
Ethics TV shows, once, long ago, a major segment of popular television fare, are an endangered species. When I last gave out this award six years ago, the winner was the zombie apocalypse AMC hit “The Walking Dead.” Eventually TWD itself became a zombie; if I had named a winner of the award in recent years, based on what I saw, it probably would have been old standby and previous champion “Blue Bloods” on CBS, or as I call it, “The Conflict of Interest Family.” To the great credit of Tom Selleck and the writers, it’s still a strong ethics show in its 13th season; brave too (imagine: in 2022, a pro-police drama about a devout Catholic family that meets for Sunday dinner every week!). But I’ve found—finally–a better one.
And if I had been more alert, I would have found it six years ago. The show is “The Good Fight,” a spin-off of “The Good Wife” which Ethics Alarms discussed frequently during its run. I was a bit jaded after “The Good Wife,” because, as good legal series often do if they go on too long, it began resorting to outlandish plot devices as new ideas became harder to come by. Maybe that’s why I was so late checking in on “The Good Fight.” The series picks up the story of Christine Baranski’s character in “The Good Wife,” and streams on Paramount Plus, which I only recently subscribed to. This is the show’s final season, its sixth, but I’m starting from the beginning.
If the next five season raised no ethics issues at all—an impossibility with ethics-obsessed creator-writers Robert and Michelle King in charge—“The Good Fight” would still be the smartest and most sophisticated legal ethics drama since “The Defenders.” You can watch it here.
There are a lot of legal dramas on streaming services right now: “The Lincoln Lawyer,” “The Firm” (based on the John Grisham novel and film, with Grisham producing), “Partner Track,” “Extraordinary Attorney Woo,” the now-completed “Better Call Saul,” and the extremely entertaining if over-the-top drama “Goliath,” starring Bill Bob Thornton as an alcoholic, depressive, idealistic litigator. If I had to recommend one over the rest, “The Good Fight” would be my choice.
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I dabbled in journalism as an undergrad. Admittedly, that wasn’t exactly last week: the newsroom was stocked with manual typewriters, if that gives you a rough idea. There was no journalism department, and, I believe, only a single introductory course–which virtually no one on the staff of the newspaper took. A bunch of my colleagues turned out okay, though: three that I worked with ended up in senior management positions: one with the Wall Street Journal, one with the International Herald Tribune, one with Newsweek.
I did some day editing, mostly on the arts page; I had a weekly column, and I did a little news reporting. I never sought an upper-level editorial position. It’s possible, perhaps even probable, I could have been arts editor if I’d really wanted the job; I didn’t.
But I did have a lot of conversations about journalism with some people who were subsequently to be very successful in that business. The consensus was that objectivity was a goal, but one it was impossible to achieve. The reasons for this were two-fold. First, you can’t entirely suppress your own life experience, perspectives, and (yes) prejudices. Second, you inevitably interpret the significance of events. If X happened and Y also happened, there are manifold ways of framing the story, using variations on the theme of “despite” or “therefore,” for example. Even saying “X and Y” instead of “Y and X” often betrays a bias.
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