things, and knowing that her mind goes to the bigger things before the personal with news like this really underlines how big of a deal RBG’s death was.  

Diane tells Kurt, “I don’t deserve you. You don’t agree with me.” “I can still feel bad for you,” he responds. He holds her while she cries.

Jay’s hallucination thing is back. Now Karl Marx is here. So is Jesus. I’m so done with this. It’s nice to get a break from writing.

Malcolm X is also on the roundtable and now they’re talking over each other in that way that everyone on this show always does. (RK gave an interview about Evil where he said he likes having the children on that show talk over each other because he grew up in a household like that. I did not need to read that interview to understand that RK likes scenes where people talk over each other.)  

If anything happened in those hallucinations, I missed it, because I didn’t pause the episode. Because I do not care about the hallucinations. Because I hate them.

Now it’s November 2020... Diane’s watching election results and rocking back and forth. She tells Kurt he can go watch Fox News in the other room (so they do have more than one room!). He says he’s fine—he thinks Diane needs it more.  

“Yes, but Kurt, if you stay, I know this isn’t sensible, but... Trump seems to get more votes whenever you’re sitting on this couch,” Diane tells him. Ha, I relate to this kind of superstition so hard. “Are you serious?” Kurt says. “I am so deathly serious,” Diane responds. “Whenever you’re sitting here, Arizona goes for Trump. Humor me, please. Just go in the other room.”  

When Kurt tries to kiss her, she pulls away: “No, no, no. No kiss. If you kiss me, we’ll lose Georgia.” This scene feels so, so real and perfectly captures what it was like (at least for me, though I don’t have a Republican husband or anything) watching election results come in.  

“Uh, if you lose, we’ll be fine, right?” Kurt asks. “Kurt, let me just say this. I’m only saying that we won’t be fine so that the universe will grant me a win,” Diane responds. This scene is so fun and so good! It simultaneously captures a relatable mood, adds some levity, gives us a window into Diane’s life, and shows some of the tensions in her marriage?! I want this all the time!  

Kurt leaves the room. Diane pours more wine.

Later, with Diane still rocking back and forth with anxiety (just you wait for the several more days this will drag on!), Kurt brings in the champagne. “That was for when Hillary won. I can only drink it if Biden wins,” Diane protests. Did I also refuse to drink any celebratory alcohol until things were absolutely certain? No comment.  

“It’s odd you progressives resisted religion. You seem to have a hundred religions to take its place,” Kurt says, speaking on behalf of the writers’ room. (This joke doesn’t get written if the writers don’t believe this and probably even see it in themselves.)  

“Go away, Trump. I mean Kurt,” she shoos him away. Have I mentioned yet I love this scene?  

“Love me even if you lose?” he jokes (though I do wonder if this isn’t that joking? I think it is, but he keeps saying it!) as Diane gestures at him to get out.  

I could do without the joke about Diane’s heart on the TV for a couple reasons. One, it goes on too long. Two, I was very worried something would actually happen to Diane. You’d think that would make the scene feel more tense, but it does not, because it takes me out of the moment.

“Ok, God. You know I don’t believe in you. But I will believe in you if Joe Biden wins. I’m sorry. I know that that’s not what Jesus taught. There’s nothing in the New Testament that says, ‘Believe in me, and I’ll make sure your candidate wins,’ but I need Joe Biden to win. I’m sorry, God, but I just do. I need some faith.” This is a little much but... yeah. Also, is this the first time Diane’s flat out said she’s an atheist? I think it is, though I’ve assumed as much for quite a while.  

The next day in court, masks are no longer required if you’re a series regular and votes are still being counted. I remember those days. Marissa thought Diane was checking in on Jay... Diane was not. She was checking on vote counts.  

Apparently Jay’s finally being released from the hospital!

Bad news for Julius—the idiot judge finds him guilty of some nonsense charge and sentences him to seven years in prison.  

Diane says not to worry, and Julius asks “Why not?” Good point.

Then we have election results! We skip, specifically, to December 14th and the electoral college vote. I’m a little sad we skipped over the huge party that was November 7th, but I get why they’d rather keep things moving along. I think showing November 7th in an uncomplicated way would’ve just been too close to fanservice. But, man, what a day.  

Diane, in a red hoodie with leopard print that she somehow manages to still look classy in, is ready to pop champagne. Then she hears that on January 6th, a joint session of Congress will count the electoral votes and there might be a debate. “Nope. If I open it now, something bad will happen,” she reasons. “I’ve waited four years. I can wait another few weeks.”

It’s been almost a year and they’re still somehow negotiating with Lucca, but I understand why they’d space this out across the episode. Otherwise we’d have to say goodbye to Lucca in the first like, 15 mins of the episode and all those scenes would be in a row. I can forgive (and still nitpick) choices like this when the reasoning behind them seems sound.  

Adrian says they don’t want to lose Lucca. He, Liz, and Diane are all in the conference room, and they ask Lucca for a yes or no on their latest offer by the end of the call. Diane offers Lucca partner—she'll be the youngest partner in the firm’s history—and she’ll get a $500,000/year salary. Adrian tries to sell her on being part of American history by being part of the firm.

“We are a black firm, Lucca, and we need you,” Liz says with a lot of passion for someone who knows she might very well partner with Diane. Diane looks at Liz with a bit of suspicion at this, wondering if Liz is showing her cards.  

Lucca manages to make the wifi malfunction (or she gets very lucky) and uses the disconnection to call Bianca for a counteroffer, even though they said they needed a yes or no on the spot.  

“They used George Floyd because they want you for less. They have never appreciated you as much as I do. All those scars, all that time being taken for granted and undervalued has made you a fighter. It’s made you someone I now want,” Bianca tells Lucca. She gives Lucca a counter offer of $1.3 million and the title of CFO. Lucca takes it. Is there really another choice? (If she were concerned about loyalty to the firm and the partnership was what she wanted, she probably would've just taken it.)  

(Also, the partners can’t really act like Lucca is making history by being the youngest partner ever when they passed her over for partner two years earlier and offered it to Maia! To MAIA! Who had like three years of work experience! And yes I was fine with Alicia and Cary getting partnership offers with four years but, one, that was a scam, and two, Alicia and Cary actually worked. Oh, I see I still hate Maia with a passion. Back to THIS season...)

Lucca apologetically informs Marissa she’s leaving and the offer was just too good to turn down. I believe it. I also believe Lucca wants that job more. What has loyalty to RBL gotten her? She's someone so talented and good at her job that she just gets job offers from acquaintances all the time (starting with Alicia!). RBL appreciates her, but just enough to appease her while still undervaluing her. I don’t know that I would’ve believed a plot where Lucca actively job hunts, but I definitely believe this.

“Marissa, we don’t have to work together to be friends,” Lucca tells Marissa. I’m going to miss this so much. Why is this the best material Lucca’s gotten in ages?! I think one of the things that makes Lucca such a great character is that you can see why everyone instantly wants her on their team. She’s a fantastic friend (without giving too much of herself), she’s not a pushover, and she is incredibly sharp and able to get to the heart of any situation. I love her and I’m sad we won’t get to see more of her.  

(On that bit about friendship—I can’t write about Lucca’s departure without writing about the moment I realized just how great of a character Lucca was. It was in 7x13, when Alicia has her breakdown that’s seven seasons in the making... and Lucca supports her. But the writing, and Cush’s performance, never make it feel like Lucca exists to be a part of Alicia’s story. Lucca seems like her own fully formed person who happens to be supporting Alicia at this moment. I don’t think I can overstate how tough of a task it is to get me to care about the other person in a pivotal Alicia scene, especially when that other person was added to the cast in the final season and many suspected she’d just be a replacement for a different beloved character! Anyway, Lucca’s been great for years, and I’ll miss her.)  

Just when I thought I couldn’t hate the hallucinations more, we get a hint that they are going to continue: Jay sees one right after he learns that Marissa’s used her quarantine to start law school and he’s done nothing.  

Jay says he carries a gun now and it’s “performative.” I have no idea what that means and Marissa and Lucca don’t seem to, either.  

Another thing I like about Lucca’s final scene is that it isn’t rushed. We have time for all that, and also for Lucca to tell Marissa about the time she stole her breakfast sandwich, and for Marissa to react to it, and for Marissa to find Lucca’s Birkin bag, and for Lucca to tell Marissa to keep it, and for Marissa to react to that, and for Lucca to sappily say “think of me when you use it,” and for Marissa to nonsensically reply, “you think of me when I use it,” and there’s still a little bit more of the scene after that!  

Marissa’s silly line makes Lucca tear up. “God, I’m gonna miss you guys,” she says. “I’m gonna miss this. You make me smile. I didn’t smile much before you guys.” Awwwwwww. This is also so true to character! Her friendship with Alicia aside, Lucca’s definitely said before she’s not one to have friends (which is hilarious because she is, as I've said like 100 times, a fantastic friend and also just like, the coolest person??? Who wouldn’t want to be HER friend?!).  

She says she has to go because she’s getting too emotional and says goodbye. She’s also super sappy and when Marissa says, “you were the best,” she responds that they were the best TOGETHER! Awwwwwww.  

What a nice, fitting goodbye for Lucca. There’s no bad blood or fireworks—she just makes a change like a lot of people do. I’d like to think she’ll still be friends with Marissa and Jay after this. I don’t want too many Lucca references in future episodes, but I would really like it if we see Marissa and Jay update each other on the latest from Lucca, or if a scene begins with Marissa closing out an Instagram post from Lucca of her kid, or something. I wouldn’t want clues about what Lucca’s up to, but I’d love to see that she’s still a part of Marissa and Jay’s lives.

Now it is January 6th. Liz, Adrian, and Diane sit on the floor of the mostly empty office, watching TV coverage and drinking. It’s so relaxed it’s almost surreal, and it, like many other moments in this episode, feels like a slice of life. Everyone’s dressed casually and no one is worried about appearances or looking like the boss.  

“God, have you ever seen anything like it. It’s so fucked,” Diane says. Adrian’s more optimistic—the courts rejected most of the challenges to election results! “System worked,” he says. “Yay.” Liz says in response. She’s not as optimistic as he is.  

“Liz. Liz. Sometimes when things work out, there is no parade. There’s no congratulations, but I’ll tell you this: We live to fight another day,” he explains to her even though she makes a good point that a system just barely hanging on doesn’t bode well for the future. (She doesn’t say all this, but that’s a very loaded, “Yay.”)  

“Yeah? Then why are you leaving the law?” Liz asks. Diane seconds to the question.

Adrian announces he’s still retiring—and he’s moving to Atlanta. He wants to go to the south to help “create and consolidate political power.” He’s excited to start over and inspired by Georgia going blue. This is a very nice exit for Adrian. I fully believe that he’s interested in political organizing, that he’d be good at it, and that he’s ready for a change. I don’t think he’s always the most progressive person (of the three in this scene, Liz is absolutely the most progressive one, though Diane probably thinks she is!), but I absolutely think he thinks of himself as an activist and I believe that if he’s going to step away from the law, he’d do so to make a move like this.  

Adrian—and Lucca, but especially Adrian—probably both got better exits thanks to the events of 2020. If Adrian had just left to be groomed by the DNC, that would’ve been a predictable and boring ending for him. His candidacy would, obviously, go nowhere, and the whole thing felt weird from the minute it was introduced. But this? Adrian being energized—like so many others were—by the ways the world changed in 2020 and using his already announced departure from the firm and recent breakup as a chance to start over and make change? This is great!  

Adrian asks Liz and Diane what’s next for them. Liz says that she thinks the Biden admin will be better for black businesses. Adrian asks if they’re replacing him, and Diane says, “I think the big question is, are you replacing me?” She’s smart. I like how this scene goes from friendly to tense very fast, with everyone kind of testing the waters. Adrian tries to force the conversation, Liz opens with something vague yet pointed, and Diane speaks what’s previously been unspoken.

Liz says it’s not her intention to push Diane out. “I can’t change the color of my skin,” Diane replies. “I know,” Liz laughs. Audra’s delivery is fantastic on that line.  

“Hey, I’m gonna fight for my partnership,” Diane says. “I know,” Liz says. The tone of this scene is so different from previous partnership drama on these shows and I’m excited about it. This is just a bunch of adults talking about business decisions with each other and treating each other as equals?? It's not backstabbing?? Or drama?? No one is hiding things?? It’s refreshing and I hope this plot stays like this. We’ve done so much partnership drama that I think drama that stems from a real, pressing question that has no easy answers and isn’t anyone’s fault is going to be much more fruitful for the show.  

Adrian heads out—ah, I see now this scene is set in his empty office and this is why they are on the floor—and gets a nice last moment with Diane. And then they give him a last moment with Liz, which I knew they would but was still glad to see.  

Liz asks if he knows what he’s doing—he says he’s not sure.

Adrian asks if Liz knows where she stands regarding Diane. “It’s going to be interesting,” Liz says. I don’t think she’s decided what she’s going to do yet.

It wouldn’t be an Adrian and Liz scene if Adrian didn’t have some unsolicited advice. “Diane’s a terrific lawyer, but this firm belongs to you.  Your dad built it. He did, Liz. Despite all his faults. You got to run this place the way you want. This is a black firm. And after today, the world needs black firms. You got me?” He tells Liz. He makes it seem like Liz gets the choice and then tells her what to do. She says, “I got it,” signaling she understood him but not that she necessarily agrees.  

I cannot wait to see what Liz does next!!!!!!! About this but just in general!!!!! Without Adrian there giving her constant advice I feel like she can grow so much and the show will have to give her more to do!!! I think Adrian, for all his many wonderful qualities and all he brought to the show, can suck all the air out of a room with his charisma, and Liz usually ends up suffering as a result. She’s such a capable lawyer in her own right, but Adrian has a way of making it always seem like he’s right—even in arguments she wins. I’m excited to see Liz lead (or stumble at leadership; she is fairly new to management) without Adrian’s direct influence.  

Liz walks Adrian out and it’s cute. They run into Marissa and Jay. “Everybody fun is leaving,” Marissa notes. Liz is minorly offended, but playfully. Heh.

Adrian asks Jay how he’s doing; Jay says he’s a long-hauler but he’s doing okay. I like that they included that moment in Adrian’s goodbye sequence. It’s a very little thing, but it underlines that Adrian cares about Jay.  

Then Liz interrupts to note that Trump pardoned a lot of convicted and corrupt Republican officials....... including Julius.  

Everyone celebrates, but especially Diane and Marissa. Diane lets out her wonderful laugh and then we, finally, get to the credits. Because now that the previouslies are over, it’s time for the real show.

The credits are absolutely delightful, btw. I was a little worried some of the kittens would blow up, though! Once I relaxed and realized what they were up to—literal puppies and kittens because Biden won—I couldn’t get enough of these credits. They work so well because they accurately capture the way I (and all of these characters, except maybe Julius and Kurt) feel about the election results, but it’s so exaggerated that you know the kittens and puppies aren’t a realistic representation of our new reality. They’re just too good to be true, but you may as well enjoy them for a minute. I’m sure we’ll be back to exploding vases next week.

What a great episode! My timeline nitpicks and whatever they’re trying to do with Jay aside, I was blown away by how well the writers managed to move on from season 4, tie up loose ends, and write out two main characters. And they did it all while making me revisit the events of 2020, a year I don’t think many of us want to spend much time thinking about! This episode was enjoyable, fun, emotional, and clever. I don’t know what to expect from the rest of the season, but I’m definitely excited about the show in a way I haven’t really been in quite some time.  

This season’s naming convention seems to be titles that end with ... and only have the first word capitalized. I want to see more. 

Season FIVE? There have already been as many TGF seasons as there were TGW seasons prior to Hitting the Fan?! Time flies. 

Please writers: No topical episodes this year-- no pee tape, no Melania divorce, no Epstein. None of that business. 

When Robert King tweeted the episode title, I asked him if all the titles this season were adding up to one long sentence/story, hoping he’d confirm it and give a little more information. He did! He said it’s “in the Farmer in the Dell mode” and while I think I get what he’s saying, I’m very curious to see how it plays out. Haven’t been able to track down 5x04′s title yet, but the promo is out. (As of this morning! It’s interesting they’re not putting them after the episode this year; I kind of like it.) 

Kurt’s job is up in the air given the new administration. I think this scene exists mostly just to remind us where Kurt works and the stakes.

What month is this supposed to be in? The transition seems recent but no one is wearing masks.  

Kurt spots a poster asking for help ID’ing people at the Capitol on January 6th. He thinks he recognizes someone...

And now we’re in case of the week land. This case is about a small business owner whose business went under after someone created fake news articles accusing him of pedophilia.  

I think the whole point of this (kind of long) scene is to show that this case is a pretty small deal. Low stakes, inexperienced opposing lawyer. (Not even sure why Liz would be arguing this in court, but whatever.)

Tbh I thought this was going to wind up in 9 ¾ court.

Now that we have junior level characters, we get scenes showing that there are, in fact, people at RBL who are mid-level. Liz asks an associate to work on something, he asks another associate to work on it, she delegates to other associates, and they delegate to Marissa and Carmen. This work seems terrible.  

It’s so funny to me how this is probably more realistic than most of the lawyering on the show and yet it only shows up selectively. We only see the hierarchy here to make it clear that Marissa and Carmen are at the bottom.  

David Lee interrupts and asks for Carmen. He’s very rude to her. Interestingly, she’s hesitant to leave her grunt work and follow David, even though she must know he outranks the associate who gave her the grunt work.

“Why am I supposed to know you?” David asks her as they walk through the halls. “I don’t know if you are,” Carmen responds. “Why does Benjamin Dafoe know you?” he asks. She doesn’t know who he is.  

“Who are you?” Dafoe asks when Carmen enters. She states her name, again. “Why are you important?” he asks. “I don’t think that I am,” Carmen responds.  

Then Dafoe says his top client, and it’s a name that the characters all know. I’m glad this scene is free of any “he’s the white OJ” expository lines (that’s from Sweeney’s introduction) -- it’s clear from the reactions and the discussion of police and rape that the top client is a bad guy, probably a rapist. The rapist wants Carmen to represent him.

Putting 2 and 2 together, Carmen asks if the rapist knows Rivi. He’s not, but he’s at the same prison. As soon as Carmen says she’s representing Rivi, David Lee switches gears, understanding the situation and trying to sign the new business. He’s so shameless!  

Marissa sorts ALL the papers. There are a LOT of papers. I’m swamped. Look at all this paper.

She catches the associate who assigned her the task leaving for the night just as she finishes up, and cheerfully notes she’s finished the task. Then the associate mentions this was only half of the bills. Marissa does not like that. Since her goal in wanting to be a lawyer is mostly just to give her something exciting to do and earn respect... this hierarchy thing is not going so well.

Marissa decides that after her rough day, she’s going to stop by Wackner’s court. He’s in the middle of a case about Emily in Paris fanfiction and he’s very happy to see Marissa.  

Wackner’s night court has a program—it notes the sponsor is Copy Co-op (I thought it was Copy Coop?) and the paper products were also provided by them. And “there will be regular intermissions at the discretion of Judge Wackner.” It’s very theatrical.  

Wackner takes a recess and calls Marissa to his “chambers.” He asks for her thoughts on the case. “All they want is attention and to feel like they’ve won,” Marissa notes. Wackner’s on the same wave length and compares it to the Scarecrow’s diploma at the end of The Wizard of Oz. So, he makes copyright certificates and some minor modifications to each of the fanfic books. They say “I respect you and I love you” and that’s that.

Wackner catches Marissa before she leaves and asks her to be his law clerk—part time or full time, 10% of all the legal filings and unlimited use of copy machines. She is hesitant because she “doesn’t even know what this is.”

Wackner says his court is “the future.” Marissa turns him down; notes she wants to pass the bar. “You know why all these people are here? ‘Cause the courts and the lawyers and the appeals have made justice... unattainable. Out of reach. To anyone who doesn’t have a shitload of money to wait it out. That’s why Exxon beats out Mr. Nobody. Read Kafka’s Before the Law.”  

I just read it, and you should too! It literally is a page, but tl;dr, there’s a man who wants to get to the law and instead he spends his whole life trying to win over the first of many gatekeepers on the path to the law. He never gets through the gate.  

“Justice is only just if it’s available to everyone,” Wackner says. Marissa thinks about that.

As I said last week, it’s smart that Wackner makes so much sense. Hearing him say all this, knowing that it’s true... it makes it very easy to get on board with the thought experiment. Of course there would be huge repercussions to this kind of system, but it makes so much sense it’s compelling TV!

Kurt’s showering when Diane gets home, which gives her time to stumble across the WANTED poster and notice that Kurt has drawn facial hair onto one of the pictures. “Who is this?” she asks him. “No one,” he says. “Well, you drew in a beard and a moustache on him,” Diane notes. Kurt says he was doodling, but Diane calls him out as he is the “exact opposite of a doodler.” Kurt says he thought it was someone he knew, but he’s not sure. Diane pushes him to tell the feds. Kurt reiterates he’s not sure, but it’s someone he went shooting with. “Oh my God, then it’s him,” Diane jumps to (not incorrect) conclusions. Kurt says he didn’t talk that way; he’s a veteran. “Kurt! That’s the profile!” Diane argues. Kurt isn’t convinced and he doesn’t want to be responsible for naming names. He notes he’ll be threatened with indictment for not naming names and then only lawyers will end up benefitting. Diane is not convinced.

I think this is an interesting conflict for Kurt and Diane. I understand why Kurt is hesitant to speak out before he’s sure. And I understand and agree with Diane that it’s important to identify the attackers and prevent anything like that from happening again.

I don’t mean to blame Kurt, exactly, but I feel like all of what happens next could’ve played out differently if Kurt had been just a little clearer with Diane about why he was hesitant to ID the man. Like, the threat of indictment for not naming names sounds like some typical anti-government rambling. Saying you specifically are afraid that this will turn back on you and you need to weigh your options and come up with a plan first would put Diane in a very different mode, in which they’d work together to craft the best strategy. Because this man would’ve been ID’d by someone, sooner or later, and Kurt would’ve needed to be prepared.  

Diane stares at the wanted poster at work and asks Jay to find his identity. He’s on the FBI TEN MOST WANTED? Ten!? Ok!  

Diane shares the extra information she has—the gun range and that he’s a veteran—and Jay gets to work.  

Turns out there’s no money in the case that Liz, a name partner, is working on and Marissa just spent all those hours sorting bills for. I could’ve told you there was no money in that case lol.  

Jay IDs the guy very fast. He’s faster than the feds because they didn’t know where he shot. The range had his license on file, and Jay got ahold of it.

“Well, we don’t pay you enough,” Diane says. “Oh, I know that,” Jay laughs.  

Diane says she’s going to think about calling the feds—it's definitely the same guy.

Marissa notes someone high profile (David Cord, who I presume is a thinly veiled stand-in for David Koch given the name, his role in the plot, and the fact that he is “David Cord of the Cord Brothers”) in the lobby giving a fake name and goes to tell Liz.  

David Cord is performing magic tricks for the receptionists (they don’t recognize him) when Liz and Marissa show up. “I knew your father. I hated your father,” Cord says. “Yes, well, he hated you too,” Liz says. He says he gave a fake name to see what the reception would be like since he’s kinda infamous.  

Liz introduces Marissa as one of the law clinic lawyers. Marissa knows what to say in this situation. Specifically, she knows that it is the exact right moment to name drop her father.  

“Democrats as far as the eye can see,” Cord notes. At that, Liz asks Marissa to get Julius involved.

More good expository work! (No, editor feature of Word, I do NOT want that to say “Better expository work,” that would change my meaning, go away and please stop grading my recap??? I don’t know how I brought this up but it’s telling me my score is 72%, so a C, and it’s driving me crazy. Oh, now I’m a 71%. It had me at like, 50%, because I had written “Wackner” and “Wackner” is not a word. No shit.)  

Anyway, back to the exposition. I like that we don’t get a line like, “Liz! David Cord, the Republican super donor, is here!” We just get to see Liz’s reaction, Cord’s hate of Liz’s father, and the line about democrats. Then it becomes clearer who Cord is.

Just noticed Liz is wearing an Apple Watch.

Liz stands for her meeting with Cord, likely to maintain power. Cord says January 6th changed everything to him and now he’s all about unity and loving America.  

Cord has something to say about Liz’s case, the one that’s not making any money, and he seems to know quite a lot about it. That spooks Liz.  

Then Cord offers her $12 million to continue the case for another six months (all of these months, seemingly, will play out in the couple of days the rest of this episode takes, but, whatever). He just wants them to go after the social media company that distributed the fake news... and Section 230.

Don’t know what that is? Now you do, because there is a Good Fight short! These work so much better when they’re actually needed (explaining concepts, etc.) than when they’re trying to force one into every episode (remember that Downton Abbey one? What... was that?)  

I was talking to @mimeparadox about this short and he pointed out that this short has a VERY clear POV on an issue that actually doesn’t seem to be all that straightforward. If you’re like me and only had a vague sense of what Section 230 was prior to this episode, this short is telling you what to think of it—it isn’t just explaining what it is.

I do tend to agree with the show’s POV on most things, but this is an issue I’d like to read more on. I love how Section 230 was something I hadn’t really read up on prior to this episode and now that it’s been on TGF I realize it’s something that actually, yes, I would’ve been interested in knowing about earlier. Is this because things that are on TGF are interesting to me because they’re on TGF or is it because TGF generally only discusses things that would be interesting to me? Probs a little bit of both.  

Diane asks Jay how to make an anonymous phone call and he hands her a burner phone. She calls the FBI with the rioter’s name. She doesn’t leave her name and then she dumps the phone.  

Credits! Did you catch there’s a Jordan Boatman in the credits? She plays one of the associates who passes down the grunt work to Marissa, and she’s Michael Boatman’s daughter in real life! She’s also been in one other episode, in season 3.  

I never get tired of these credits!  

The RL partners (and some associates who are on the case? I think these are the same ones who delegated the work to Marissa?) debate whether or not they should take Cord’s money. Madeline notes that he’s funded a lot of Republican campaigns; Julius notes that both Republicans and Democrats agree that Section 230 is flawed and this is an opportunity for unity.

Diane notes that the right doesn’t want to stop conspiracy theories from spreading, so is this really that bipartisan? “It would help if the boomers would stop falling for those conspiracy theories and sharing it with their friends,” an associate (I believe this is Michael Boatman’s daughter again) notes. That quiets the room and the partners all glare at her. Yeah, that was a kind of stupid thing to say. First of all, it’s just not appropriate to say to the partners, and it’s also, like, missing the point? If it’s easy for conspiracy theories to spread among boomers, maybe just expecting each member of that generation to suddenly have a millennial’s understanding of the internet is the wrong strategy? Maybe there’s some structural issue here? That maybe, just maybe, this case is actually about?  

The associate also points out that the internet is currently a place where people can speak out about sexual harassment-- “they repeal section 230, and there would be no #MeToo.”

One of the partners says he doesn’t believe that—if they regulate section 230, then newspapers can actually be competitive and there’s still free speech online.  

“We’re not going back to reading newspapers, grandpa,” some associate says. What the actual fuck, dude? Who talks like that to their boss?! It’s so condescending. He’s also wrong! “Newspapers” are not just physical things... reporting by major publications still matters and will continue to matter. Like, is he suggesting that in the future all news will just be random people tweeting things they think are true with no fact checking or curation? Sure, journalism is struggling right now—but I don’t think that’s because there’s a lack of desire for well-reported news.  

I am glad the partners call him out on saying “grandpa” and honestly I’m shocked he isn’t asked to leave the discussion after that rude remark. Unless this young looking dude is a partner too? But I don’t think he is.  

Julius notes that if they’re going to pursue this case, they need money like Cord’s. At that, Liz starts to leave the meeting. “We haven’t decided if we’re taking this Cord money yet,” Madeline protests. “Of course we are,” Liz says and leaves.  

Now that’s more like it! I’m not sure if this is necessarily the best way to handle this, but she’s a) correct, they were always going to take the money because it is $12 million and an issue of interest and b) using her authority. Should Liz be making decisions totally on her own? Maybe not. Does Liz making this decision and then leaving (with everyone accepting that she’s correct) cut through a lot of bullshit and establish Liz as the one in charge? Yup.

Diane says, “Ooh-kay” with a little bit of an eyeroll after Liz exits, but she’s still laying low. I think in a different season Diane might’ve tried to push back.  

Is it me or does Baranski get a lot of material this episode we haven’t seen before? Lots of really good reaction shots/tones in this episode I don’t really think we’ve seen from Diane before. I’m impressed there’s still new stuff after 12 years.

At some point maybe I will actually write the essay I’ve been wanting to write for ages about how TGF is still so relevant despite being in a universe that should be showing its age by now. I wish I could find the first time that I called TGW a period piece set in the present day (I know it would’ve been during season five) because I think that’s the key to TGW/TGF’s enduring success. The shows always feel timely because they try to capture the present moment (which is, of course, always changing) and don’t get stuck in any one moment in time. Further, the fact that the writers are always so tuned in to events and skilled at quickly reacting to what happens in the world makes them VERY good in a pinch, which is (I think) why they’re able to make the most of unexpected situations (Josh leaving TGW, the pandemic).  

Liz and Julius bring a suit against ChumHum to attack 230. Judge Friend is initially skeptical of their argument that 230 is unconstitutional; then she’s intrigued. I am too. This argument about the press is a very interesting one. I obviously have a lot of reading to do on 230, but my take after this episode is pretty much that social media platforms have to be held responsible in some way, but I don’t think it’s feasible or desirable for them to be responsible for every single one of billions of posts. I think there has to be some way to regulate social media giants that would allow everyday people to share things and speak out but would prevent the curated (even by an algorithm) spread of fake news and make social media giants accountable when there are very public bad actors using their platforms. What that regulation would be I have no idea. I just refuse to believe that our options are to give the social media sites full immunity or to regulate the internet so strongly that no one is able to speak freely because all the platforms are worried about lawsuits.  

Over at the VA, people are being fired. When Kurt gets into his office, Madeline Starkey (wait, are there two characters named Madeline in this episode?) is waiting for him. She’s still very quirky and scary.  

Starkey says the guy that Diane reported is now saying Kurt trained him on using assault rifles and buying ammunition in bulk. Kurt notes these were topics covered in a group setting, which Starkey knew—and what she’s really after is the names of the others in the group. (She may already know them, since she knows there were five of them.)

Kurt refuses to name names and just stares at her.  

Case stuff happens! (I liked the last two episodes a lot but it’s much faster for me to just write, “case stuff happens” for some of the scenes.)

Hey, surprise Aaron Tveit! (Not really a surprise; he is in the credits. But still yay!)  

I don’t really know why Liz and Julius are talking about newspapers specifically and not all types of fact-based journalism/press? I feel like their argument is most convincing when it’s about actual newspapers (especially local ones) but still would apply to cable news...

Marissa’s still hard at work sorting papers when the associate comes back in and informs her she can stop; they’ve changed strategies and everything she’s done is now irrelevant. She also says “I forgot to tell you” at the start of that thought, meaning that she neglected to tell Marissa this important information earlier and wasted her time. Marissa is not pleased and so she goes to Wackner’s court, where Wackner now has a deli ticket machine and is wearing super-sized novelty sunglasses. Why not!

He sees Marissa and calls a five-minute recess. In “chambers,” Marissa tells him she’d like to work for him part-time but keep her RL job.  

Wackner needs her help processing more copyright certificates. He’s priced them competitively at $20 and found that a lot of writers want these certificates, even though they have no legal value. (Neither do actual copyrights, Wackner notes. And he notes that if anyone plagiarizes, they can sue in HIS court.)  

“Marissa, I’m building something here. I want you to join me. I want your advice on cases. I want to bounce legal theories off you,” he says. “What are your legal theories?” she asks. “I don’t know. That’s why I need to bounce them,” he says.  

Marissa gives him from noon to 2 and 5-7, which seems awfully ambitious for someone working at a law firm!

“That’s how revolutions are made. Back rooms of copy shops,” he says, accepting her offer.  

Kurt is sulking in the dark when Diane arrives home. He lets her know about Starkey’s visit and she immediately goes into lawyer mode. Notably, this scene does not spend much time on how Starkey found out the rioter’s name. Curious if they’re saving that for later or if Diane and Kurt both know what Diane must have done or if Kurt think’s it’s a coincidence.  

Kurt SET UP A TOUR OF THE CAPITOL for one of the veterans in his shooting group, and that tour was ON JANUARY 6TH! I really do wish he’d told Diane that upfront.  

Maybe the long pause where Kurt refuses to tell Diane which congressperson arranged the tour even after she promises she won’t say is him letting on that he knows that Diane ID’d the guy? Or maybe it’s just Kurt.  

I do not like the dead birds in Starkey’s office, mostly because I do not like thinking about dead birds.

Starkey compares Diane and Kurt to the Conways.  

And now more case stuff happens.  

Julius gets to question a witness for the first time in two years! He’s a little shaky at first but then he does a fantastic job! Yay Julius!

When Diane arrives at the office, reception is filled with around a hundred teddy bears. “What?” she asks. “Build-a-Bears. They were sent to Marissa,” the receptionist explains. “Okay... why?” Diane asks the logical next question. The receptionist does not know.  

“This one’s a Marissa bear,” she says, showing Diane a bear wearing boots and a wig. It does not look much like Marissa and it says “Hug me.”

Diane looks confused and furious at the same time. Her look here is, like, a milder version of the death stare she gives Alicia in Outside the Bubble when she learns about Alicia and Cary’s plan to leave.  

“Why don’t we, meaning you, take all these stuffed animals and put them in the conference room,” Diane instructs the receptionist. She is NOT! HAPPY! The receptionist seemed to be having fun with the bears, but clearly the right answer was to have done something with them and... not to have put them over every surface in reception. Eeek.  

Carmen’s new client, the rapist, arrives at the firm before anyone can hide the bears. “This may not be the firm for you,” his advisor/lawyer (I’m not totally sure what this dude’s job is) warns.  

Madeline notices the rapist and glares at the receptionist. “I know. I’m putting them in the conference room,” the receptionist says, thinking Madeline is upset about the bears. She is not upset about the bears.

Diane finds Marissa, who’s working with Carmen again. She asks Carmen to give them a moment.

“Why are there hundreds of teddy bears in our reception?” Diane asks. Marissa is confused. Diane shows her the Marissa bear. Marissa looks horrified and amused. “That doesn’t even look like me,” Marissa notes, completely missing how pissed off Diane is. I don’t think we have seen Diane be this direct/no-nonsense in ages.  

“That would seem to be beside the point. What is going on, Marissa?” Diane demands. Marissa suspects this is based on some advice she offered to a client who was buying a Build-a-Bear franchise and thinks this is a thank you gift. “What client? You’re not a lawyer! Why do you have clients?” Diane says exasperatedly.  

Marissa gives her a look, and Diane immediately understands that she’s been back to Wackner’s court. “Oh my God, this is about that Copy Coop court?”

“Marissa, no. By participating in that simulacrum of a courtroom, you exposed this firm to malpractice, sanctions, and God knows what,” Diane says. If that were really true, she wouldn’t have sat there and argued. I mean, I don’t know the legality of this all, but I feel like it’s a bigger optics issue than legal issue if Diane and other lawyers are willing to even consider participating?  

“If you wish to continue your employment at this firm, you will never do anything like that again. Do you understand?” Diane says. She will not hear any arguments.  

I love that Marissa is the thing that keeps Wackner coming back. It’s a good plot for her, but structurally, it also allows the show to keep Wackner around without many contrivances. Wackner sees that Marissa would understand what he’s up to, she sees that he shares some of her frustrations with the law, and they both want to work together again. It’s not like suddenly everyone’s talking about Wackner’s court and all the cases somehow end up there or anything.

The receptionist, who is having a truly terrible day, comes into announce that Kurt and Starkey have arrived. “Don’t put them in the conference room!” Diane commands, knowing that the teddy bears will be there. It’s too late, though, because the receptionist (who previously seemed to be fine at her job if bad at recognizing public figures and understanding that partners might not find teddy bears amusing) has already put them in the conference room. I feel bad for her, and don’t think the other things were her fault, but I feel like she could’ve seen this one coming...  

I find the teddy bears HILARIOUS, mostly because the reactions to them are so funny. It’s kind of the same gag as the balloons for Lucca in season two, but I don’t really care, because I’m getting to see Diane Lockhart treat hundreds of Build-a-Bears like they are a real work problem.

Starkey jokes about the bears; Kurt is silent.  

The rioter from the poster is now accusing Kurt of coming up with the STRATEGY for January 6th, which Kurt and Diane both dismiss as bullshit.  

I could do without Starkey’s musical cues.

I can’t tell if Kurt is in trouble here or if she’s just pressing him to name names. Why wouldn’t she just have rioter guy name names if he’s so eager to blame Kurt? I guess maybe if the others were actually there, he might be less likely to name the names of his actual co-conspirators? Or, Starkey might already know the names (surely the shooting range has logs) and be using this to raise the stakes.  

No one (except maybe the partner named Daniel) is happy about the rapist in reception. “Since when are we representing people like Wolfe-Coleman?” Julius asks. Didn’t these people help both Sweeney (though I think Sweeney was in some weird police brutality case and they didn’t actually want to represent him) and Bishop? And Rivi? But they draw the line here? Sure.  

Ah, there we go, an expository line-- “he’s the next Jeffrey Epstein”. Almost made it the whole episode without one of these. I’ll forgive it since it’s so late in the episode lol.  

“Did you approve this, Liz?!” Madeline demands. Liz did not. Daniel wonders if that means Diane approved it. Liz doesn’t think so and calls Diane (who happens to be walking past) in.  

“I know, the teddy bears. I’m working on it,” Diane says when she opens the door. I think the teddy bears are a bigger issue to Diane than to anyone else.  

Diane didn’t approve representing Mr. Rapey either. She’s uncomfortable that a meeting was happening without her; Madeline notes that she is standing there specifically because they wanted to involve her.  

David Lee pops up out of nowhere with the answer: one of the new associates (not Marissa, “the real one”) pulled in Mr. Rapey. Are there only two associates now even though orientation was for a big group?  

Firth is gone, btw. David Lee is the new Mr. Firth. I have no idea why David would want to be STR Laurie’s guy for managing RL but... sure, whatever? David Lee is an effective antagonist, especially in small doses, and this allows the writers to keep him around and continue the STR Laurie plot without a key guest star. If STR Laurie is still a thing, and it seems like it is going to be a thing for a while, then having David Lee take on this role makes sense for plot. Otherwise they’re going to have to shoehorn him in to every plot somehow. At least now he has a reason to be around.  

Liz and Diane take a walk to chat. Diane is worried about having David as their boss. Liz says she has a worse worry—David Lee knew exactly when to come downstairs with information, suggesting he know what they were talking about. “Would he do something like that?” Liz asks when Diane wonders if there’s a bug. “Oh, yeah,” Diane replies. Hah, yeah. He absolutely would.  

They decide to have Jay search for bugs and Liz is frustrated with how much time they have to spend on things other than lawyering. Yup.

“What is going on with all the teddy bears in the conference room?” Liz asks as they head back to the office. “It’s a long story,” Diane sighs. I also love that the teddy bears link the various pieces of the episode together—it feels like all of these threads are happening simultaneously because of that constant.  

I don’t get RL’s approach to clients. Bishop and Rivi are ok, Wolfe-Colman is not (except that actually he is fine). Cord is okay too. Do they draw the line anywhere? I know Liz was right when she said that OF COURSE they were taking the money, but is there really nothing that differentiates that situation from this one? I feel like there should be.

Marissa goes back to see Wackner. Since someone refuses to say “I respect and I love you,” Wackner reverses his ruling. This is part of the “Bad Loser Law of last Wednesday,” so the rules of Wackner’s court are clearly a work in progress.

Marissa explains she can’t be the law clerk because of Diane. She tries to connect him with a real lawyer, still not understanding exactly what Wackner’s after. “You know just enough not to crush what I’m doing here,” Wackner explains. “A real lawyer will look for reasons why not. I need someone to look for reasons why.”  

Case stuff happens. I cannot read Cord’s handwriting. Liz and Julius lose the case because Judge Friend says what’s happening isn’t fair, but it is constitutional. (So here we have, at least in the show’s POV, a good and attentive judge who can’t make decisions that make sense because she’s bound by a document written before anyone had ever dreamed of the internet.)  

Cord is waiting for Liz in her office. He’s prepared to bankroll an appeal. Did they blow thorough that $12 million already? Impressive; it’s been like a day.  

Cord says they are definitely the firm he wants. Interesting.

Now Liz wants a meeting with Carmen, so it’s Marissa who leaves the room. This scene seems like it was meant to be a different day?  

Liz wants to talk about Mr. Rapey. Carmen is, yet again, chill about the case. “Carmen, is there anyone that you would not represent?” Liz asks. Funny, Liz, I could ask you the same. Being hesitant about it is not changing the fact that you’re representing bad people. Carmen’s just cutting the bullshit.  

“I don’t understand. Is there someone you don’t want me to represent?” I love how Carmen’s incredibly polite responses always seem very pointed. There is absolutely nothing wrong with Carmen’s reply, and yet it puts Liz in a place where she can’t dance around what she’s trying to say.  

“I’m just trying to get a sense of who you are,” Liz explains.  

Then Liz decides she’s going to help on the Craig Wolfe-Colman (Mr. Rapey) case, and they will keep talking about her career path. Liz, this does not seem like the right solution! You're worried about your associate representing bad people so you’re like, I know, what if I ALSO represented bad people? If your goal is to convince Carmen not to take clients like this, you’re kinda shooting yourself in the foot!  

“Are you worried about me?” Carmen says, again turning things on Liz. “I don’t know what I am about you,” Liz replies. Me either. Well, I know I'm intrigued, but beyond that, no clue!

All the bears have ended up in Diane’s office, where Wackner is waiting. He jokes about how his court is always seen as informal, yet this real fancy law office is covered in Build-a-Bears. Then he says he wants to hire RL—he's willing to pay. He wants consultation from Marissa (“consultation on legal issues”) and he’s prepared to spend a lot. And, if there’s one thing we know, it’s that they’re always going to take the money. So, they do.

I love that Wackner’s goal is to “perfect my little clubhouse of the law.” It’s a fun plot, and it also allows for the rules in his court to change (I’m sure we’re going to be treated to/subjected to a lot of whimsical gags around changing and ridiculous rules). It's also a good way to work through the thought experiment over the course of the season. It’s not like Wackner already has a system set up and it’s perfect—I'm sure we’re going to see his system run into issues and explore that more, too.  

Wackner monologues a bit here about why he’s running fake court, and he lets us know he’s going to monologue. Basically he thinks people no longer want to help people and are only motivated by their own self interest. He notes that no one talks about the Peace Corps anymore and asks the last time Diane heard anyone say those words. I’m sure I’ve heard a reference more recently but my mind went RIGHT to season one Cary Agos saying “Peace Corps. Belize,” as some kind of smarmy pickup line. This is likely not where my mind was supposed to go.

Wackner wants “A new Peace Corps. For America.” Diane’s sympathetic to that and agrees to take him on as a client.  

Wackner asks if he can take a bear. Diane instructs him to take two.  

Aaaand Wackner and Cord end up on the elevator together. Wackner hands Cord a bear, the elevator doors close, and the episode ends. Since last episode ended with Marissa and Carmen in the elevator together, I’m hoping this will be how every episode this season ends. I think using the Kings’ favorite liminal space to transition between episodes is kind of fun, and it fits with the ellipses at the end of every episode title.  

The episode kicks off with TikTok and Jay’s hallucinations... yay. I’m hooked.  

Look, before we get further into this episode, I’m going to comment on Jay’s plot as a whole. I am really, really glad this show decided to dedicate screentime to showing how horrific COVID is, and especially how horrific the disparities in treatment by race and class were. The hallucinations pay off about as well as they could. And I still do not like anything about this plot. I wish I could say I did.  

Rivi is now out of the hospital and suing Harbor Hospital. He claims that his daughter died of COVID due to their improper care.  

I’m intrigued by Rivi’s wife. She’s deaf and reads lips, and her first scene—where she reads the lips of Harbor Hospital’s lawyers privately discussing settlement—establishes that she’s a partner to Rivi and not “just a wife.” (I think this is going to also help distinguish Rivi from Bishop. Both care about families, but we all know Bishop had his wife killed.)  

Julius and Diane talk about Kurt’s case. Diane looks incredulous when Julius floats the idea of Kurt taking a deal. I almost laughed at Diane’s expression because, well, she’s talking to Julius, her former client who spent time in prison for something he didn’t do. Luckily the show remembers its history, and Julius notes this to Diane.  

Julius also points out that Diane is acting more like Kurt’s wife than his lawyer in this situation, and he won’t share things that are relevant to her personal life but not her professional life.

I am also not going to recap too much of the COVID stuff. Everything I have to say about it is going to be a variation on what I said above-- I'm glad they’re spotlighting important themes but I still don’t like this plot.

I do like that Jay notices Carmen saying “darn” instead of “damn.” She blames parental training and notes she also starts every email with “Dear.”

I do not like that Jay now hallucinates a woman who is literally credited as “naked woman” to illustrate that he has a little bit of a crush on Carmen.  

Why are they already bringing the suit before they have found any evidence of discrimination at Harbor Hospital and before they’ve looked into what type of care Pia Rivi actually received?  

Jay asks Carmen if she wants to join a group of RL staffers for drinks. Carmen says she’ll think about it. Yay for Carmen plots that bring her into the firm’s social circle.

I also don’t think I’ll have much to say about the Diane and Kurt plot. These FBI investigation plots are always the same: a lot of rehashing of the same fights, lots of new twists and turns where it always feels like the facts are changing, and a clean slate when all is said and done. I was thinking about this the other day and was like, “Ah, wouldn’t it be nice to go back to the good old days before the stakes got so high that the FBI was always investigating one of the regulars”? And then I remembered that season 1 of Wife has a plotline (which ends up being mostly inconsequential) in which the FBI investigate Peter.  

The FBI’s investigation of Peter in season 1 is so inconsequential, in fact, that it brings us Elsbeth’s first appearance and I STILL see people thinking that Executive Order 13224 in season 3 is her first appearance. It is forgettable enough that people manage to forget ELSBETH TASCIONI.

Anyway my point here is just that this feels like familiar territory and until the writers prove to me they have something new to say, about Jan 6 or about the FBI or about Diane and Kurt’s marriage, I... am not that invested.

Julius calls Diane out on being part of every conversation with Kurt. This is a good point. This is something that I would like to see the show address more. Didn’t Kurt ask Diane last episode not to be involved? Why don’t we get to see the fallout of that decision and how it impacts their marriage? I know this show is not character driven in the way I’d like it to be, and I know that is part of why it always feels fresh. It just tries my patience sometimes.  

Diane looks really red in this scene.  

LOL @ the stock footage of an ambulance pulling up in front of Harbor Hospital that clearly says “LOS ANGELES CITY FIRE DEPARTMENT.”  

One problem I have with Jay’s plot in this episode is that it feels very, very similar to the hospital episode of Evil. This is only a problem because the episode of Evil is much better. The hospital episode of Evil uses horror to show racism in the healthcare system; it’s very innovative and suspenseful. This episode wants to do the same thing... but I don’t think the writers found the exact right tone to pull it off. I can see what they are trying to do and admire that they are trying, at least.

I am struggling to articulate why I dislike this plot so much! The best I can say is that something just isn’t clicking. And, honestly, this may just be a problem with how little I’ve ever understood the hype around Jay. I’m not sure if I’ve ever said this before, but the show seems more enamored with Jay than I am, and I’m always at a little bit of a distance from the character. (I suspect it’s an acting thing, not a writing thing.)

There is also just a LOT going on in all of the Jay/hospital scenes, probably more than is needed to get the point across. It’s like the episode can’t decide if it’s all in on being horror, if it’s trying to be surreal, if it’s trying to be quirky, if it’s trying to be heartfelt, if it’s trying to be pointed, or if it’s trying to be about Jay’s emotions. I actually think this plot would’ve worked better if it were a little toned down.  

Starkey is in Diane’s office and it’s time for one of those scenes that happens in all of these FBI plots where the FBI agent is annoying and then the person they’re annoying walks away and is sassy towards the FBI. This scene feels like a mix of the one in the season two premiere where Starkey tries this strategy on Maia and some of the clunkier moments of the TGW series finale.

Danny Pino is on The Good Fight now! I’m excited to see him! He’s super charismatic; I see why they had him playing a politician on BrainDead. On this show, he insists everyone call him Racehorse.  

Racehorse is now representing the hospital, and Carmen is a little outmatched.  

Predictably, Racehorse’s strategy is to try to force Rivi to testify by bringing a countersuit. Testifying is obviously bad for Rivi since he runs a criminal enterprise and would have to answer questions under oath.  

Really long pause before the credits. Also, I don’t like this thing where we don’t get to see Liz until after the credits. I demand more Liz!  

This episode is called “And the firm had two partners” but has nothing to do with Diane and Liz and the drama about who should be a name partner. It barely even has anything to do with Liz! Misleading.  

Yay for Nikki M. James, who directed this episode!

Okay, I saw a post on Reddit about how everyone looks red in this episode and didn’t think anything of it, but on rewatch? That post is spot-on; everyone looks red. The scenes in Diane’s home are particularly bad. Kurt looks like he has an awful sunburn.

I’m glad to see Diane’s home also has a kitchen; I was getting concerned it really was just that one room.

I love Diane and Kurt but sometimes their plots rely too heavily on just being like, she’s a liberal! He's a conservative! Tension ensues!  

This episode is, sadly, Wackner free and very light on Marissa. I am fine without Wackner for an episode (sometimes a break from gimmick is nice) but I really miss Marissa’s energy.  

Diane asks Marissa to investigate something related to Kurt’s case. Marissa’s not thrilled, seeing as she is no longer an investigator and has two other jobs, but she agrees anyway.  

Diane doesn’t learn, does she? Two scenes ago she was apologizing to Kurt for meddling and revealing info he didn’t want her to reveal (the name of the rioter) and now she’s trying to get more information so she can... put herself in a position where she can act on more information Kurt doesn’t want her to act on? Cool.

LIZ!!!!!! FINALLY!!!!!!!!!!!

Rivi and Isabel want to talk to Liz without Carmen present. Isabel, wisely, wants Liz to be on the case along with Carmen. Liz protests, but Isabel insists. She notes that she could see some associates using a racial slur against Rivi... and Liz knows she has to join the case to keep Rivi on as a client. She apologizes and then fires all three associates involved in the joke.  

There’s a whole subplot about a doctor who posts TikToks that allege racism at Harbor Hospital, but also silly TikToks to boost her follower count. I do like that they allow this doctor to be both someone who wanted to do good and someone who wanted fame.

After this, though, we lose the thread of the TikTok dancer (and of the COTW, kind of) because the plot becomes more about Jay. That’s fine, though it’s a little bit clunky.  

There’s a reveal that Jay’s hallucination of Frederick Douglass is actually a fellow patient who was in the COVID pit at Harbor Hospital with him. As I said before, this is the best payoff for the hallucinations possible, but there were still too many scenes of the hallucinations.

Wow, I actively do not want to watch these scenes a second time.

NRA lady from the season 2 panel (with Adrian, Mr. Elk, the Florrick fan, etc.) is back. She is friends with Kurt, because of course she is, and could speak up and defend him. She doesn’t want to.  

God, I hope he isn’t fucking her. I can barely do another one of these FBI plots—don't make me sit through another Kurt Likes Pretty Ladies with Guns plot.

Even though NRA lady doesn’t want to speak up, Marissa has followed Kurt and identified her.

More stuff happens with Jay.  

What if the hallucinations don’t end with this episode? I like showing that Jay is a long hauler but omg do I loathe these hallucinations.  

I do like that Jay clues Carmen in on the hallucinations.  

Why is Julius even allowing Diane to tag along on visits to Starkey, and why must this gag with the dead birds keep going?!?  

More Jay stuff.  

I just don’t get why they’re asking about the Pit, where Jay and lots of other black or brown people with COVID were held, before they have any idea where Pia Rivi was held in the hospital. Are they just trying to fact-find?  

Shockingly, Pia Rivi was never sent to the Pit and actually received special care because no one wanted to anger Rivi. I... would have assumed this from the start or looked into this before bringing the suit? I know the whole point of this case is to get to explore Jay’s experience in the hospital and shine light on disparities in healthcare but I can still nitpick!  

Jay recalls hearing someone say that he was taken out of the Pit and given better care after the hospital received a call. He asks Liz if she made that call—she didn’t. She says she wishes it had been her, but she didn’t know the situation was that bad. I’m a little surprised we didn’t get references to Adrian or Marissa here. If they could’ve made a call, they absolutely would’ve. Adrian’s like a father to Jay, and Marissa is a loyal friend. Adrian has enough sway to get Jay better care, and you KNOW Marissa is resourceful and connected enough to get him good care.

I really love this Liz and Carmen scene where Carmen asks Liz for advice and Liz helps her out. I like that Carmen still has things to learn—and knows it—even as she’s a great, capable, talented lawyer.

Carmen starts to leave, then turns around and says, “I want to learn from you. I don’t... My attitude is knowing, but it’s just my attitude. It’s not who I am.” YES! I’m so glad we’re getting lines like this that make Carmen’s personality clearer. She’s not a malicious sociopath who wants to defend drug dealers and help bad people get away with horrible crimes. She’s a new lawyer who wants to be ready to handle anything, make a name for herself, and come across as untouchable. This line makes everything click into place: this is why she’s willing to represent Rivi, put forward her own strategies, and be so polite it's rude to Liz... and why she also would rather stay at RL than go work full time for Lester.  

Liz smiles, realizing she’s gotten through. “Carmen. When I was your age, I acted exactly the same way. I wanted to be perfect. So, I acted like I was perfect. Because bluff is always a part of it, but just... just let me help you, when I can. Ask questions.” I believe it. And now I really just want to see an episode where young Liz and young Alicia face off. My guess is Liz tried to project boldness and fearlessness, while Alicia tried to project hyper competence and that’s why they clashed (and why Alicia was thought to lack a “killer instinct”). Okay, okay, I’ll stop talking about Alicia.  

Racehorse deposes Rivi and it ends with Rivi beating the crap out of Racehorse. I assume this is setting up a longer arc. You don’t introduce a personality as big as Racehorse played by a Kings-favorite like Danny Pino without having plans.  

Also, it’s heavily implied that Isabel is a huge part of the leadership of Rivi’s drug empire. I’m no longer surprised by “actually the wife isn’t so innocent and is also a criminal!” reveals, but I still like this. I think it works better because there’s never any implication that Isabel is an unknowing innocent. Rivi treats her like his equal from their first scene together; she clearly is aware and okay with his prison time and the accusations against him.

We spend a lot of time on how the whole fight was caught on camera. Wonder if that will come back. (I can’t remember—did that accidental sex tape of Maia and the DNC girl ever come back into play?)

Diane threatens NRA lady until she agrees to help Kurt out.  

Jay asks Diane if she made the call to help him. She didn’t. Like Liz, she’s apologetic that it wasn’t her.  

Turns out it was David Lee. He claims it was a business decision. Sure, David. This is so fitting with David Lee’s character—he's always doing stuff like this. And he always likes to say it was about business. I think he secretly has a heart, though.  

(I don’t have much to say about this reveal since it’s familiar territory for David Lee.)  

I like that Jay’s hallucination appears to him as his friend, rather than Frederick Douglass, in his last scene of the episode. I hope that is the end of the hallucination plot.

Kurt gets the news that NRA lady is going to speak up for him. He tells Diane and says “it’s amazing how close we came to disaster right then,” as they have a drink. KURT AND DIANE, YOU SHOULD KNOW BETTER—IT IS NOT OVER UNTIL IT’S OVER. And this? Is not over! Does anyone really think this is over!? It will be more surprising to me if NRA lady actually follows through and this all gets wrapped up than if there’s a Big Twist.  

I know these writers and I know these arcs. They are meandering and full of twists and turns and add up to a complete picture that doesn’t really hold together. That’s why I’m so negative on this episode even though I’ve been positive on the arc in the past. This feels like the mid-season misdirection that it almost certainly is, and I was hoping this arc would be a little more about commentary and a little less about convoluted plot nonsense.  

Welcome back! I see this season TGF has decided to be It’s Always Sunny in Philadelphia. Is this some sort of joke about how last season it was always raining? Is every title going to be like this? And where are the numbers!? There is no counting of any kind in this episode title! 

When you think about it, the central argument of this episode-- that 45’s election brought new life to resistance movements that would’ve otherwise laid dormant-- is also my central argument about why TGF is a good show instead of a passable one. Remember how in season one the point of the show was supposed to be a fake scandal about Maia? 

So it’s fitting that we begin season four by going back to the show’s pilot: Inauguration Day. Only this time, Diane is happily watching Hillary Clinton’s inauguration. Did I say happily? I meant ecstatically. 

As Diane pops champagne, the TV goes to static-- something’s off-- and the credits begin. Same credits as season 3 but with one key difference: things are coming together rather than exploding. I see what you did there. (The TVs still explode, though, and they still have the real 45 on them.)

Yeah I didn’t need to see the credits to know the Kings wrote this one. 

I think the notes the Kings left in the script for this episode for Brooke Kennedy just said, “Make Diane look like a glamorous badass.” I’m like one minute in and she’s already popped champagne and worn trendy sunglasses.

Brooke’s directing in this episode is so stylish and it might be my favorite ep she’s ever done? The showiness (and sometimes campy performances) REALLY work for the tone of this episode. 

Diane takes the elevator to work and looks quizzical. One may be tempted to ask how Diane knows to go to RBL if it’s the day after inauguration and she’s still at Lockhart Deckler whatever (one may then snark that RBL is in the LG space so she’d go there no matter what). The answer is: dream logic! 

(But really, little disorienting moments like that-- and yes, I know this was probably only disorienting for me and one other person-- help the episode work long before we know this isn’t a true alternate universe.)

Marissa is waiting at reception to inform Diane that HRC’s press secretary is in her office. Diane then asks Marissa who the president is, and Marissa asks Diane if she’s microdosing again. Ha! Also, that’s another clear clue that something’s up-- Diane wouldn’t have already microdosed right after inauguration. And why would Diane have microdosed in this AltVerse? Again-- dream logic. And I love it. In episodes like this, when things don’t add up, it’s wonderfully disorienting instead of frustrating. (Plus, this line is a knowing wink at fans about the absurdity of the microdosing storyline.)

Marissa confirms that it’s 2020 in show time. Diane has a flash of a selection of horrific images that have come out of these last few years, then says, ”God, have you ever had a dream that is so real that it takes you a long time to wake up?” I wish.

Diane wants to know how Hillary won, and Marissa says she won in a landslide-- 3 million votes. “Same as in my dream,” Diane says. Marissa thinks she means the other candidate had 3 million more votes, and wonders how he won if he had fewer votes. On one hand, Marissa totally knows about the electoral college. On the other hand, would “3 million votes” and hating the electoral college be cliched and top of mind enough to work as the joke in this scene if those votes had actually mattered? Probably not. I doubt many people would be talking about abolishing the electoral college, or that Marissa or even Diane would be SO quick to understand how one could win the popular vote and not the election, if we hadn’t all lived through the past three years. Also dream logic. It’s a great way of explaining things that are out of character.

“Whatever, it’s a dream, it doesn’t have to make sense,” says Marissa, making my point for me.

Oh hello there Lucca, your jacket is very bright. Lucca asks to sit in on Diane’s meeting with the press secretary. Lucca was up for a partnership in 3x10 but in this episode she’s very obviously an underling (and honestly seems a bit lower ranking and hesitant than usual-- I’ll need another episode or two to understand if this is how the writers are writing Lucca, how Diane views Lucca, or just what was easiest for the plot). 

The White House is now asking Diane to take on cases. Way to dream big, Diane!

And Diane will be arguing in front of the Supreme Court! 

In the alternate universe, Liz’s wonderful bathroom belongs to Diane.

Diane gets to do so many things she wouldn’t usually do in this ep, like furiously shake her head to prove to herself she’s not dreaming! 

Diane still has that Girl With Flower As Head painting and I do not believe she would have that painting if HRC were president because it’s too friggin weird. Also has it always had a US flag in the background?

In the alternate universe, Garland and Warren (as in Elizabeth) are both on the court. It’s a good laughline precisely because it’s so plausible. (Well, idk about the Warren part, but she’s a recognizable name.)

Diane looks so happy she could cry when she learns Warren is on the Supreme Court. 

There is a shot of Lucca that is so very clearly from Diane’s POV and I like it. I read a review of this episode that said it didn’t have enough character development. To that I say, one, this isn’t TGW-- this show has always been more about tone and theme, and two, there’s PLENTY here that’s about Diane’s POV and how she views others and thinks of herself. Because it’s dream logic I can’t make nearly as much out of it as I can make out of an episode like A Few Words, but there are little touches here and there. Even this shot of Lucca, where Lucca’s in the center of the frame shot from a high angle, grounds me in Diane’s POV. You could even make an argument about hierarchy based on the angle. 

“Who’s that?” Lucca whispers when Diane asks about Kavanaugh. Diane is elated at that response. 

Somehow we leave Diane’s POV (whatever, it’s a dream so I won’t be as brutal to this choice as I was to a similar but more subtle one in Don’t Fail) and follow Lucca into Adrian’s office. She immediately tells Liz and Adrian she’s concerned about Diane. That sounds like Lucca alright. 

Diane is DANCING in her office as she watches news coverage that isn’t a garbage fire.

I’m curious y’all-- are people in your area cheering at a certain time? Hearing cheers every night during this pandemic is one of the few things I like about this awful moment in time. (My recap writing was just interrupted by cheering, if you couldn’t guess the reason for this abrupt digression.) 

News stories in alternate reality: Cancer has been cured, there is polar bear overpopulation, the rainforest has been saved, 45 is REDUCING the amount of content he’s putting out into the world, and $35,000 is missing from some government agency. Ha. All that and people are hung up on $35,000? Sounds about right, actually.

Diane hugs Liz and Adrian because she feels like a weight has been lifted off of her. I appreciate that Diane acts without restraint or concern for what other people think in this episode. This is central to why I think this episode is actually a pretty good character study: this is who Diane imagines herself to be, more or less. Real Diane, no matter how bizarre things are, probably would handle herself more professionally in a work meeting and probably wouldn’t let feelings like this show. Dream Diane has no reason to double check herself. This is just how she thinks she’d react if there were absolutely no constraints. Not that she’s actively thinking- she’s just doing. 

Diane is very excited to be watching the news, and Adrian thinks she’s nuts-- there are scandals! Like the missing $35k and THE EMAILS. The GODDAMN EMAILS. Even a fictional joke about how they’d still be a scandal makes me mad. Twenty years from now it will still be too soon to remind me of the emails. (And to play Fight Song, that song is cancelled.)

A haircut is also a scandal because sexism.

I admire this show for calling attention to problems on both sides without ever screaming BOTH SIDES ARE EQUALLY BAD. This episode may call out some of the good things that have happened as a result of the 2016 election, but the whole premise of this joke rests on the fact that only one of the two potential administrations could run through a year’s worth of scandals in a day. 

Might circle back to this later on-- btw I write these after watching the whole episode, so I do know what’s going to happen next-- but I don’t think the show is trying to make the case that it’s good 45 was elected. I think they’re trying to ask questions about how the world has changed and cause and effect so we can understand the moment we’re in. Above, I said I liked hearing my neighbors cheer every night. And I could write a lot of words on how that collective activity inspires me, makes me feel connected even when I’ve been stuck inside for a month, etc, how I’ve gotten better about keeping in touch with old friends, whatever, and NONE of that would mean that a global pandemic is a good thing. It just means that like any huge societal phenomenon, its implications are complex. 

TGF and TGW have always, always, always been shows about understanding where we are in time. That’s what this episode does. And it makes sense to do a thought experiment like this now, at the start of season 4, in a season opener. We’ve had enough time living in this world that we can reflect on it.

Diane laughs, because what Diane dream sequence would be complete without a glorious laugh?

Adrian’s kinda suspicious of Hillary. Sure, cancer’s been cured, but it’s not public how or when! 

God it’s weird to hear some of the most absurd happenings of the last three years as punchlines. 

The line about the Obama’s overall deal at Netflix is fire. 

Diane laughs AGAIN. 

Oh right, Harriet Tubman was going to be on the $20 bill. (Is it obvious yet that I am the exact right target for this episode?)

Julius is VERY mad about Hillary’s $500 haircut. Heh. He’s also publicly supporting Trump which is interesting (and probably a dream logic thing; Diane knows he supported Trump therefore in her dream he isn’t ever hesitant to share that he voted for Trump.)

“Only Hillary could cure cancer and turn it into a scandal,” someone else adds. I’m loving all these jokes. He is mad cancer wasn’t cured earlier and that it’s been cured in an election year. This joke is funny because it’s exactly what would happen in this scenario.

I wonder if Julius would be more likely to speak up about his political affiliation if the stakes were lower. If 45 lost, then is supporting him as much of a thing to hide in a place like RBL? People would be mad but they probably would get over their moral opposition to his views a lot faster when it isn’t a real threat.

Diane’s brought in a huge client, which is news to her. And that client is none other than Harvey Weinstein, which… my God this is an interesting thought experiment. 

“I’m amazed you got him away from Lisa Bloom,” Adrian says. YIKES!!!! (If y’all haven’t read Catch and Kill yet, pick up a copy ASAP.)

No one’s heard of Weinstein’s sexual assault issues. I believe it. I mean, I think some women in power might have known before 2017-- I still vividly recall how many journalists reacted to the release of the story not with “Oh my God, how has this been going on for so long?” but with “Holy shit, someone managed to publish a story about this?!”-- but I’ll believe that the general consensus in elite liberal circles was to set the rumors aside and not share them widely.

I can’t watch this episode without thinking about VIP Treatment (2x05 of TGW). That episode, which raises the question of what happens when someone accuses a liberal legend of sexual assault, feels so ahead of its time. It aired in 2010. And I just, right this moment, learned that it was ripped from the headlines about accusations a masseuse made against Al Gore. Guys. I didn’t know there were allegations in 2010 about Al Gore. Is that because I was 16 in 2010 and just never heard of (or forgot about) the story? Is it because he had less power? Is it because of something specific about the reporting or the allegations? Or is it because we as a culture swept it under the rug since it was (allow me to be the millionth person to make this awful joke) an inconvenient truth? 

I don’t know the answers to the above. What I do know is that this episode is making me ask those questions.

In Marissa’s world (“you mean reality?”), 45 bragged about grabbing women by the pussy and then lost the election. And the story ended there. There was no women’s march, no #MeToo.

Sarah Steele gets to react to a lot of things in this episode and it is very delightful to see her say things like, “what are pussy hats?”

Diane looks so angry and stunned when she realizes that Weinstein is still “a thing” in the world. 

He won the Presidential Medal of Freedom because of course he did. 

His wikipedia page says his only controversies are about his managerial style. Yikes.

Marissa’s reaction to the phrase “masturbating into plants” is one of the best things about this episode. I love that she gets so hung up on it. 

Charlie Rose is the first name other than Weinstein that comes to mind for Diane when Marissa asks what other men were serial harassers. I’ve got to think that Rose gets the most attention here in no small part because he was part of the CBS family-- he was even on TGW. 

I’ve seen Annaleigh Ashford in so many things recently. 

Diane handles the meeting with Team Weinstein VERY poorly (she also does not care to handle it well), while Adrian covers with the “all options are open to us” gibberish that Diane absolutely would be able to convincingly deploy in a meeting she couldn’t follow. I point this out because it shows that 1) Diane isn’t behaving the way she would in reality and 2) Diane does not give a fuck. 

If this were reality, would Diane push so hard in this meeting? I don’t know. This situation is so far removed from reality it’s hard to tell. But my sense is that Diane would like to think of herself as someone who would never waver in her commitment to Doing The Right Thing, but she’d probably be a lot more diplomatic-- even in real 2020-- in initial meetings. It’s a bit dated at this point, but in VIP Treatment Diane was hesitant to believe the victim because the man accused of assault was a high profile liberal. To her credit, she does eventually choose the victim over her own politics. But I could totally see Diane-- with no knowledge of the real timeline-- behaving like her friend/HRC’s press secretary Zoe does in this episode.

All that to say: personally, I don’t think #MeToo would’ve caught on to the extent it did if women weren’t already angry. I believe there could have been a hashtag and some stories (maybe even the Weinstein story). But I also believe women felt an urgent need to speak out and organize. And I believe that more women were inclined to believe victims and get angry. And I believe that it was only because of the world in general that #MeToo spread outside of a few online circles. To put it another way, you know how there are sometimes cases of the week on this show where you might know the reference in detail, but if you ask a co-worker or friend about it they’ll know either nothing or only the very basics? I think all of #MeToo could’ve ended up like one of those cases if it hadn’t played out with 2017 in the background.

Dreams aren’t subtle: Weinstein’s publicity tour includes appearances with Charlie Rose and Matt Lauer. (This joke also serves as a reminder that sexual harassment is a systemic problem.)

Diane is SO confrontational in this meeting. Also, the woman they’re meeting with is SO FRIGGIN COMPLICIT. 

Weinstein’s team frames sexual assault allegations-- which are still floating around even in alt2020-- as a Republican conspiracy. I have no doubt they would have used this approach if given the chance. 

I’m on page six and fifteen minutes in, damn.

Adrian, or Diane’s version of Adrian, does not believe women and seems to hate Hillary Clinton a little bit too. An accurate portrayal of Adrian? Lines that betray Diane’s suspicion of where Adrian stands on women’s issues? Or just that Adrian is there to be the person pushing back and it could’ve been anyone? (I think it’s somewhere between the first two, personally. If this could’ve been anyone, why not Liz?) 

In this alternate universe NBC’s refusal to broadcast Ronan Farrow’s investigation is proof of Weinstein’s innocence, because in the alt universe we still apparently have faith in the corporate culture at NBC. (Perhaps the most surprising thing to me about Catch and Kill is that a LOT of it is dedicated to exposing the shit that went down within NBC. It’s fascinating and also makes it crystal clear how assault is a systemic problem and not just a few bad apples you should avoid being alone with.)

Adrian’s reaction when Diane mentions Reddick (Adrian knows nothing of the accusations in this universe) changes the tone of this scene in an instant and it’s breathtaking. This is the one moment in the episode where she knows she has to shut up. 

The one thing about this ep I am not sure I buy is that the firm is struggling because of the rise in corporate taxes. But I know so little about this issue I don’t care if it’s right or wrong. 

After Diane leaves Adrian’s office, Liz asks, “What about my dad?” meaning she somehow heard the conversation through the wall. (The door was definitely closed so either their office design is worse than I thought or it’s just dream logic.) Diane doesn’t share the rumor with Liz.

Lucca is for some reason on this case, and they are for some reason in court on the same day they learned about the case. And the best part is that I don’t have to worry about whether or not this is plausible BECAUSE IT’S ALL A DREAM

Another thing I’ll say about this ep-- it’s pace remarkably well. The opening previews what’s to come, there’s just enough happy liberal utopia with funny jokes at the start, the Weinstein twist comes at the right moment, and the shift to the more dark, character focused scenes that wrap up the episode come exactly when the writers have gotten as much mileage as they can out of this premise. I knew this episode would be fantastic the moment I saw it was only 41 minutes long.

The judge keeps saying the opposing counsel’s full name, Ann Howard. Is this supposed to be a familiar name to me? I am not getting the reference. 

The judge’s ruling is basically that no one would take the risk involved in assaulting someone at work these days so the case must be bogus. And then we see, immediately (because, dream) that the judge is totally corrupt and just wants to get his daughter an internship with Weinstein. 

“Justice is an equation. Justice equals the law times the zeitgeist. The law on its own doesn’t stand up. You need the mood of the times on your side,” Diane eloquently explains. That’s basically what this episode is saying. To put it more simply: Context matters and nothing happens in a vacuum. (TGF and TGW were always about the context-- you simply couldn’t do a show about a woman standing by her cheating politician husband and being REVERED for it in 2020. That’s not about the law, but the same principle applies.)

Lucca says they won, so the zeitgeist worked for them-- and how could it be against women when the president is a woman? Remember how the Kings used to say that TGF was going to be about Diane retiring because she thought the glass ceiling had been shattered? I always thought that sounded wrong, but this episode is helping me understand what they were thinking a little bit. 

Lucca calls out Diane, a bit abruptly, on how only the woman partners probably would get to say “no more” if there were to be a women’s movement because the associates can’t risk it. Lucca’s right and she’s wrong-- her words underestimate how mainstream and trendy it’s become to publicly talk about sexual harassment, but she’s 100% right that there are still underlying power dynamics.

Diane’s Lucca is V V V V V V V concerned with power dynamics and VERY much wants to be higher ranking. On the one hand, actual Lucca wants to rank higher too. On the other, is there a piece of Diane that sees Lucca as power hungry? 

Lucca’s asked to take documents to Weinstein, and she’s flattered. Diane, like every viewer, sees this as a car crash in slow motion. She knows exactly what will happen when Lucca gets to his hotel with the documents. But Lucca, who’s in the dark, only knows it’s a good opportunity to impress a huge client.

Diane tells Weinstein’s… whatever she is? That she is “Harvey’s pimp” and she is not wrong. Also since I don’t actually know this woman’s job title I’ll just refer to her that way moving forward.

(See what I mean about Diane just saying things that are totally unprofessional bc this is a dream Diane who does what she wants and not actual Diane making tough decisions?)

Lucca is REALLY bitter about how Diane is always taking opportunities away from her. They’re definitely trying to do something with Lucca in this episode but as I said earlier, I think I need to see what they have planned for the rest of the season before I can fully understand what they’re going for. 

Diane tells Lucca exactly what is going to happen when she goes to drop off the papers. Lucca won’t hear it, so Diane asks Marissa to keep an eye on her.

Another possibility for what they’re trying to do with Lucca (and Adrian): Maybe it’s supposed to be about how different Types would react-- the powerful man who benefits from not questioning things and has some latent sexism issues; the ambitious young woman who gets caught in a bad situation because she’s trying to move her career forward. The more I think about it, the more I think this is what they’re going for-- and the question I should be asking is what does it mean about Adrian and Lucca (in terms of how the writers see them, in terms of how Diane sees them) that they can take on these roles so easily?

(It may say nothing about Diane because… idk, do YOU do thoughtful character analysis in your sleep? Because I don’t!)

Marissa is still stuck on the plants and I love it.

Lucca catches Marissa right away, but all that accomplishes is that both of them clearly see that Diane is right. These scenes feel a little unnecessary (they’re also not in Diane’s POV, though surely dreams can have tangents) and I think they’re only here to illustrate how the system works. I can’t imagine this scene is teaching many people new information.

Also there’s… just not another scene with Lucca in this episode? And I don’t know if I feel like that’s a bad thing or like it’s part of dream logic? I think it’s probably just bad plotting that the unnecessary sequence ends abruptly and doesn’t return.

“With the presidency, women can do whatever they want,” says one of Diane’s liberal friends at a women’s event. I’m… not 100% sure anyone would say this. If this were true why would they even be having a gala for a women’s charity? But point taken. People love this type of statement.

So Diane’s extremely low cut dress like has a mesh thing covering her exposed chest??I can’t figure it out. 

Weinstein is also a hero to everyone at the feminist charity. When Diane hears this, she gives an interview to a reporter about having a long way to go, which I 100% believe would be the message no matter reality we’re in what because literally no one is going to say please donate to my cause we have no battles left to fight BUT I DIGRESS. Diane tries to ignite #MeToo (and even name checks Tarana Burke, so that’s awesome) and is quickly cut off.

Then, after giving the interview, she has Jay (hello!) set her up on Twitter. Dream Diane is revealing just how little she understands how social media works. She also wants to link to a “Me Too Site” which is… not how any of this works, Diane.

Diane sees herself on the news-- she’s mostly cut from the piece and her words are taken out of context. 

Adrian and Liz stare Diane down for calling Weinstein’s pimp a pimp and Diane defends herself. Liz doesn’t believe this either. Diane is asked to sign a VERY RIDICULOUS (like it sounds like 45 more than anything else) apology letter and laughs. 

Liz reminds her that they’re close to bankruptcy and that they’ve defended killers before (oh, and, most relevant-- the assholes to avoid case, I can’t believe I went to 205 to think about how Diane would react in a more nuanced present day situation when I had that example!), why would Diane draw the line here? “Everyone deserves a defense. Just not everyone deserves MY defense,” Diane says. You know it’s a dream when a character on this show actually says that. Do you know how many times (if you’re still reading this you probably do know) I have written something to the effect of “SAYING EVERYONE DESERVES REPRESENTATION IS NOT THE SAME AS REPRESENTING THEM YOURSELF, LIZ/DIANE/ADRIAN/WILL/ALICIA/CARY/LUCCA/WHOEVER”? It’s been a lot. 

(Here is something I wrote in a case in which Diane, at the height of #MeToo, defended some assholes for money: “‘I wouldn’t say hate. We’re obligated,’ Diane says. Ohhh yes this is a new pet peeve. Y’all are not obligated. You were not assigned this case. You chose to take it for the money.”)

Idk what my point is here, maybe that this feels like a dream because the characters are never this principled in reality.

Zoe, the press secretary, wants Diane to shut down #MeToo. Lucca’s there too, but she says nothing (despite the experience she may have just had, because dream). Zoe doesn’t want women to get angry about abuse because “that’s not the message that helps us in 2020.” Ooof. But I buy it. I am not sure if it’s ACCURATE that anger wouldn’t help but I can completely see campaign staffers being afraid it would hurt, especially given that Bill Clinton has… more than a few issues. 

This scene veers into Diane’s POV. The camera gets closer and closer to her as she feels boxed in, and Liz, Adrian, and the pimp stare accusingly at her. Suddenly she realizes she doesn’t know where Kurt is because she’s spent the last few days at work. I think the most dream-like thing about this is the way Kurt just suddenly pops into the dream and shifts the tone of the whole thing. 

She runs off. Liz and Adrian ask Diane to step back from the firm for Weinstein and she’s like, okay, I’m going home, “I don’t know how I changed my clothes, I went to that event last night and I have different clothes on now and I don’t know where Kurt is.” I LOVE watching this whole episode twist into something this weird.

When Diane gets home, there’s a man fixing her door. He’s watching Trump TV, which is currently airing Felix Staples singing “This Wall is Your Wall” and honestly this is the best use of Felix Staples in the show so far.

The man fixing Diane’s door also remembers reality. He doesn’t know why he’s fixing Diane’s door. It’s disorienting. 

Diane gets a beer with the man fixing her door and wonders about if she even likes this world where HRC is president (or if the problem is just that she doesn’t believe it). (I think she’d like it just fine if she experienced it linearly, tbh.)

Sexy gun lady from a previous episode is back, and Kurt’s guns are missing because he didn’t want them to be confiscated (I do not believe this would ever be a policy but this is a full on illogical dream right now) and now Diane is talking to the TV.

“I’m in the car, right?” Diane says while standing in her bedroom and pretending to grab a steering wheel. Heh. 

Diane drives to a cabin in the woods (the way this is shot is SO atmospheric) and finds Kurt, in shadow, in the woods. So THIS is what Robert King was going for in Mind’s Eye in the clumsily directed scene with fake Will in shadow. Gotta say, the whole “person you love and can’t quite picture” thing works a ton better when it is obvious it’s an intentional style choice.

This scene is so weird because suddenly politics doesn’t matter and Diane only cares about Kurt and also Kurt might be dead? I am not sure I understand what this is saying. And I’m pretty sure I spent the entirety of this scene the first time through alternating between thinking “ooh pretty”, “this is what 614 wanted to be,” and “please don’t kill Kurt!!”

Kurt pulls Diane to reality and gets her to recap where we left off. She wakes up on the floor of her bedroom. She and Kurt have both, thankfully, survived Book Club’s SWATting. 

HA the first thing Diane says when she wakes up is “What happened?” which… that HAS to be intentional right???? 

To check that Diane is of sound mind, one of the agents asks her how many fingers he’s holding up and who’s president. She laughs. 

This episode is UNDER 40 minutes if you exclude the credits and promo.

Guess we’re not doing recap songs.

Had a lot to say about this one. I’ve liked TGW’s mind-y episodes more, but that’s not really a fair comparison since the point of this wasn’t character study… it was tone setting.

This episode is something else. The writers REALLY overestimated how much the audience (or at least the fandom) liked the pee tape and Melania divorce episodes if they thought this was a good idea.

My recollection of those episodes is that because everything was fake-but-real, the stakes wound up feeling lower and I stopped caring, and when I’m not on board with the plot, the surreal shit and the whimsy feel more annoying than innovative. This episode might fare slightly better in my opinion than the other two because of its central device (more on that later) but it’s (somehow!!!) even more audacious and wild than the episodes that came before. Not my favorite look for the show. 

I DO like the tributes to musicians we’ve lost to COVID-19 that play over the credits.My one quibble is that they could’ve used a little card to inform viewers what’s going on and why. Last week I caught the artist in the captions but this week I missed it (or it wasn’t there), though I figured out pretty quickly it was John Prine.

Starting off an episode with Liz is always a good choice. 

Liz and Marissa are, for reasons we’ll discover later, in New York and investigating Jeffrey Epstein’s “suicide.” 

It drives me INSANE that Marissa consistently has the sound on her phone on. I think we’d know she was taking pictures without it. 

Liz’s old boss, Wilbur Dincon, has tasked Liz to independently investigate what happened. If this case goes well, RBL will get more business from the DOJ.

I’m sorry, did you just say “S-H-U” instead of pronouncing it like “shoe”? I mean, I’m an expert on prisons because I watched Orange is the New Black so I know it should be said like “shoe.” (tbh i have no idea if one is more correct than the other)

This case has lots of details but it’s really only the thematic points that matter, so I likely won’t discuss any plot points… just what they’re going for. 

Good to know Liz was ahead of the curve on knowing Epstein was a dangerous creep. 

Liz is promised she can investigate anyone she wants and think outside the box. Sure. I believe this as much as I believe Diane is in charge of pro-bono stuff because STR Laurie has great intentions.

“Synergy” is such a great bullshit word. Has everyone ever said it for a reason other than the following three: (1) To mock the word synergy (2) as a euphemism for cost-cutting measures that will fuck over employees (3) because they think it sounds professional and want to cover up the fact they don’t know what they’re talking about?

In this case, “synergy” means that RBL needs to cut their payroll by 20%. Fun times.

Diane and Adrian (Liz is downstairs) are not happy about this, even when Mr. Firth reminds them it’s more money for them. They’d rather have less money personally but happier employees since they’re not soulless.

Mr. Firth says they have to do the layoffs. But if it’s any consolation, they get to hand pick who to lay off!

The dogs are still being walked through RBL, in case it wasn’t clear enough that STRL sucks.

The whole firm gets to work on sorting through the Epstein evidence. Liz tries to keep things organized-- murder evidence on one side, suicide evidence on the other.

Associates, however, immediately begin interpreting the word “evidence” loosely. Is there a photo of Epstein with someone they’d like to suspect of murder? Then it’s “evidence of murder”. Ok, Leah. 

As expected, this immediately turns into bickering over politics. Sorry Liz-- it’s going to be tough to keep your staff on target with this one. 

“No! No conspiracy theories. No insane charges. Everything we do, we need evidence, so let’s start here.” Ah, if only everyone could think like Liz.

The room focuses on evidence for about two minutes. Then they find a way to make it about conspiracies again. Go team! 

Also everyone at RBL thinks they have better knowledge than professional medical examiners of the marks left on someone’s neck after they hang themselves. They also all believe that pretending to strangle themselves is the best way to prove their point. It’s a hilarious sight for Diane and Adrian to happen upon.

Adrian and Diane immediately start seeing their employees as numbers and imagining the cost savings of laying them off. Marissa is making $89,000 a year with three years of experience. Jay is making $89,000/year with eight years. Damn, that is so unfair to Jay. (I could see it if Marissa is more vocal about wanting higher pay or if they’re more concerned with losing her… but being vocal about money is probably closely related to Marissa’s privilege and there is zero evidence Marissa is any better, more efficient, or more hardworking than Jay!)  I can’t remember how this plot ended last year, but I thought Jay ended up making more than Marissa after he complained?

Adrian seems to see Jay as the more disposable of the investigators, which is quite sad, especially since from what we see, Marissa and Jay seem to be equally skilled. 

I wish we got to see the salaries, rather than just billable hours, of the other associates. But I’m glad they finally get last names! 

Kevin Walker has been at the firm 7 years and has 2643 billable hours.

Diane imagines the red X over Marissa. I can’t tell if the Xs are to demonstrate who they think they should cut or just to show deliberations. 

Lucca has been at the firm for 4 years and has 2788. Her title is “associate” but shouldn’t it be “Head of Family Law”? 

Leah Davis has been at the firm for 3 years and has 2657 billable hours.

Jancie Muncy has been at the firm 11 years with 2456 hours; Micah Carroll has been there 5 with 2582 hours. John Danzette with 6 years and 2074 hours; Rosalyn Brock with 4 years and 1991 hours (we learn later she was on medical leave for part of the year). Josh Withers with 11 years and 2162. Linda Keller with 2 years and 2389; Mike Roberts with 3 years and 2147. So what I’m getting is that Lucca has the most billable hours of everyone? 

I wish it told us their salaries. How much do the billable hours matter if we don’t know how much $ each hour is worth?

I really like this device. It’s a good way of showing how tough this decision is and how dehumanizing the process becomes. 

Adrian jumps into the conversation and tries to convince everyone Epstein’s suicide isn’t a conspiracy-- it’s just incompetence. Apparently he has a sink that breaks every week and no plumber can fix it because they are all incompetent. I understand this analogy-- no one does their job perfectly 100% of the time-- but I am really concerned about Adrian’s sink. This sounds like a bigger issue than incompetence.

“People do just enough work to get by,” is a very true statement though. I have often thought that it’s kind of incredible the world is as functional as it is. 

If you have 4 or 5 conveniently incompetent breakdowns at once, though, I’m not sure I believe it’s purely incompetence. Feels a bit convenient. 

Diane jumps in and makes a case for why the conspiracy is also likely. This strikes me as counterproductive since what REALLY needs to happen here is for the associates to dig through the evidence. Why not go back to Liz’s original system where they look through the evidence and see where it leads them? 

Lots of news footage and photographs in this one.

Diane’s larger point seems to tie back into Memo 618: “We all have to obey the law. I mean, if we’re told we have to check into with the police every 90 days, we do it. But certain people don’t have to. They’re given special treatment.” Diane claims this is America-- “a special fucking off-ramp for the well-connected.” 

Isn’t it possible both are true? That there’s a lot of incompetence and also systems in place that protect the rich and powerful? Also none of this is evidence!!! 

(I do like this scene for showing Adrian’s POV (cynical about human nature) vs Diane’s (fed up with the government and the treatment of the ultra wealthy). And the show can’t really dig into evidence they don’t actually possess. But evidence-free speeches don’t seem productive!)

Liz is like, okay then… and splits the room into three groups to look at evidence. I am glad Diane and Adrian helped her so much.

Liz is NOT happy about the layoffs when Diane and Adrian loop her in. She’s opposed to cutting anyone. Diane says she could lose Kevin, but Liz sees Kevin as someone newer employees look up to. Adrian suggests Lucy (who?) and Liz says that Lucy actually should get a raise. Diane points out this will look bad to the clients. All good points. This seems like an impossible decision.

Case stuff happens. Lucca knows a “hairdresser to the stars” through Bianca.

And now for some scenes where Diane and Julius try to report Memo 618 to the government and do the right thing! The Kings have said these were intended for episode 8, and while they don’t really feel that out of place since there’s clearly a thematic link between 618 and Epstein’s connections, this bit of info explains two things: (1) Why this ep is 53 minutes long when it feels like it could make its point in less time and (2) why the Julius stuff that happens later in the episode feels a bit anticlimactic because so much else is also happening. My guess is in an episode where it’s more of the focal point it would feel like a much bigger deal.

Do you ever just see a shot of Diane and think, “Damn, Taylor Swift does really look like a young Diane?” Because I do. All the time.

Lucca visits the famous hairdresser and he makes time for her right away. And he gives her a letter from Epstein that he (a) has in his possession and (b) has in an unlocked drawer in his salon. Whatever. 

Lucca convinces him to let her have it, and RBL makes a video to establish chain of custody. I’m shocked we’ve never seen them do this before.

“It is Thursday, May 21st, 2020” Liz says. Nah. You’re in an office. It is not. 

The envelope contains a key, a secret code, and a letter that says “If I’m dead, watch out for BUD”. Welp, there goes any hope of this not turning into RBL chasing conspiracies! 

Rumors about layoffs (40%! Just paralegals! Everyone!) have spread, in case there wasn’t enough chaos. 

The partners are indeed discussing who to fire, and they can’t decide on anyone. So they decide it’s time to get out from under STRL and buy themselves out. It’ll take 20 million, but they can pull that together. 

This would play better if we knew why they decided to sell to STRL in the first place. Who WOULDN’T have seen this coming? 

Liz tells Adrian not to make any promises he can’t keep and he is like, this is like our marriage. Diane is still in the room which is awkward and funny.

Marissa finds “BUD” on a blueprint. A clue! Meanwhile, Lucca and Jay (really, Jay) figure out the code. 

This is the portion of the episode where I can leave the show playing on my phone and go check Twitter instead of writing any commentary. 

Julius gets arrested for speaking out about Memo 618! It feels less impactful than it should when it’s sandwiched between a bunch of scenes following the conspiracy. (Also I am a little surprised they didn’t have Julius and Diane go to the press before the government.)

The conference room squabbles again and Liz asks, again, to tone down the conspiracy theories. They instead begin fighting about even more conspiracy theories.

Unless there’s another conference room scene later, I think this was the moment I understood what the Kings were doing and started to like the episode more. As soon as I realized “BUD” was a Citizen Kane reference, I burst out laughing. This episode plays way better when you know the point they’re trying to make is that this is a lot of fuss that will ultimately be futile (though Marissa and Jay DO come close to finding BUD) than when you’re supposed to be riveted by watching people debate fake evidence. 

Why does Eli Gold have a cheerleader friend? Who knows! Who cares! 

Adrian suggests that he, Diane, and Liz involve their own homes in the scheme to getting 20 million dollars. Liz objects since she’s a single mom-- very fair. Adrian argues that they’ve done well in the past so they’ll get it back. Liz and Diane attack that idea before I can-- if that were really true, they never would have sold to STRL. 

Liz mentions losing ChumHum and the fallout from her dad’s scandal and then says “let us not forget why we joined STRL in the first place.” I feel like that line would work better if the “let us not forget…” came before the “we lost ChumHum”. Because we don’t actually KNOW why they joined STRL. And, as I said in a previous recap, I can roll with it for the sake of plot, but I can’t take lines like “let us not forget why we joined STRL” seriously when there was LITERALLY NO ON SCREEN DELIBERATION about it. 

Adrian says STRL doesn’t value them, their employees, their history, or their culture. To which I say, DUH. Why would you think they did?  

The only important thing about this cheerleader is that she’s played by the amazing Donna Lynne Champlin. Kind of sad she’s in this silly, non-recurring role. She’s so good. (Also she was totally on TGW playing a different role, shhhh). (Go watch Crazy Ex-Girlfriend, everyone!)

CONSPIRACY THEORIES! It’s another conference room scene. Maybe this is where I realized it was a Citizen Kane reference? But I think it was the earlier one.

Hey, it’s another Julius scene. Watching these and knowing they were meant for a different episode, I can’t help but notice that they do feel like pieces of the A plot of a different episode. The whole system is rigged, Julius and Diane realize.

Adrian, Liz, and Diane tell Mr. Firth they want out. Mr. Firth tells them they need to cobble together an impossible 80 million, not 20 million, because not all of the partners have been bringing in more revenue more than they used to. You see, Diane hasn’t been bringing in any money because she’s been in charge of the pro bono department. Ah.There’s the catch. 

I’m shocked they went up to Mr. Firth without reading every inch of that contract. Aren’t you guys partners at a law firm? I’m shocked Diane went ahead with taking charge of pro bono without looking for a catch. This sucks for the character and all, but how are these name partners at a liberal firm that’s seen more than its fair share of drama this naive about big corporations!? This plot twist is devastating… until I start to think about all the things they had to believe to get to this point. 

Still, it’s satisfying to hear Diane hiss “you fucker!” at Mr. Firth. 

Mr. Firth turns into a villain quite nicely. I wonder if we’ll see more of him next year. My guess is the remaining three episodes were going to tie together the corporate overlords plot and Memo 618 and wrap everything up more or less with a bow so they could do a new concept next year. I feel like they’ll either move on completely and tell us what happened, or do an episode like 2x02 (the one that wraps up all the Maia/Rindell Fund stuff in one go so it doesn’t hang over s2).

Dincon drops by unexpectedly and isn’t impressed with what Liz and the team have done, since all they’ve done is collect conspiracy theories (and possibly travel all over the country? Jay and Marissa go to the Virgin Islands; it is unclear if the architect and key maker and lawyer and everyone else were in Chicago…

In Dincon’s defense these conspiracy theories sound like complete nonsense. 

Dincon shuts the RBL team down, but Marissa and Jay are still off adventuring.

Diane asks Dincon what Memo 618 is because Epstein’s life was built on it. “Then you have your answer,” Dincon replies. This scene is another tell that those Julius scenes weren’t meant for 4x07. 

Aaaaand now we get the direct parallels to Citizen Kane, with some shot-for-shot remakes and even a sled (ha!).

There’s a secret door! Marissa and Jay are excited to investigate! Marissa references Parasite, which I haven’t seen yet because I’m awful at watching movies.

Marissa and Jay find nothing and leave. “I think we lost track of the real story: the underage girls,” Marissa realizes. Yup. That is the takeaway. Looking at all these conspiracies is fun but useless, and the most important truth has already been uncovered.