a few weeks ago the era of one of television’s sharper legal dramas came to a close. The Good Fight, a standout in recent years, wrapped up its run after six seasons, ending much like its parent series The Good Wife: returning to the starting point where it all began. The early cast that rode the initial wave did not all stay for the final voyage. Leslie as Maia Rindell, Lucca Queen, and Delroy Lindo as Adrian Boseman were no longer in the primary ensemble, yet the story circles back to its roots.
In the opening moments, Diane Lockhart (Christine Baranski) seems to be savoring a peaceful retirement, perhaps tending vines somewhere in the French countryside. It mirrors the long arc of the hero who began wandering toward a calmer life. But a ticking clock appears—this is the finale—heightening the sense that whatever unfolds before the last frame may be decisive. The credits reveal a haunting image of objects tossed into the air and then shattered by sniper fire, a spoiler alert for anyone who still plans to watch.
The latest season delivered some of the series’ most surreal moments, as if the world itself might collapse. The ensemble is corralled inside their firm, a fragile bubble amid a city in upheaval. A dramatic sequence follows the dramatic events on the streets as political fault lines widen. The last election reshapes the national landscape, with red lines erased and a country living on the edge of discord. White supremacists flood the streets, while opponents respond with similarly aggressive tactics. Diane, meanwhile, leans toward therapy and medication, chasing pink elephants and unicorns as a coping mechanism—an echo of darker days when society felt precarious. If the world is unraveling, at least the bars remain open.
From the outset, the writers teased a possible return for Alicia Florrick. In hindsight, if Alicia were to reappear, the moment would be right now. Throughout the final season, occasional nods to The Good Wife cast suggested that a comeback might still be possible. The eccentric Elisabeth Tascioni (Carrie Preston) had appeared in earlier installments, and Eli Gold’s presence (Alan Cumming) added a nostalgic spark. Through Eli, the audience learned that Alicia was in New York, and it seemed the storyline might pick up steam. Yet the former spouse Peter Florrick is entangled in fresh scandals, and Alicia herself does not return in person. A few lines of dialogue reference her, but she never reappears onscreen.
In the end, Alicia does not come back. One of the most striking moments in the premiere shows Diane’s expression when Donald Trump becomes president. The series had evolved from a courtroom drama into a political beacon, wielding its sharp dialogue to dissect the Trump era. Robert and Michelle King used the show as a scalpel—centering every twist around the administration’s maneuvers. By season five, the political landscape had shifted; a new reality demanded fresh storytelling. The Kings updated their intrigues to mirror the country’s political pulse, often making bold predictions that felt daring, even for a satirical drama. The possibility of a Supreme Court ruling on same-sex marriage was floated, and the Congress hinted at protective legislation in the same week. The show did not shy away from contemporary issues, including Metaverse-related sexual misconduct allegations and other thorny topics tied to #MeToo and evolving laws.
The finale closes with a reflection almost grounded in reality. The countdown reaches zero as a new presidential bid is announced, echoing the opening premise. Six days before the event, the script seems to anticipate a clash that will define the era. Diane abandons her plan for a gilded retirement, acknowledging that future challenges are inevitable. The fight continues, returning the audience to the series’ starting point while leaving room for spin-offs that could illuminate North America’s present moment from fresh angles. The door is never truly closed for this universe; new chapters could always unfold.