Started February 19, 2017 · Ended · Based on 6 seasons, 60 episodes through November 10, 2022 · TV-MA · 50 min
The Good Fight is a six-season legal drama spin-off of The Good Wife. It follows veteran liberal lawyer Diane Lockhart and her goddaughter Maia after a financial scam destroys their savings and reputations. They join a prominent black-owned Chicago law firm known for police brutality cases against the city, with Diane joining as what the show frames as a diversity hire.
The series weaves its legal cases and firm storylines with direct commentary on Trump-era politics, racial dynamics inside the firm, MeToo, fake news, and other headlines. It features a prominent lesbian lead character whose relationships form part of her arc and were highlighted in early marketing. Later seasons include a major storyline where the white lead steps back from named partner status at the historically black firm amid explicit discussions of privilege and race.
Community feedback
Was our 86% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for The Good Fight.
Woke representation / casting
The core premise and marketing emphasize a prestigious African American-owned law firm with Diane explicitly positioned as a white "diversity hire"; the show features a prominent out lesbian lead (Maia) with romantic arcs highlighted early on; the ensemble includes multiple high-profile black lawyers and strong female leads in powerful professional roles, with racial and gender makeup of the firm repeatedly addressed in storylines.
62%
Woke political dialogue
Characters regularly discuss and react to real-world events with direct, often satirical liberal framing, including fictionalized Trump tweets and administration actions, the firm's work on Democratic impeachment efforts against the president, harsh alt-right troll caricatures, MeToo cases, George Floyd-era racial inequality, January 6, and post-Roe despair.
78%
Identity-driven story themes
Racial identity of the firm and its police brutality caseload forms a central ongoing premise and driver of arcs; season 5 devotes significant time to white privilege, backlash against Diane's leadership at a historically black firm, and her stepping down; Maia's lesbian identity and relationships are integrated into her character story and were part of launch marketing; gender dynamics and professional power for women recur.
72%
Western institutional / cultural critique
The narrative centers ongoing critiques of police practices and the justice system (core to the firm's work), political institutions under a conservative administration (portrayed as chaotic and threatening), media/fake news, corporate power, and aspects of patriarchy via MeToo; it frames much through lenses of systemic issues and resistance, while including some examination of liberal hypocrisy and blind spots.
65%
Woke character or canon changes
Not present in this title.
0%
Anti-woke backlash and complaints
Scattered online viewer complaints on forums criticize the show as overly political, preachy, or pushing identity and left-wing messaging, especially the explicit anti-Trump plots, racial firm dynamics, and topical satire; these appear mostly as individual posts rather than widespread organized backlash or major news stories.
28%
Creator track record context
Key creators Michelle King and Robert King have a documented pattern of legal dramas that incorporate current political events, racial tensions, and social issues from liberal perspectives; co-creator Phil Alden Robinson has civil rights-themed historical work; supporting writer Jonathan Tolins has a strongly queer-focused career; producer Alison Cross has prior credits on socially conscious women's and lesbian stories; other contributors show milder or no such patterns.
50%
Production
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