#i felt this way when i read tgf last time too. and read like first 100 pages of the idiot actually but then stopped bc illiteracy etc | Explore Tumblr Posts and Blogs

melis-writes · 3 years

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Moth to Flame [Michael Corleone x Reader Series, 18+ Smut] Chapter 28 - Thick as Thieves.

Read on AO3 / Read Chapter 27 [AO3] / Tumblr / Chapter Masterlist. / Fic Playlist.

18+, explicit smut read.

Adjusting to Michael's absense as he leaves for Cuba, you spend the day with your family and in-laws, only having the realization of how much you miss your husband and worry for him after he left right after an attempt on both of your lives. Anticipating the results of your pregnancy test, you find your mind wandering back and forth to Michael who spends his first day in Havana with Fredo, holding onto the two million dollar investment for Hyman Roth. Anticipating meeting with all of his rivals and planning out their deaths, Michael confides in Fredo who he's come to suspect. Taking out all the frustrations of the day out, you find your fantasies of Michael play out in your dreams as you can barely keep from touching yourself as Michael tells you just how insatiable his lust is for you over the phone. Thousands of miles away, sensual intimacy is still shared through the telephone as you find yourself once again, moaning out Michael's name.

[WARNINGS]: Mutual masturbation / Smut / Phone sex / Squirting.

[AUTHOR'S NOTE]: Sorry it took so long, guys! I wanted to take my time with this chapter as it's more dialogue heavy than most, and of course, life gets in the way! I don't want to force myself to write to a burnout either, so I'm definitely taking my time with the chapters to have it all come out perfect! But it's finally here, and as steamy and anticipated as ever! Phew, phone sex has been very much requested! 😳🥵 I also want to add that like Ritchie Nobilio, Bussetta is also a real character in TGF (he's there in Cuba!!) and not fictional! Thank you all for the amazing, smutty requests you all sent in that we'll see much of NEXT CHAPTER! Enjoy! 🤤🤞

[SUGGESTIONS:] Anons for requesting: The reader having a wet dream of Michael while he's away in Cuba / Phone sex with Michael / Michael making a mess over himself / More Michael dirty talking.

1949. Your name is Victoria Ferrari, and you’re the only daughter of one of the most powerful mafia families in New York—the Ferrari’s. When the Ferrari family began to gain heavy influence and power, it struck a power imbalance with the Corleone’s. To bind the families together as one in an offering of peace, friendship and business, you are to be married to their youngest son, Michael Corleone. As you ensnare yourself in the life of a mob wife by Michael’s side, what you don’t know is his old ties with Kay Adams, your best friend from Dartmouth, and that he returned from Sicily a widower. A ruthless mob boss to be, you unravel Michael’s dark past and the brutality that has changed his personality. You find yourself adapting to your new life, betrayed by those you love most, and in high profile to Ferrari and Corleone family enemies. Falling deeply in love with Michael, you enter a life and marriage filled with secrets and darkness. Bearing his children, supporting his crime empire and following him into the shadows, you’re unable to deny your passion and desire to the new Don. When it comes to Michael Corleone, you are but a moth to a flame.

Michael felt as if he had to essentially drag himself out of bed as the clock struck five AM, knowing Rocco would be awaiting him by the car in half an hour. The toll of physical exhaustion from last night had begun to sink in, and frustration clouded his mind as the sight of security looming around the residence only continued to remind him of the events of last night.

It’s as if the night would never be over but morning came all too soon. Glancing back at you snuggled up, safe and sound in bed dissipates Michael’s troubles almost instantly but only magnifies the bitterness of having to leave you and the twins behind for the next few days.

Michael lets out a soft grunt, careful not to wake you or make any sudden movements over the bed to disrupt your sleep. Sitting upon the edge of the bed, he gently pulls the blankets up to your shoulders before rising to his feet.

Michael’s white beater shirt rises up, exposing his stomach and lower waist as he approaches the closet, running one hand through his tousled, fluffed mess of hair that now hangs over his temple.

Tightening his wedding band over his finger, Michael pulls open the closet and reaches for a three-piece, black mohair suit to be paired with matching suit trousers, a silk burgundy tie, and a white poplin cotton dress shirt.

Careful not to wrinkle the fabric, he hangs it sturdily over the closet’s doorknob and pulls out a black wool, double-breasted greatcoat that’ll serve against New York’s cool weather. He separates out the suits and articles of clothing to take with him for the business trip as he pulls out his luggage.

A two-piece, tan-colored suit and tie. A classic, three-piece black suit and tie. A white, knit polo shirt, navy suit jacket, and grey dress trousers paired with a silk, day cravat. Accessories consist of little to nothing; Michael only wears his 18k gold Omega Constellation watch over his left wrist that pairs well with his gold wedding band.

Undergarments, loafers, and pairs of socks aside, Michael grabs his cigarette pack and lighter off the dresser and makes his way off towards the bathroom—unable to ignore the gnawing annoyance growing inside of him.

Unbeknownst to him, a stern scowl is painted over his face as he strips himself naked and tosses his clothing into the laundry basket. He sets his cigarette and lighter over the bathroom counter—a quick morning routine of Michael’s, but rigidly structured.

Stepping in to take a quick shower, Michael lets the hot water soak over him and drip off his skin. He lets out a deep exhale, welcoming the steaming water over his chest and shoulders as he tilts his head back.

Rinsing off, Michael scrubs body wash and soap over his skin to wash off the remnants of love-making from last night. He works his hands around his body, washing himself clean before squeezing the ends of his hair to get the excess moisture out and shutting off the tap.

Intimacy with you was a welcomed yet unexpected break from all the stress and tension of last night that Michael didn’t know he needed. Unfortunately, the short time he spent with you only continued to remind Michael of the severity of his frustrations.

Steam fills the bathroom as Michael comes out of the shower, pulling back the curtains behind him. Dripping wet, he grabs a body towel and wraps it over his waist, using a smaller one to towel dry his hair.

Michael’s irritation mostly stems from the fact his residential compound was breeched so easily as if someone was practically handed the keys to get inside. It already gave away to him that it leads back to some form of an inside job.

The act of defiance Michael suspects comes from Alphonse Ricci—barely the “Don” of anything at his point, and Hyman Roth—an old business partner from Vito’s days now accustomed to doing business with Michael and remaining to be a mutual buffer between him and Alphonse.

Roth has always been a Ricci family friend, and Alphonse’s fall from grace after the deaths of all the heads of the crime families, Moe Greene and Carlo Rizzi, didn’t impact their relationship at all.

Michael ever so slightly opens the bathroom window to let fresh air in as he stands over the sink, popping open his pack of cigarettes and slipping one into his mouth. Water is still dripping off his hands as he lights his cigarette, taking a much needed, long drag before continuing to press the towel onto his hair to dry it as much as possible.

Keeping on friendly terms with both Ricci and Roth while pretending to be clueless about the intricacies of the attempted assassination and suspecting both unbeknownst to each other would be the only way Michael can learn the truth.

Keeping the cigarette firmly between his lips, Michael begins to dry himself off from the chest down, wrapping the towel back around his waist. He reaches into the bathroom cabinet for his hair comb and gel.

If Hyman Roth had anything to do with it, Michael would know it would be for the sake of business. The man has been dying from the same heart attack for what seems to be the past twenty years, and if he wanted Michael out of the way, there’d be nothing personal about it.

His signature look for today consists of brushing his parted hair back from both sides and moderately gelling it back to keep it neat and firm. It’s an in-between kind of styling he chooses from lightly gelled and brushed to heavily slicked back. Michael works with his hands and comb quickly, styling it through his silky, black hair.

Alphonse Ricci, on the other hand, only had “business” with the Corleone family because that’s what kept him alive and useful. He had no real power or legitimacy, and many of the families had even forgotten he existed after Michael sent out the death order to kill all his enemies.

Tapping the ashes of his cigarette off into the sink, Michael washes off his hands and sprays cologne over himself—now completely dry—before making his way back towards the bedroom.

Michael lingers a moment more by the doorway of the bathroom, taking longer drags as he notices you still peacefully sleeping away. The sight calms and soothes him from the anger of knowing he let Alphonse Ricci outlive his usefulness.

Just as bullets had flown over your head many times over, it was the same experience for Michael almost every day for three years in a row during the war. If Hyman Roth or Alphonse Ricci wanted him dead, they’d have to join the line as they wouldn’t even come close to being the first.

Michael puts his cigarette out in the nearby ashtray and fastens on his gold watch, knowing he has ten minutes left to spare. A simple glance towards the window is enough to tell him the weather today is dry, cold, and windy, so he chooses his three-piece black suit and pulls his matching wool overcoat on top.

To the best of your knowledge, you’d think Michael is going straight to Miami first, but Rocco has prepared to take Michael to his private jet that he’ll board for New York instead. He knows your father left for Long Island last night to see Clemenza after the hail of bullets, but Michael is also aware what you don’t know can’t hurt you.

You don’t know that he also suspects Lorenzo, your eldest brother, outside of Hyman Roth and Alphonse Ricci. You also don’t know he’s leaving to deal with that first and that suspicions left unchecked are business left undone in Michael’s eyes.

Family or not, business partners or not, the hostility and dislike between him and Lorenzo threatens to boil over more than half the time the two see each other.

Don Guiseppe Ferrari would be the one to provide Michael with the answers that ultimately decide the fate of Lorenzo so Michael may not have to make a trip to Cuba after all. For Michael’s sake, his honeyed words keep you reassured, knowing you’d react negatively to have your brother as a suspect whether Lorenzo was to blame or not.

Suitcase packed and ready to go, Michael doesn’t leave the residence without pressing a soft kiss upon your lips and the twins’ foreheads before meeting up with Rocco outside. His security and men are as alert as ever, which again only serves as a bitter reminder of last night, but the sight of your bedroom window renewed and secured provides Michael a small measure of relief.

Five hours pass during Michael’s flight to New York on his private jet. Bussetta is the only bodyguard that accompanies him as almost all trust for Rocco has dissipated entirely. Michael plays his cards carefully now in who he chooses to be seen with and who is to remain by his side for protection.

His last order to Rocco before boarding with Bussetta was to get Ritchie Nobilio to the residence and not to leave your sight under any circumstance when you’d awake this morning. Starting now to count the men he can trust on his hands, Michael only trusts Rocco with getting Fredo to the airport and to Havana after he lands there first.

Opting for a tall glass of water instead of champagne, Michael sits comfortably over the leather seats of his private jet, just across from Bussetta, who chooses to gaze out the window silently, his fedora tipped down.

Michael props open his suitcase upon his lap, his eyes landing on the portrait photograph of you and the twins beaming at the camera before anything else. He brushes his finger against the glass as if to stroke your face, finding his tense muscles relaxing at the photographed sight of his family.

“It sounds like he’s trying to say ‘door,’ isn’t he?” You laughed from the kitchen, drying your hands off with a clean cloth.

“Something like that.” Michael chuckled, holding up an eleven-month-old Niccolò in his arms.

“Dah?” Niccolò blathered, placing his tiny hand over his father’s stubble. “Dah…”

“Dada.” Michael repeated slowly, “da-da. Can you say ‘dada’?”

Niccolò stared back cluelessly at his father, putting a finger from his free hand into his mouth and idly clinging onto Michael instead.

Michael let out a soft sigh, unable to hold back his grin. “Maybe he wants to speak Italian first.”

“Wouldn’t surprise me.” You smiled back, lingering by the doorway to the living room.

In an instant, Niccolò exclaimed, “dada!” before wildly throwing his hands up in the air. “Dada!”

“Oh, he’s got it!” Michael exclaims, pulling a giggling Niccolò into a hug. “There’s his first word!”

“Dada, huh?” You gaze back at the two in utter joy, seeing father and son bonding on Michael’s only day off this week. “That’s dada, isn’t it, Niccolò?”

“Daaaaaahhhhdaaa…” Niccolò happily coos out within his father’s embrace. “Dah…”

Having to leave you and the twins behind right after an assassination attempt doubles Michael’s anger that refuses to simmer down the longer his mind remains over the matter. He promised to your father years ago when you were to marry that he would protect you unconditionally, to no avail, always and forever—you and his children.

The fact Michael has to suspect your brother, to begin with, is both heinous and ridiculous in many ways besides the irony. Still, suspicions or not, Michael is rarely a patient man and expresses the extent of his impatience differently.

You never got on his impatient side and always knew him to be a stern, cunning, and calculated man whose silence killed, but there was an obvious limit to how much disrespect Michael would simply brush off from Lorenzo with the excuse that he’s your brother and the future, Don Ferrari.

Perhaps speaking to the real Don himself would knock some sense into the hothead of his son that no longer surprises Michael as to the fact Lorenzo and Sonny get along so well. Lorenzo’s brute strength and hostility serve the Ferrari name well, but he’d only stay afloat in the family because of his brothers, Michael thinks.

While Sonny technically remains as “acting” Don in Michael’s absence, Michael would be surprised if he returned back to Lake Tahoe and saw the compound still intact, and wouldn’t be surprised at all if Lucy Mancini was somehow invited over either.

Worrying for you and the children for the sake of safety and now the prospect that you could be pregnant with Michael’s third child, Michael knows at any other time and place that his worries would be nothing and only considered over-thinking.

After all, it was you who wounded one of the assassins badly without even being able to properly aim or have a line of sight. You could easily pick off assassins like flies before Michael’s men could flock to Rocco and aimlessly wander over the compound to find them.

That would be any other time, of course. Michael chooses to uproot the corruption and betrayal from within by the roots this time and does so alone, to only his knowledge. The first weed would be decimated through Don Guiseppe Ferrari—your father.

The rest of the trip goes by in silence as Michael distracts himself with the newspaper and paperwork, neither anticipating nor dreading what’s to be an unexpected visit to your father before anything else. After all, Don Corleone now rivaled the influence and power of Don Ferrari, and the very concept of power dynamics that resulted in your marriage to Michael strikes once again the other way around.

Don Ferrari sits upon the leather armchair in his office, relaxing his shoulders back against his seat as he holds up an analysis report of the Ferrari family’s financial holdings in Long Island. Distracted by his paperwork to harbor off the stress from last night and his urgent flight back to New York, Giuseppe’s mind remains calm, knowing nothing had transpired on either Corleone or Ferrari territory here in New York.

Having spoken with Clemenza upon his arrival last night, Don Ferrari and him shared the same suspicions over Alphonse Ricci being the mastermind behind the assassination—well-proven knowing that he fled New York “for good” a mere few days ago.

Clemenza had been essentially keeping Alphonse alive for Michael’s sake, serving as a buffer while the Corleone family largely remained in Nevada. He rarely spoke to Alphonse and could count the occasions he had done so on his hands; when Alphonse had been given to him after Michael ordered the deaths of his enemies during your honeymoon together for one.

Naturally, the two didn’t trust each other either, and a mutual dislike lingered between them but was heavily shared on Clemenza’s behalf. Clemenza knew Alphonse had his uses, and the business he had done would be a little costly in both time and finances to replace. He could surely be killed and knocked off at any point in the day, but it was best to squeeze him out of his usefulness first.

Seeing Vito Corleone leaving New York for Nevada provided Alphonse the opportunity he had been patiently waiting for. He did as Clemenza said and kept his head down but gave off a fake aura of trust and friendship as if he would always do what the Corleone family told him to do and nothing else. He pretended to be grateful that his life was spared, but his mind was on the route to revenge.

Now supported by Johnny Ola, Hyman Roth, and Fredo Corleone, of all people, Alphonse could freely leave New York and use Fredo as an excuse so nobody would bat an eye. The last time Clemenza spoke to Alphonse was when he returned from the Tropigala, separating ways with Johnny Ola so Clemenza wouldn’t be suspicious.

Clemenza almost reported Alphonse’s absence, but Fredo quickly intervened and smoothened things out. Fredo had done the one thing Michael warned him not to do: side with others against the family.

Clemenza assumed Alphonse was back at the Tropigala, doing some work under the Corleone family, aided by Fredo when he found out Alphonse was absent for four days and missing from New York. It wasn’t entirely a misunderstanding either—Clemenza’s hunch was spot on.

In order not to raise Fredo’s suspicions, Alphonse made Johnny Ola ask him about the Lake Tahoe compound and what he would “have to do” to come in and have a word with Michael. Meek and stupid, Fredo gave away an entrance he used towards his residence, and he had practically paved the way for Alphonse’s hit to go out as planned.

Of course, Fredo was confused during the shooting and didn’t even piece together that it was his fault. He had no idea why it happened, how it happened, or who did it, and actually blamed Senator Geary for it. He stayed out of discussions because Michael purposefully excluded him, Vito, Sonny, and Tom said nothing to him about it, and all seemed “fine.”

In reality, Fredo wanted something for himself out of his negotiations and “friendship” with Alphonse and Johnny Ola. He knew it had to do with Michael, but he didn’t know it was going to be a hit.

Part of Don Ferrari’s reason for return was done on Vito’s behalf. He secured both Ferrari and Corleone holdings, sending out his best men to scout the area for Ricci’s remaining loyal men and protect their own territories with extra security.

Guiseppe would remain a while longer to make sure things were smoothened over and would return to talk it over with Michael after his dealings with Clemenza. This afternoon, however, it’s Michael who comes to him.

Don Ferrari peeks his head up to hear the sound of knocking over his office door. “Come in.”

“Don Ferrari.” One of Guiseppe’s security men takes a step in—a half worried and half-dazed expression over his face. “You have a visitor.”

Guiseppe replied plainly, almost returning his attention to his paperwork. "You can tell them to contact my consigliere if they wish to see me.”

“To be frank with you, sir, the devil himself is at your door.” The guard clears his throat. “He stepped right by and said he would see you in your study.”

“The what? Don’t be ridiculous." Don Ferrari lowers the paper in his hand. “A visitor?"

“Not a visitor, sir. It’s Michael Corleone.”

The paper slips free from Don Ferrari’s hand as he shoots his guard a look. With a stern nod, he rises to his feet and smoothens out his three-piece, grey suit, and wastes no time in making his way towards his study.

Refusing all hospitality and small talk from Don Ferrari’s men, Michael remains in the study—the door closed behind him. He hasn’t taken a seat since, only waiting five minutes since he arrived at the Ferrari estate. All of Don Ferrari’s men recognized him instantly and gave him no trouble if any words at all when they saw his vehicle pull up to the gates of the manor.

Keeping his overcoat on, Michael ran his hands an armchair as he slowly paced around the room, taking note of all the décor and furniture within the room that reflect on the Ferrari family. He had been in this study many times before himself, but mostly so during the first year of his marriage with you.

The photographs of you above the fireplace next to your family portraits are a welcome sight from grey clouds for the past five hours. Just as he’s about to further examine the photograph, Michael hears the footsteps of your father approaching the study.

Michael lets out a short sigh, turning towards the window as he knows his anger still hasn’t eased. He would act at ease, inclined to listen, here for a civil conversation, but he’d first note of Don Ferrari’s disposition, body language, and initial reaction to seeing him here uninvited. If all went wrong, his suspicions of Lorenzo wouldn’t be confirmed, but they would certainly harden.

Don Ferrari notices the distant shadow of Michael’s presence from under the door as he comes to approach the study. Slowly twisting the doorknob, he pushes open the door and instantly spots Michael standing across from him by the window, both of his hands behind his back as his stern eyes burn back at his father-in-law.

A million ideas whizz through Guiseppe’s head, but none of them come close to figuring an explanation for Michael’s sudden appearance. The two had spoken last night throughout almost the entirety of the shooting’s aftermath, and Michael himself was aware Don Ferrari would urgently be returning to New York to secure the Ferrari and Corleone holdings—let alone check in on Clemenza about their suspicions against Alphonse.

Michael and Guiseppe may share the same suspicions against Alphonse, but only Michael holds the suspicion that Lorenzo could be to blame alone if not partnered with Alphonse or someone else. As long as he’s suspicious, the latter wouldn’t matter to Michael until later.

From the sight of Michael before him, Don Ferrari has already picked up on enough indicators from Michael’s facial expression, down to his dress and his body language that would otherwise require a conversation to figure out.

One: Michael isn’t here to stay for long. Two: he’s in no mood for friendly, father-son banter. Three: he’s here on business and for something urgent. Four: the element of surprise will serve as an advantage for him, not for Guiseppe. Five: with his dress and lack of comfort, he’s showing stiff distrust. Six: his body language gives away he’s here alone, and you aren’t aware of it. Seven: whatever he’s here for strictly concerns Don Guiseppe Ferrari.

“Don Ferrari, are your sons aware of their mother’s condition? That she was shot?” Michael asks, keeping his tone calm but insistent.

Don Ferrari gives a grim nod. “Of course, we were all there for her last night.”

“Do they know their sister—who may be pregnant—was on the hit list? That she was to be assassinated alongside me?” Michael’s voice cools as he gives his father-in-law a look of disappointment. “It seems I’m the only one who understands.”

Without another word, Michael turns his head away, walking over to the armchair by the bookshelves and slowly taking a seat.

Making sure to get comfortable in his seat, Michael holds his black fedora in one hand and leans his back against the armchair while crossing one leg over the other. Continuing to keep his eye contact with Don Ferrari, a hold of power is maintained in Michael’s eyes even though Guiseppe remains standing over him.

“I want you to help me take my revenge, Don Ferrari,” Michael speaks out calmly.

“What can I do?” Don Ferrari offers, sitting across from him.

Michael pauses for a moment—his burning gaze lingering over Don Ferrari’s. “Settle this trouble with Lorenzo before it gets to his brothers.”

Don Ferrari raises a brow, taking a moment to process the request for a moment. From time to time, Lorenzo would voice his dislike over Michael but had always done so vaguely and broadly used the “Corleone” name to explain it. He never once outright told his father or made it seem like he hated Michael or had a personal vendetta against him either.

Giuseppe’s always under the belief Lorenzo’s concerned about the politics of power dynamics—how it’ll be ironic to simply “allow” the Corleone family to “one-up” the Ferrari’s because of Victoria’s marriage.

Naturally, your father doesn’t see an issue or the need to bring up such a conversation with Michael himself—he’s still Don, after all. Guiseppe isn’t intimidated by Michael in the realm of power and influence. He sees Michael like a son of his own and is proud of him as if he was one of his own—of how he’s become a loving father, husband, and now the most powerful mobster in America.

Don Ferrari isn’t concerned in the slightest, and that has little to do with the family and business partnership the Ferrari’s share with the Corleone’s. The Ferrari’s have never been enemies or rivals with the Corleone’s. The Ferrari’s came to the Corleone’s on their own terms in 1949 to discuss power relations so the two families who had a deep, respectful history with each other from Sicily wouldn’t find themselves mixed in the crosshairs of any future mob wars.

You just happened to be the seal to that very deal as Michael’s bride. Perhaps only Vito could have foretold and seen at that time that Michael would succeed him in every possible way and exceed further after that—but it’s not as if your father suggested you to marry Michael because he had “future most powerful mobster” written over his forehead.

Nobody knew that was going to happen except Michael and Vito—and you watched it unfold before your very eyes—two of his babies in your arms.

Don Ferrari shakes his head. “There have been no ‘troubles’ or concerns raised to me as far as I’m concerned,” the look of confusion twists further on his face. “And there can’t be. He’s my heir to be.”

He’s right. Lorenzo Ferrari is not the Don yet.

“I know he is.” Michael gives a small nod. “Your son is playing a dangerous game of power politics, and while you’re in good health, nonetheless.”

Guiseppe lets out a small scoff. “He’s overambitious at times, yes, but he has no real power at the moment.”

“I couldn’t care less about that.” Michael sits up, lacing both of his hands together and speaking in a low tone, “all four of your sons experienced the same thing. They were all on my property—guests in my home. Rocco couldn’t handle the easiest task of finding the assassins; you’re telling me neither could four of your boys? You have to understand I have to suspect everyone right now. How could I not suspect it was Lorenzo who tried to have me killed? He approached me, spewing accusations of how I ‘endangered’ his sister and that that’s the only reason why he cares, yet I never saw him come to console his sister once that night. Do you understand how suspicious all of this is to me?”

“Michael, that’s an impossibility.” Don Ferrari answers back. “To have my own sons even think of conspiring against—”

“Would mean a full-blown war, yes.” Michael nods back sternly, finishing his sentence. “I hope you understand the gravity of this situation and what that would mean for Victoria’s brother.” Michael doesn’t even mention Lorenzo by name out of disrespect. “I appreciate his defensive fire towards his family, but he steps out of line too often. I don’t care to have this conversation with him because for as long as he’s not the Don of Ferrari, he’s irrelevant to me.”

From Giuseppe’s angle, Michael’s brooding gaze almost looks as if he’s glaring back at him—drained of any emotion. “I don’t mean to cause you any offense, Don Ferrari. I promised both you and myself that I’d keep your daughter safe no matter the cost. I have to come to these suspicions.”

That boyish charm, polite speech, and calm disposition might as well have all been a fever dream. Before him now remains a Don created out of brutality, harboring cruelty and wielding power in an iron fist. Almost unapproachable at most, Michael easily overpowers Giuseppe Ferrari and the entirety of his family combined—welding such an edge to his advantage.

There would have been no way Michael could have even dared to approach Don Ferrari as such, let alone raise his voice or interrupt mid-conversation, had he continued to be who the Don had first met him as.

“I know you’re doing this for Victoria’s sake.” Giuseppe lets out a soft sigh, relaxing his arms out on the sides of his armchair. “Although I had always taken you for a patient man.”

“Even my patience has its limits, such as when it outlives its usefulness,” Michael replies. “I’d rather avoid any kind of conflict towards your family in the future. I’m not insinuating the hostilities myself.”

“Lorenzo isn’t comfortable sharing power. He never has been.” Don Ferrari gives a small shrug of his shoulders. “He was against my decision to partner with your family, to begin with.”

“He has a multitude of opportunities to become a powerful and influential man such as yourself. He doesn’t need to keep a personal relationship with me—vendettas included—to keep our business in order. I suggest you remind him of that.”

Michael rises to his feet, brushing off his overcoat as he gestures back to Don Ferrari. “I’m very happy your daughter didn’t go to a stranger. I’m grateful to be a part of her life and your family.” He trails his hand over the books upon the shelf slowly, back to approaching the window. “I honor my father’s wishes of peace between our families, Don Ferrari.” Michael returns his gaze back to Guiseppe before placing a hand over his heart. “That applies to me as much as it did to him.”

Don Ferrari places a hand over his heart as well with a firm nod. “I wouldn’t expect any less from you. These are dangerous times we live in, which is why I want to help you.”

Michael nods back at Giuseppe. “A breach of the compound couldn’t have been done without it being an inside job. The mastermind gave it away—I’m not concerned with them right now. What I want is to find the traitor in my family.”

“What do you need me to do? Anything. Just tell me, Mike, I’ll make it happen.” Don Ferrari is eager to offer.

“I want you to secure both of our holdings here with Clemenza and my father. If we need the muscle, I’ll let you know, but I want you to go on as if nothing happened last night. Keep your head low and make it as if you’re only concerned about yourself. Ricci won’t suspect you. He isn’t that clever.”

“You’re planning on taking him yourself?” Don Ferrari raises a brow, beginning to sit up in his seat. “If he’s backed up by one of the families as we think, he could be invulnerable.”

“He could be.” Michael brushes off the thought, “but he won’t. We have mutual business partners between the two of us that’ll guarantee a meeting.”

“And by mutual business partners, you mean Hyman Roth.” Don Ferrari sighs, rubbing his temples.

Michael begins to pace around the room slowly, keeping his eyes on Don Ferrari. “Roth and his Sicilian messenger boy, Johnny Ola. They’ve all signed their death certificates, but they’ll want me to suspect you first.”

“And then?”

“And then I’ll kill them.” Michael locks eyes with Don Ferrari. “This was conspired by someone close to us. If anything, these next few days with business are crucial. They’ll tell me everything I need to know.”

“You know how to reach me if you need anything more.” Giuseppe rises as Michael walks up to him. “My eyes and ears are all over New York, you know this. I hear about a leaf falling before it’s even aware it’s touched the ground itself. Ricci would know better than to show his face back here.”

“Sono contento che tu la veda a modo mio; la nostra cosa.” (I’m glad you see it my way.) Pleased, a ghost of a smile crosses over Michael’s lips momentarily as he extends his hand out to shake with Don Ferrari’s.

Guiseppe reaches out as well, firmly shaking Michael’s hand with an understanding smile over his lips. “La mia fiducia in te non è mai stata mal riposta., Michael.” (My faith in you was never misplaced.)

[ + 1 Day ]

Another five hours passed, coupled with a silent flight to Havana in which Michael indulged himself in paperwork and a few chapters of Niccolò Machiavelli’s The Prince.

Fredo would be arriving later than him as Rocco was instructed not to tell him that Michael had flown to Long Island first. Fredo would be following behind on his flight a few hours later—granted not on Michael’s private jet but on business class, taken care of by his brother.

Michael almost cleared his suspicions of your father and brothers as he ended his meeting with Don Ferrari, but never once held back the belief that a betrayal from your side of the family could always be possible. It would not wipe away the growing yet silent dislike Michael has towards your eldest brother, Lorenzo.

Naturally, anybody at the Lake Tahoe compound could have been the traitor, and Michael had suspicions spread out to all except the children, his parents, and you—his wife. Anyone else would be just as capable, and while Michael could suspect anyone how he wants, he knows he has to play it smart and reasonable.

The very idea that someone in his inner circle would conspire to have him and you killed is more treacherous and alarming than a planned-out assassination meant for him only. Alphonse Ricci and Hyman Roth are dead giveaways for suspects, but so are Johnny Ola, Lorenzo, Rocco, and Al Neri, just to name a few.

Michael has no intentions of allowing Hyman Roth or Alphonse Ricci to live past this year, but he’s always been one to ask questions first, kill later. Michael’s intention is to learn about the partnership Ricci may have formed with Roth and Ola and how. To learn the intricacies of the conspiracy against him and you before sealing their fates is crucial within these next few days.

So far, Michael has made himself seem like a willing businessman, continuing on as if nothing ever happened but suspecting Clemenza and Don Ferrari openly to the two. Roth and Ricci wouldn’t be hard to fool, and all the while, Michael would study both of them to gain an advantage of the legacy they’d leave behind once killed.

Bussetta remains to be one of Michael’s harshest bodyguards and enforcers. A man of very few words, he blends in with the shadows in a sense he’s neither seen, heard, or expected. Strictly following Michael’s word and his word only, Bussetta is brutal but trustworthy. He never hesitated nor asked questions—he simply did. He was one of Michael’s first choices of killers, second to Al Neri.

Even to his fellow men and the rest of the Corleone family, Bussetta didn’t speak nor budge. His expression was as unreadable as Michael’s, though often he looked irritated, fed up, disappointed, or all of the above. He was always completely cold and unapproachable, leaving tension in the air.

He had smiled, greeted, and shaken your hand on many occasions, and you had never felt the intimidation or tension everyone else spoke of. Bussetta knows exactly who to listen to and respect, and it’s nobody outside of Mr. and Mrs. Michael Corleone.

Bussetta was constantly around Michael, forming a second shadow, and had a solid alibi—hence the reason he was chosen over the suspect Al Neri to accompany Michael on his business trip. He didn’t ask stupid questions and was swift in his dealings as Michael knew he wouldn’t be leaving Havana without spreading a trail of corpses over his revenge first.

Dressed against the hot, humid air of Havana, Cuba, Michael’s dressed in a light knit polo shirt, blue suit jacket, grey dress trousers, and a matching day cravat upon his collar. Hair heavily slicked and gelled back from the middle, Michael’s demeanor matches his dress as business casual, waiting for the arrival of his brother.

Bussetta—a man of medium build with short, salt and pepper hair dressed solely in black from head to toe. He stiffly stands at the back of the living room of Michael’s luxury suite, arms crossed as his head turns to see the figure coming through the door.

Bussetta’s expression doesn’t soften as he spots Fredo Corleone coming in, cautiously clutching onto a leather suitcase that he had to wrangle from the hotel staff upon his taxi’s arrival to the hotel.

Michael’s head peeks up at the sight of his brother, and Fredo greets him with a warm smile. Without even setting the suitcase down, Fredo pulls his younger brother into a tight embrace as Michael pats his back and the two give each other a peck on the cheek.

“Mikey, hey! How are you?” Fredo grins back, pulling away from the hug. “Made it here all in one piece; it’s good to see you!”

Michael simply gives Fredo a reassuring nod and small smile as his brother turns to greet Bussetta as well. “Hiya—Freddy Corleone!”

He extends his hand out to Bussetta for a shake, but it isn’t returned. Bussetta simply stares back plainly at Fredo, seemingly unimpressed and standing perfectly still.

“Va bene.” (It’s fine.) Michael murmurs back to his bodyguard, who only then shakes Fredo’s hand back without speaking a word to him.

“Jesus Christ, what a trip that was, let me tell you that.” Fredo sighs dramatically, beginning to set down the suitcase to open it. “That whole flight, all I could think of was if anyone knew what I had in here.” He begins to do away at the leather flaps, lock, and code. “You don’t travel with a pretty penny like this every day in your arms, eh?”

Michael stands next to Fredo with both hands on his hips—eagerly anticipating the arrival of his eldest brother and the two million dollars cash that he would invest in Cuba alongside Hyman Roth’s business partners.

“Two million dollars, right there with me on the plane,” Fredo adds as Michael’s eyes remain over the suitcase. “Ah—right. There we go. Here…” Fredo unzips the inner compartment, glancing back at Bussetta. “Uh—”

“It’s alright,” Michael reassures Fredo, having trust in his silent yet deadly bodyguard.

“Wanna count it?” Fredo asks only half-jokingly as he gestures down to the neat pile of cash—all one hundred dollar bills tightly wrapped in elastic bands. “Two million just as you said.”

Michael gives a small nod to himself, brushing his fingers past the large wads of cash before patting Fredo’s cheek. The two million is all there—solid and in cash. Michael zips the suitcase back up, having seen enough for himself.

“What’s going on anyway?” Fredo exhales, attempting to catch his breath. “With all this money—I mean. Nobody really told me anything about this.”

Michael picks up the suitcase, glancing back at his brother before walking off across the suite room. “The family’s making an investment here in Havana. This is a little gift for the president.”

“Oh.” Fredo smiles back, putting both of his hands in his pockets. “A gift, eh? That’s great. That’s a hell of a gift. There’s a lot to invest here in Havana—the place itself is great.” He strides on over to Michael, taking a seat by him. “Just my kind of town. Anyone I might know in Havana here with us?”

Michael is careful to hide the caution in his glance as he looks back up at Fredo, pouring himself a glass of water. “Alphonse Ricci? Hyman Roth? Johnny Ola?”

Fredo gives a little shake of his head, attempting to hide his reaction as he lies. “No,” he answers softly, reaching into the inner pocket of his suit jacket for his pack of cigarettes. “Never met them.”

“Nervous?” Michael reaches over with his lighter, lighting Fredo’s cigarette.

Fredo peeks back up at his brother, inhaling at his cigarette before Michael pulls away. “Just from the long trip, it’s dampened my nerves a little. You think we could order a drink in here or something?”

Michael slips a cigarette in the corner of his mouth, lighting it as well. “I thought maybe we could go out.” He clasps his lighter within his hands. “I know just the place we can spend some time together.”

Fredo doesn’t refuse the offer and is quick to agree as means of a distraction to hide the slight redness forming in his cheeks from the lie. Michael always spoke to him like he knew something Fredo didn’t, and every question was as if Michael already knew the answer. He was intimidating without meaning to be, even though he and Fredo had been in good graces for almost the entirety of the past five years.

Michael had understood then that Fredo had felt unwelcome, excluded, and unwanted. He couldn’t relate to any of his brothers—not even Tom, and he struggled to uphold his own family dynamics. He wasn’t used to all the changes the family was going through, and he didn’t need you to marry Michael to know that. He had seen enough when he fell into a state of shock after Vito was shot back in 1945.

Fredo doesn’t share the same fiery temperament as Lorenzo or Sonny does. He isn’t as bold or brash as either of them but not as cunning and logical as Tom. He’s supportive and charismatic and carries a charm with him that could befriend anyone at any time.

Still, regardless of being the eldest brother and a Corleone, Fredo wasn’t immune to jealousy either. He was the eldest and had the least responsibility out of all of his brothers. Michael had excluded him from business meetings and dealings altogether. Fredo also suspected Michael said something to Don Ferrari as well because the Ferrari men treated him no differently.

The truth was Fredo had no idea what he was doing, and he barely understood that himself years ago. He didn’t understand the situation with Kay or Apollonia, and he let himself get wedged in between matters that never concerned him.

He thought he was helping out or being of use, but he only proved to Michael his jealousy had a limitless reach, was getting out of control, and that he was acting strangely with all the changes in the Corleone family now that the Ferrari’s had joined it.

Many talks with Vito and Tom remedied the situation. Fredo wasn’t as an outcast as he was before, and Michael gave him more work, more responsibility, and a sense of ownership. He had grown out of that awkward phase and began to get more involved with the family in general.

Fredo no longer saw Michael as intimidating or purposefully excluding him once he realized everyone around him in his inner circle was getting the same treatment. Still, Fredo had much to apologize for in the past, and it surprised you.

You felt a little awkward around Fredo, but that only had to do with the fact he wasn’t very friendly or approachable at the time. While Michael openly blamed him for your troubles with Kay and the revelation that he returned from Sicily, a widower, you didn’t blame Fredo. You knew he had helped insinuate the fights you had with Michael and found himself in the middle of it all, but you were actually thankful.

Fredo hadn’t done anything himself. If anything, he helped you understand Michael and his past. You worked through your relationship problems head-on, and that included how rash you could be at times when it came to overreacting before thinking and Michael’s lack of transparency and communication.

Fredo had taken advantage of his charisma and social skills, taking pride and enjoyment in the work he had begun to do for the family. He entertained all guests, helped set out meetings, gave Corleone hospitality, and kept all of Michael’s business partners busy. He put on a good show and an excellent first impression for all, and he began to get recognized by others for it, including by your family.

You got along well with Fredo as if he was one of your own brothers. The two of you spoke more often and joked around with each other. An excellent uncle to the twins, Fredo taught Niccolò how to fish, helping him discover his favorite hobby, and he is known as the “fun” uncle amongst all his nieces and nephews.

Five years had gone by, and within that time frame came Michael’s appreciation, respect, and brotherly love for Fredo he always had and vice versa. Still, he refused to trust Fredo on personal matters and knew he never would either. That was a dead-end he closed off in 1949.

Fredo let out a soft, shaky sigh. He can’t relate to any of the conversations his brother makes with him, whether it’s about the family business, the hotels, or personal relationships. Still, being able to spend one on one quality time with Michael is a rarity for everyone, except you, of course.

Fredo’s grateful to be able to have the opportunity to do so, and he doesn’t let it go to waste, although he’s on his second glass of whiskey trying to calm his nerves and attempt not to embarrass himself in front of his brother.

“It was hell just getting here, and it’s not going to be easy going back.” Fredo glances down at his empty whiskey glass. “I swear I’m not made for any of this family stuff. Deanna’s driving me crazy.” Fredo leans back in his seat, looking back at Michael. “Sometimes, I think I should have married a woman like you did—like Victoria.”

Michael keeps eye contact with Fredo, listening to him as he continues, “have kids—a family, you know.” Fredo begins to fiddle with his lighter. “For once in my life, just… Just be more like you—like Pop. Live up to his standards like Tom and Sonny do.”

Michael gives a small, understanding nod. It’s not the first time he’s heard Fredo talk as such. “It’s not easy to be his son, Fredo. It’s never been easy.”

“I don’t know; it’s easy for you guys to say.” Fredo shrugs back. “Mama says I’ve got ‘other talents,’ but I don’t see it. I feel like I’m constantly trying to live up to the bare minimum. It’s hard—I want to impress you guys too, just feel and belong in the family. You know, Lorenzo told me compared to the ‘rest of my brothers’, I’m ‘pretty useless.’ Sometimes I think it’s true.”

“You’re not useless, Fredo.” Michael laces a firm hand with Fredo’s upon the table. “Your first mistake would be taking anything he says to heart.”

Fredo purses his lips, giving his brother a hopeful look. The praise hits at him like a warm welcome as he pats Michael’s arm.

“Mikey,” Fredo cuts himself off. “I was mad at you—” he leans back in his seat, shaking his head and pulling his hand away from Michael’s. “Why didn’t we spend time like this before? ‘Cause of the old days?”

“The old days?” Michael repeats, resting his arm over the table.

A look of embarrassment crosses over Fredo’s face at the recollection of those memories. “I don’t even feel like I ever gave you a proper apology for all that.”

“Fredo, you’re my brother.” Michael refuses, “you know you don’t have to apologize to me. I understand.”

“Do you?” Fredo peeks up.

“I do.” Michael nods back. “Even then, I understood it.”

“I don’t know how I made it up to Victoria, though.” Fredo sighs again. “I turned away from the both of you. I acted out of self-pity—I was stupid. I don’t know, maybe I was trying to impress you. I wanted to make something out of myself like you did. Maybe I should have joined the army too. I could have learned something, like you. Think it’s too late for anything like that now.”

“Nothing is ever too late. Everything serves as an example.”

Fredo finds Michael’s cold eyes gazing back into his, and he struggles to maintain a proper hold or a serious tone in the conversation.

“You want a drink, right?” Fredo points to Michael’s empty glass, snapping his finger in the air. “Waiter!” Fredo impatiently waves his hand upward, gesturing for the nearby waiter who notices, quickly striding over. “Uh, por favor…” Fredo glances back down at Michael. “How do you say ‘banana daiquiri’?”

“Banana Daiquiri,” Michael replies plainly.

“That’s it?”

“That’s it.” Michael cracks a smile back at his brother.

“Uh, uno banana daiquiri.” Fredo looks back up to the waiter.

Little does Fredo know Michael’s gaze lingers over him—his smile fading and his eyes beginning to harden. Michael would be lying to himself if he said he didn’t suspect his brothers and Fredo at that too.

“And um,” Fredo points back to Michael’s empty glass. “A club soda.”

The waiter nods, making his way off and leaving the two brothers alone again.

“Mikey, I don’t think so.” Fredo begins again, unsure of himself. “It’s been five years. You’ve had nothing but all the luck.”

“I don’t believe in luck,” Michael states flatly. “You think Pop built his empire over luck?”

“Well, no…” Fredo admits sheepishly. “But sometimes I feel like I’ve got the short end of the stick. You’re not like me. You’re lucky. You just are.”

“How?”

“Your wife, for one.” Fredo shrugs his shoulders loosely. “I think I’m gonna spend the rest of my life making it up to Victoria.”

“I suppose going to Johnny Fontane of all people for a wife wasn’t the best decision.”

“You’re telling me.” Fredo rubs his temples tenderly. “Mama and Pop both don’t approve, and as for kids, You’re lucky to have a girl like Victoria. Someone who knows about the family business, in it herself… I can be the best uncle ever, but I don’t even think I see myself as a father. Then again, luck doesn’t keep a woman around, does it?”

Michael can sense the joking hint in Fredo’s voice. “No, it doesn’t.”

“If only she had a sister or something, eh?” Fredo sets his cigarette lighter down.

“Even then, I’d advise you against it.” Michael adjusts his wristwatch.

“What? But why?” Fredo raises his brows in astonishment.

“The Ferrari family aren’t our friends, Fredo,” Michael tells him. “We’re related through marriage and children and bound by business, that’s it.”

“So…” Fredo purses his lips, “you’re only—I guess bound to them because of your marriage to Victoria?”

“Yes.”

“Geez, Mikey…” Fredo runs a hand through his hair, “that sounds awful, though.”

Michael grazes his tongue over the front of his teeth. “Their personal relationship is on good terms with my father, who is no longer the Don. Not with me. My father and Don Ferrari wanted peace throughout our families, and not just through business talk. Naturally, as I’m the Don, they don’t share that same sentiment towards me.”

“But what about Don Ferrari himself?”

“I trust him.” Michael states, “and vice versa.” He knows Fredo’s going to ask about the Ferrari brothers next. “As for his sons, it’s nothing personal. I respect them as Mafiosi and Victoria’s brothers, but I certainly don’t trust them, and you shouldn’t either.”

“All that for one woman, huh?” Fredo murmurs to himself.

“I didn’t marry Victoria thinking or knowing I was going to be Don, Fredo.” Michael points out. “I would have married her regardless. Then any personal issues would be on me, but business-wise, if Santino was the Don, it would be on him.”

“You think the Ferrari’s feel the same way about us?” Fredo questions.

“Without a doubt.” Michael pushes aside his empty water glass. “They were used to being the most powerful family in New York for years. They had unrivaled contacts with politicians, all the judges in their pockets, the police on a payroll, and narcotics bound to their ports. Who would want to share that kind of power?”

“Uh… Don Ferrari?”

“Yes.” Michael nods back at Fredo. “But even Don Ferrari is not immortal, and his heir to be doesn’t share the same views.”

“That’s unfortunate…”

“For him.” Michael brushes off the matter completely. “It makes no difference to Victoria or me.”

“Are you two planning on having more kids?” Fredo asks.

“Mhmm.” Michael nods, pulling out a fresh cigarette from his pack. “Recently, we’ve been trying for a third. Hope to hear some good news, at least when we get back home.”

“Mikey…” Fredo seems as if he’s about to withdraw his question, but his curiosity gets the better of him, knowing he’s rarely ever going to have a chance to be able to talk so directly and for so long with his brother like this. “Can I ask you something?”

“Hm?”

“Why didn’t you marry Kay?”

Michael’s eyes land back over Fredo’s as he almost pauses, putting his cigarette in between his lips out of surprise at the sudden, strange question. Seeing the inquisitive nature in Fredo’s eyes and that he’s asking seriously, Michael puts his cigarette in his mouth and straightens his back.

“I mean.” Fredo begins to add to his question, “after you hid out in Sicily and all that, I thought you’d marry her when you got back, but you didn’t. Why?”

“I wasn’t in love with Kay anymore, Fredo.” Michael lights his cigarette, covering the flame with his hand.

“But you could have, right? If you really wanted to.” Fredo points out.

“Yes, I could have.” Michael picks up on what he’s hinting at. “But I met Victoria.”

“You married her because she’s a mafiosa?”

“I married her because I love her, Fredo.” Michael leans back in his seat, taking a long drag. “Everything else is what we have in common, but it’s not the principle.”

“I imagine Kay didn’t take that well.”

“No, but she doesn’t take anything well.” Michael blows smoke around him from his cigarette. “I had to threaten her life and her family’s lives to get her to leave us alone.”

“Jesus Christ, Mikey.” Fredo murmurs. “I only took her for a lovesick girl that had emotional attachment issues, but damn. Well, I guess it worked. If you compare her to Victoria—”

“We can’t. They do not compare.” Michael firmly states.

“What about Apollonia?”

“She’s also nothing.” Michael flicks off the ashes from his cigarette, keeping eye contact. "Were you in love with Deanna Dunn when you met her?” Michael is quick to switch the conversation back to the embarrassment that is Fredo’s love life, unamused by the question of Kay.

Fredo chuckles nervously, looking more embarrassed than before. “I guess I was in bed, but I mean… You think I should file for divorce?” It’s clear Fredo’s asking for personal advice.

“I don’t think I’m the best person to be asking that to.” Michael clears his throat quietly. “Legally speaking, you should ask Tom. Johnny might be able to handle the rest, considering he was the one that introduced you to her. The question is, are you happy?”

Fredo’s stunned by the question. “Well… Yeah, I guess I can say I am. Are you?”

“Can I trust you with something?”

Fredo blinks back in surprise. “Of course, Mike.”

“Later on in the evening, we’ll be celebrating our business investment at the presidential palace with our associates. Senator Geary will be flying in from Washington with some of his government people. After the celebrations come to an end, I’ll be taken home with military personnel for my safety and protection. Before I reach my hotel, they’ll assassinate me.” Michael’s explanation comes to an end just as the waiter returns, taking their empty glasses and replacing them with their new, ordered drinks.

Michael doesn’t bother to add on. Instead, he takes his club soda, taking a long sip and keeping his eyes over Fredo, anticipating a response.

“But by who?”

“Ricci.” Michael narrows his eyes, glancing to the side momentarily before leaning in to keep his voice and conversation strictly between Fredo and himself.

Fredo pauses, staring at his brother in both shock and disappointment. It barely registers in his head that his explanation of the compound’s entrance towards his residence to Alphonse Ricci of all people made the first shooting happen, let alone understand his connections to Johnny Ola, which tie back to Hyman Roth.

“It was Ricci who tried to kill me in my home.” Michael nods at Fredo sternly. “It was Ricci all along. He acts like we’re business partners, pretends as if he respects me. Clearly, he’s under the notion he’ll be redeemed by the six families. He wants me gone—without a doubt.”

“How can I help?” Fredo frowns.

“Pretend as if you know nothing and go on as you have. Being alert will help you more than anything. I’ve already made my move.” Michael’s gaze turns cold.

“What move?”

Michael places a firm hand over Fredo’s wrist, speaking, “Alphonse Ricci won’t live to see the next week.”

For the first time in as long as you can remember, you dreaded waking up in the morning. Before you even awoke, you knew Michael was no longer in bed with you, and it wasn’t because he was handling business in his office or showering and having a cigarette break.

You glanced over at the clock upon your night table. The scent of his sandalwood and musk cologne intertwined in the sheets and his side of the bed didn’t help the fact you were already on the verge of tears, but it did motivate you to get off.

Although this is your first time away from Michael, naturally, you know it may not be your last, and you’re fine with that. You have to be fine with it, at least, and you know so. It could have been the other way around; although life and work get in the way, you can’t lie to yourself and say you won’t miss him and that he won’t be lingering in your mind all day.

You’ve gotten too used to waking up nice to Michael and curling up with him at night. Your love language is heavy on time spent together and physical affection, after all. Since you married him, your sex life has been healthy and consistent—exciting in how it’s brought out your sexual confidence in many ways and that the two of you practically can’t keep your hands off of each other.

It only struck you recently during the dinner party that everyone around you perceives Michael in the same manner—the exact way he carries himself as; stern, cold, often emotionless, and unwelcoming. Although he’s respectful and polite throughout his demeanor and speech, his emotional, vulnerable, and loving side is only reserved for you and the twins. Outside of that, nobody else has seen Michael with one loose hair on his head or a button half undone on his suit.

Michael with tousled, messy bed hair, Michael with stubble growing in, Michael laying naked in bed smoking a cigarette, Michael stroking his erect cock and waiting for you in bed, Michael’s sternness and business attitude in public turning to heated and passionate alone with you, Michael’s silence and glares becoming moans and possessive looks over you. You have it all with him, and neither of you is sharing.

Within the first year of your marriage, you were painfully shy, and to some extent, you still are now. Just as you struggled then to keep eye contact, you do now. You’re in love with Michael’s dark eyes but find them intimidating with how mesmerizing his gaze is as if his eyes are burning back into yours.

Michael’s gaze upon others often seems as if he’s looking right through them. He doesn’t look, he stares, and he holds eye contact much longer as both an intimidation and observational tactic. It’s as if he knows something you don’t, or he’s waiting to discover something you’re hiding from him.

You had to learn to get used to the sexy yet brooding look—especially in bed. The whizzing sensation of butterflies pulling in your gut and your cheeks burning with blush never changed, and if anything, just intensified. Every kiss, every look, and every touch from Michael felt as if they were the first, and you simply accepted you’d never get used to it.

In many ways, he surprised you and always kept you on your toes, but then again, he could certainly say the same for you. The “honeymoon phase,” as your sisters-in-law and friends called it, hadn’t died out, but your passion and relationship with Michael was always a one-of-a-kind.

The both of you knew you couldn’t get enough of each other, but it wouldn’t stop either of you from trying. If anything, the short absence would amplify the build-up of arousal and affection between you two.

Your morning without Michael now consists of getting the twins ready for breakfast, then off to the study to join your nieces and nephews for tutoring and classes until lunchtime. You’ll have almost the entirety of the afternoon to yourself, practically bound to be interesting knowing Sonny will be acting Don until Michael returns.

Your morning routine is quick and consists of a hot shower, and your hair was done up in a neat crown braid, wearing a beige-peach, layered chiffon polka-dot patterned swing dress for the day. Light eye makeup and a spritz of perfume here and there add to the finishing touch of your routine.

Before you go to wake the twins, you fix two small glasses of warm milk for them, finding them already stirring awake by the time you enter their bedroom.

Niccolò and Verona both slept in the same bedroom out of safety and precaution from the events of last night. Michael and you both decided you wanted them safe and sound on the opposite side of the residence where bullets weren’t fired at. It brought both of you peace of mind, especially knowing that the rest of the mess will be cleaned up by today; windows changed, and another personal security clearance to be given to the bedroom before you return to it tonight.

The twins are just as understanding as you are of Michael’s absence, which especially has to do with the fact that Michael’s always been upfront and honest with the children—speaking to them in ways they’ll understand and they don’t need to understand what a mobster is.

Although the twins share physical similarities from both you and Michael, you can’t help but realize how strikingly similar they look like their father. Niccolò certainly shares Michael’s Roman nose and eyebrows, whereas Verona has a mix of both you and Michael’s eyes and lips but also has a little resemblance to her aunt Connie and grandma Carmela.

Verona’s dress for the day is a forest green, A-line dressed in a gingham pattern that has a frilly, lace collar, sleeves, and a silk matching bow cape at the front. Niccolò is dressed in a white dress shirt and navy blue overalls, patiently awaiting his turn with the hairbrush as you make do with Verona’s tousled, dark hair.

“Is daddy in an airplane right now?” Verona peeps up, sipping at her glass of warm milk.

“He should be right now, yes.” You smile down at her, working the hairbrush to untangle any knots through her hair.

“Mama, what does Don mean?” Verona tilts her head back a little to peek at you.

“Think of it as another word for ‘boss.’” You hum, “but daddy will tell you more about it when the two of you are older.”

“Daddy is the boss, right mama?” Niccolò grins back.

“Absolutely.” You chuckle, beginning to fix Verona’s hair into a French braid carefully.

“Don…” Verona repeats to herself, distracted as she continues sipping her glass of milk.

Niccolò clutches onto his glass. “Daddy stares at people, and they get scared.”

You hold back your laughter but can’t avoid the wide grin of amusement painting over your lips. “Being the Don doesn’t just end with toughness. You carry a lot of responsibility on your shoulders, especially for other people. It’s very time-consuming and lifelong.”

“That’s why daddy always saying he’s doing business, right? Very busy.” Verona sets her empty glass down carefully.

“Exactly.” You nod back at her, pausing for a moment before forming your next question. “Do you guys think daddy spends enough time with the both of you?”

Verona and Niccolò both nod at you. “Ya, daddy spends lots of time with us!”

You blush a little, only having your beliefs confirmed by the twins as well. You know Michael is an incredible father—very much involved with parenting and always had been since the two were in diapers. Raising twins certainly wasn’t easy, especially as infants, but Michael always takes great pride in being a father and spending as much time with the family as he can.

“I can do it!” Niccolò exclaims. “I can be Don Corleone!”

“Alright, alright.” You let out a soft laugh, planting a kiss on both of their cheeks as Verona hops off your lap and Niccolò scoots over

“Mama, do you call daddy Don Corleone too?” Verona asks as she twirls the end of her braid around her fingers.

“Why would I call him Don Corleone when I can just call him by his name?” You laugh, beginning to work a hair comb through Niccolò’s hair, parting it through the side.

“Oh yeah.” Verona giggles sheepishly.

“What’s daddy’s name?” You ask the twins. “You both know, don’t you?”

“Yeah!” Niccolò exclaims as both of them chime in together, “Michael! Michaaaeeeel!”

You throw your head back in laughter, joining them in a fit of giggles as you reach for the tin of hair gel over the counter.

“And mama is Victoria.” Verona beams back to you. “Daddy doesn’t call mama Victoria, though, does he?”

“He calls her ‘darling’ and stuff,” Niccolò adds, eagerly holding the tin of gel in his hands as you smear some over your fingers.

The blush on your cheeks spreads to your face as you feel a small rush of butterflies in your gut.

“Mama, do you love daddy lots?” Verona peeks back at you curiously.

“With all my heart.” You tell her with a warm smile, moderately slicking hair gel throughout Niccolò’s hair evenly.

“What about Uncle Sonny and Uncle Clemenza?!” Niccolò adds.

“Love them so much too, of course.” You slick back any remaining loose strands of Niccolò’s hair.

“And Uncle Fredo!” Verona begins to giggle again.

“We all love Uncle Fredo, and Uncle Tom, and Uncle Lorenzo and—you both have so many uncles, you know that?!” You laugh out, wiping your hands off on a napkin. “Come here!” You pull the giggling twins in your arms, smooching both of their cheeks each. “Mwah! Don’t forget how much I love the two of you too, hmm? Now come on, we don’t want to be late for breakfast. Let’s go!”

“Going, mama!” Happily scattering off, you smile proudly to yourself to see the ecstatic twins making their way downstairs. “Are you coming too, mama?”

“I’ll be down in just a few moments, don’t worry about me!” You call back out, waiting until the twins are out of sight and to the dining room before you let out a little sigh.

You glance at your watch to confirm the only thought that’s been on your mind all morning: the pregnancy test with Doctor Katherine being scheduled today. There was always something strange about having your urine injected into a frog only to have the results confirmed five to twelve hours later, but your suspicions are already confirmed, if anything.

You’ve missed your period by over ten days now and very much so having unprotected sex with Michael on all your unsafe days. Unsafe days which he made sure he came more than twice in you during a single session each and every time.

The very thought is enough to put a smile on your face as you turn to head over towards your study; Michael’s simply eager to become a father again, but then again, so are you after five years. Another bundle of joy joining the ever-growing Corleone and Ferrari family is much anticipated for the both of you and is just the news you want to greet Michael with upon his return from Cuba.

“Mrs. Corleone?” You hear Doctor Katherine’s voice ring out as she pops her head out of the study. “Ready?”

“As ever.” You smile back at her, smoothening out your dress and making your way inside.

You brush aside the anticipation and nervousness that grew inside of you from your pregnancy test, knowing you’re in picture-perfect health as checked up by your doctor, but that your results will take at least five hours—perhaps longer—to show if you’re eating for two once again.

As indulged as you are in the conversation throughout lunch, you hide your face behind your cup of tea and sip away quietly, feeling a hint of excitement rush through you.

It’s almost been six years since the twins were born, but only so because of the hassle of having a third child while balancing two infants—a lifestyle that’d grow hectic very quickly, as understood by both you and Michael.

The move to Lake Tahoe got in the way, as did adjusting to the new lifestyle. You had no difficulties in securing a position as a criminal prosecutor once again in Nevada and without the need for contacts or favors; your credentials and experience did all the talking for you.

Your preferences with work now remain more personal than ever. You almost solely prefer to handle mob-related cases or ones that specifically spark your own interest in prosecuting. While money quite literally isn’t a factor, you’ve always only been one official declaration from becoming your father’s consigliere.

The only intricacies that remain behind being the Ferrari family’s consigliere are, of course, if you actually considered it, what Michael would think and how it would affect the truce and partnerships of both families. If you were counseling your father, that would mean you’d be counseling Lorenzo in the future, and you don’t need to ask Michael’s opinion on that.

Now more than ever, with a comfortable and peaceful five years, you’ve come to the realization yourself that you’re more than ready to have a third child. It didn’t matter if you hadn’t mentioned it or brought it up with anyone—Michael included—you just knew.

Of course, Michael would love to be a father, again and again, year after year without a problem, but his concern was with your health and comfort. The two of you could always have children, and it’s best done so without mob wars or other tensions interfering.

Opting out of alcohol for some time now, you and Tom are the only ones at the table opting for tea instead of the served white wine. Your early afternoon after sending the children off to their tutor consists of having lunch with your brothers Lorenzo, Leonardo, Sonny, and Tom alongside your sisters-in-law Connie, Sandra, and Deanna.

Sitting upon the grand dining table set up in the courtyard for a breath of fresh air and to enjoy the warming spring weather, afternoon lunch served is a light spring salad, lemon encrusted salmon, and minestrone soup.

With your mind on the pregnancy test, you click back to reality and pick up on the conversation around you, which is now directed towards Tom and specifically that about his career choice.

“Why the law of all things, eh?” Lorenzo grabs a cigarette out of his pack, directing his question to Tom before gesturing his cigarette over to you as well. “I probably asked my sister this question a million times, but I wanna hear it from you too.”

Tom chuckles as if he’s flattered by the question. “Why not? It was always something I wanted to do. A prestigious and noble career. Pop supported it, and he was right, after all. You’ll get further in life with law, whether it’s through contacts, legal influence, or money.”

“Huh.” You hear Deanna murmur to herself at the response.

“Ya hear that?” Lorenzo lights his cigarette, returning his glance to you. “He says contacts, legal influence, and money.”

“Not that she cares about any of that.” Leonardo gives you a playful wink.

Tom’s curious eyes set over yours as you set your cup down. “I could say the same, actually. I took a lot of introductory courses throughout my first year of university, and law really resonated with me. It was only shortly after my graduation that I realized its benefits to the family. That really outweighed everything.”

“Interesting.” Tom smiles back at you understandingly. “I wanted to use my skills as a lawyer to benefit the family too. I offered it to Pop years ago as just another way of thanking him for taking me in as a kid.”

“And you make a damn good consigliere, kid. Don’t forget that.” Sonny nudges Tom gently with his elbow.

“Victoria over here has basically almost wiped out the need for any street muscle with the way she’s prosecuted probably over hundreds of soldier and button-men punks.” Lorenzo leans back in his seat. “I can respect that as much.”

“This would be the first time I’ve ever met a consigliere that isn’t Sicilian,” Leonardo comments back to Tom, more so intrigued by the concept than against it.

“All the better, I say.” Deanna cuts in as if she knows what she’s talking about. Looking back over to her, you notice she’s clearly getting tipsy over her second glass of wine. “You know how Italian men can be, practically unbearable.”

“Deanna.” Sandra shoots her a concerned look.

“It’s not good to marry them. Take that from me.” Deanna points out, holding up her glass of wine.

“She’s drunk.” Leonardo points out with a polite smile.

You let out a soft sigh, knowing you should have expected so even this early in the afternoon. The longer this conversation drags on unhinged, the more you realize how badly you miss Michael already and wish he was here with all of you.

Sonny scoffs out. “Nah, I wanna hear it. What do you have against Italian men, to begin with? Ain’t you married to my brother? He’s as Italian as it gets.”

“Italian men are crazy when it comes to their wives.” Deanna rolls her eyes. “They’re all about control and this freakish overprotectiveness, but they’re the ones that actually lack control. Victoria.” She hiccups, pointing a finger directly back at you. “How do you do it?”

“Do what?” You blink back.

“Victoria, come on,” Connie murmurs back softly to you. “You don’t have to answer that; she’s drunk.”

“Michael’s in Cuba, isn’t he?” Deanna raises her brows at you. “Honestly, I can’t understand for the life of me why you let him go alone in the first place. He’s practically surrounded by Cuban women now—you know what they look like? Especially at the resorts?”

“Oh, really?” Lorenzo muses, his interest actually peaking at the conversation. “I would have never taken Don Corleone to be a womanizer.”

“Mike wouldn’t,” Tom adds in quickly.

“Never ever.” Sonny chuckles, shaking his head. “I know my brother well. That ain’t in him.”

“You must really trust him.” Deanna continues, ignoring the boys’ comments. “Or…” She comfortably leans back in her seat, almost spilling her wine. “He’s just a really good liar.”

What? You feel a slight flare of anxiety wash through you.

“Oh, dear,” Sandra murmurs to herself.

“Um—” You begin but are cut off by Connie.

“Would you really suspect that kind of behavior from a man who wouldn’t even touch his fiancée until he married her?” Connie asks, unamused from the question. “We all know what Michael is capable of—why would he have to go all the way to Cuba to do such a thing?”

“You’re only proving my point.” Deanna taps her fingernails against the rim of her wineglass. “He could always be doing it and just hiding it, right? After all, who doesn’t want a piece of Don Corleone?”

“Ha,” Leonardo adds in sarcastically.

“Shut up, Deanna.” Sandra hisses, kicking at her foot under the table.

The girls burst out in giggles as Deanna gazes back at you in confusion. Sonny and Tom chuckle to themselves, and Leonardo smiles back down at his plate.

“Michael would never. It’s as simple as that.” Connie raises her wineglass up to her lips. “He doesn’t have to be Don to visit a whorehouse. Even he knew that. It’s just not in his nature, thank God.” She shoots an irritated look at Sonny, whom she’s very aware hasn’t stopped fucking Lucy Mancini since they met at her wedding in 1945.

You frown to yourself, unsure of what to even say to all of this.

“I agree; I mean, have you seen the way Michael looks at Victoria?” Sandra grins, lightening up the mood of the conversation.

“Oh, please.” You blush back.

“If you want to be sure about all this, you can just ask one of his bodyguards.” Lorenzo points his fork back at you, still on the other “topic” of the conversation. “Al Neri or Rocco Lampone? Yeah, if anyone knows anything, they know.”

“He took that Bussetta with him to Cuba, didn’t he?” Deanna runs her hands through her hair delicately. “Just ask him what he gets back, sweetheart.”

“You have a very interesting sense of humor, Deanna.” You force a smile back at her, unsure of whether she’s insinuating Michael is a cheater or if she’s genuinely trying to offer relationship advice over alcohol.

“Thank you.” She beams back, proving your point as to how drunk she is—accepting a compliment that wasn’t even there.

“There isn’t a thing Michael could hide in the world from me, so I appreciate it.” You’re more so speaking out to have Lorenzo drop the conversation about Michael now. “But that’s private and personal between the two of us.”

“I agree.” Tom nods back at you, thankfully quick to change the topic.

“Don’t mind her,” Connie whispers back in your ear, pulling you in for a separate conversation as the boys begin one of their own across the table. “Day drinking and life advice rarely go well together.”

“I’m surprised you could actually pay attention to the conversation,” you tease, “I could have sworn the whole time you were just gazing at my brother.”

Connie’s face flushes red. “You…noticed that?!”

“You like Leonardo, don’t you?” You grin back at her, cringing playfully. “What’s the use in hiding it? I’ve also been seeing the two of you talking and spending more time together.”

“We’ve been getting to know each other.” Connie blushes, grabbing a new cigarette. “After Merle… I’ve decided to take it slow. Not to go down that route again, but I don’t know how you and Michael did it. You know,” she lights her cigarette, “the whole get to know each other thing and fall in love just like that.”

“Well, it’s never that easy.” You chuckle back. “But time doesn’t mean anything if it’s with the right person. That doesn’t mean there isn’t trial and error, though. I’d say take all the time you need.”

“Seriously?” Connie’s eyes widen. “You’d be okay if I began to date your brother?”

“I’d be more than happy if you did.” You giggle quietly. “At least then I’d know why he’s always gazing at you during dinner. If it works out between the two of you, all the better.”

“And our fathers wouldn’t have a problem either?” She barely holds onto her cigarette.

“Why would they?” You shrug. “Another Corleone woman marries a Ferrari man. What’s new? Though I think you should understand that my brothers are a lot more serious about these things than most. You’ll have to…” You pause for a moment, unsure of how to word it without directly offending Connie. “Be more serious when it comes to marrying him. I know it’ll come to that, proposals and all if you guys keep at it like this.”

“Oh my gosh.” Connie lets out a soft laugh. “I know, I know. Believe me. I’m not in a rush or anything. I’ve already been divorced twice—trust me.”

“Nothing wrong with that.” You dig into your salmon. “You know how it is; there aren’t that many good men around.”

“You’re telling me.” Connie takes a long drag out of her cigarette, relaxing.

“I’d know because I married one.” You gush back.

“Gross, that’s my brother.” Connie sticks out her tongue.

“And that’s mine.” You grin back at her, gesturing to Leonardo, who quietly finishes his lunch, paying attention to a story Sonny’s telling. “You know I’ll always be here for you, Connie. Marriage or not. If it works out or not. He’s my brother. After all, I know him like the back of my hand. I want it to work out with you guys, so you always have my support regardless, alright?”

In Connie’s eyes, you easily see the glimpse of the woman she was before, back in her years of marriage with Carlo. She had simpered down from months of abuse, crying and paranoid with no interference into her marriage until Michael beat Carlo senselessly for throwing a punch at you and then his inevitable death.

Connie’s eyes soften as she puts her cigarette back between her lips, placing a hand over yours. “Victoria, thank you.”

The remainder of your day seems as if it’ll never end and much of it has to do with how your mind continuously wanders off to thinking about Michael time and time again. Naturally, it’s always been that way for you, but now you’re almost embarrassed at how many times throughout the day you’ve caught yourself thinking about him, up to the point where you’re almost daydreaming.

You set aside lunch for the twins as they came out during their break from their studies, spending the hour with their cousins and chasing after Theresa and Tom’s dogs by the docks under bodyguard supervision.

Just as Michael said, your bedroom remains secure and cleared as if nothing had ever happened. A new window has been installed, and the wallpaper is completely retouched. Your ottoman, night lamp, vanity table, and mirror are all replaced as the damage was far too great to sustain them from the hail of bullets.

You don’t care too much about that because you can barely bring yourself to go back to your bedroom without Michael, knowing he won’t be curling up with you in bed tonight. You simply gave understanding nods as Rocco began to explain to you about the repairs, the damage is done to the bedroom, how the new security system would work and who would be placed on security specifically around your residential complex.

None of it means anything without Michael. It’s not just your bedroom, after all, and you haven’t had a single night where either of you slept apart from each other, to begin with.

You attempt to brush aside the glum mood setting inside of you, thinking it as childish to be this affected by Michael’s absence, but it didn’t start or end with him leaving for Cuba. He didn’t just go to Havana for any kind of business trip, and he didn’t leave at a normal time. Michael left right after an attempt was made on his and your life to be involved in business with the very men he suspects are behind it. Nothing about any of this is ordinary, nor does it sit well with you.

The only thing that catches you by surprise today is seeing Ritchie Nobilio once again. Al Neri had greeted him back to the Lake Tahoe compound and explained that he’d be your personal bodyguard once more—nothing else.

Ritchie himself was in the same cheery and friendly demeanor you always saw him in. From everything whizzing back and forth in your mind, you completely forget Michael made sure you’d have a bodyguard with you strictly at all times.

Now that you think about it, there’s much to consider with your relationship with your bodyguard, Ritchie Nobilio. Sure, he’s a mafioso as you are, and he’s a bodyguard at that, but he’s very skilled when it comes to firearms and known to be brutal, hence why his cheerful disposition actually makes you uneasy sometimes.

He’s just as efficient of an enforcer as Michael’s other men and is well trusted within the family, especially by Vito. You’re sure much of that plays a part in why Michael allows him to continue to be your bodyguard instead of getting you a new one entirely.

Five hours into the afternoon, with the twins inside spending time with their aunts and uncles, you remain in your bedroom, curled up upon the armchair with a document in your hand. In an attempt to keep busy, you scour through the paperwork of the last trial you represented—filling in necessary papers to send back to the courts.

With your legs crossed and stacks of papers over your knees, you chew on the tip of your pen as you read through what seems to be endless trails of sentences and words before you. More than once, you find yourself dozing off, daydreaming or thinking, and simply unable to focus. You stare at the same sheet of paper for over twenty minutes, barely recognizing you’re distracted yourself until you feel your eyelids grow heavy.

You let out a long, drawn-out sigh and tenderly rub your temples. At this rate, I’ll get nothing done. You can already hear the twins and the family chatting away down the hall and to the living room while you stuff yourself with paperwork.

You put the cap over your pen and exhale deeply, knowing if you rest your eyes for just a moment that you’ll easily drift off into sleep. Not only are you not motivated to do the paperwork for today, but you awoke earlier than usual and barely slept a wink last night.

It just registers to you now that you’re quite literally exhausted. Without pushing yourself any further, you shuffle your papers back into the document folder and let it plop onto the floor, just eager to strip down to your undergarments and curl up in bed.

You feel your heart sting with an ache as you kneel over the cold, empty bed, once again reminded of Michael’s absence. If your eyes aren’t going to ache from sleepiness, they will from tears. You cast aside any lingering thoughts and pull the blankets off, snuggling underneath them.

The warm sheets and blankets instantly melt relief onto you as your eyes flutter shut in response. A deep, coaxing sleep is almost impossible to avoid, and you gladly give into it.

Last night’s exhaustion takes a toll over you as you find yourself asleep in mere moments. Your mind continues to wander off, forming a dream as you sleep on your side—blankets up to your shoulders, surrounded by peace and quiet.

Without any explanation as to how you got there, you find yourself up against the kitchen island—almost bent over—with Michael’s body sensually pressed against yours from behind.

The kitchen remains completely empty and seen as a haze in your eyes as you clutch onto the cold, marble island. Your environment and the sensation of Michael’s body feels hyper-realistic to the touch as you find his hands trailing up and down your body in a slow, tantalizing tease.

Your eyes are half-open as you give in to the feeling of Michael’s firm hands over your skin. You can feel his hot breath over your neck as you continue to clutch onto both edges of the island.

You feel his Roman nose trail alongside your neck and jawline as he inhales your sweet scent, continuing to move his hands upwards towards your breasts.

You submit to him without a hint of resistance, desperately wanting to melt away under his touch. Your nipples harden at contact with his fingers as he pushes your bra aside, massaging over them tenderly with his fingertips.

Soft moans spill from your mouth at the sensitivity of your nipples. Your entire body feels aroused and matching the passion from his as you can feel Michael’s erect cock pressing up harshly against your ass.

Coupled with Michael leaving a trail of hot kisses up your neck, you roll your eyes back in pure pleasure. Your body feels as if it’s on fire from his hot touch as he squeezes your breasts together, letting out a quiet, husky chuckle as he knows he’s got you just the way he wants you.

“Michael, please…” You practically beg as he begins to trail his tongue down your neck—his kisses growing deeper and more insistent.

“Easy, baby.” You hear him whisper back in your ear. In a sudden, he has you bent over the counter with a fistful of your hair in his hand as he cocks your head back.

Your pussy practically writhes from arousal, unable to take any more of feeling Michael’s cock pressed up against it. The scent of his cologne hits you as he snatches down your skirt and your panties together in one quick pull down to your legs—only furthering your arousal.

“Oh!” You cry out gently, feeling his shaft slicking up against your wet slit so soon.

You hear Michael hiss out quietly, easily slicking himself up in your wetness. “You’re dripping, baby.”

You begin to beg out, pushing your hips back to take his cock in you. “Don’t tease me like this; I’m all yours.”

Michael leans over your back, positioning his cock to your entrance with one hand while letting go of your hair and squeezing your face with the other—giving it a little shake.

“Y-yes…” Every sexual craving inside of you is instantly satisfied as you feel Michael pushing the tip of his cock inside of you. “O-Oh my God…” You roll your eyes back and let out a loud moan, completely leaning your body against the kitchen island. You feel all eight inches of Michael thrust inside of you in mere moments, pushing through your tightness.

“That’s right, baby, take it in…” The warmth of his cock inside of your pussy is the first thing you feel before he begins to rock your hips back and forth, picking up the pace with his thrusts. Filthy moans come out of your mouth as you can hear Michael softly grunting to himself, giving your ass a harsh slap.

“M-Michael!” You cry out as he parts your lips with his fingers, slipping one inside your mouth.

You weakly grab onto his wrist, sucking over his long, slender fingers and moaning shakily throughout.

“Oh, fuck—” You hear Michael curse out to himself as he harshly grabs your ass. He grabs at your face again, keeping his finger in your mouth.

You groan back in response, unable to form a single coherent sentence from his cock rapidly pounding into you.

“You fuck so good when you have it your way…” Michael’s hair dangles over his forehead as he ruthlessly picks up his pace. “But if it were up to you, you’d be taking my cock in every hour of the day.”

“H-harder, harder, please!” You wail out, barely able to keep sucking over his finger as you attempt to maintain your grip over the counter. “Oh God, I want y-you always—”

Michael runs a hand over your ass, grazing his teeth over his lips before he pins both of your arms over the kitchen island and leans into your ear—catching you by surprise. “If it were up to me—you’d be pregnant every year.”

Your eyes widen at his comment as you let out a breathy giggle, eagerly pushing your hips back and forth onto his cock.

“Oh, that’s right, baby.” Michael pants, giving you an amused smirk at your choice of words.

You gasp loudly, feeling your hips quiver as Michael slams in you one last time, spurting his hot, sticky cum inside of your pussy. “Don Corleone!”

You hear Michael’s velvety voice moan out loudly, matching your pleasure as he feels your wetness mixing in with his cum and dripping out of your pussy. “Victoria…”

“Victoria… Victoria.”

In an instant, you feel your dream blur around you and your environment breaking through. You stir in your sleep as your dream fades away and the realization of your reality hits you.

Your eyes weakly peek open to see the other side of the bed remaining cold and empty next to you. You let out a soft whimper, slowly rising up from the bed as you feel a warm and wet sensation between your legs.

Rubbing your eyes, you let out a shaky exhale and push back the blankets. Blush hits your cheeks as you notice a small patch of wetness growing over your panties. You clutch your face with both hands, feeling the heat over your cheeks as you give your head a little shake.

You nibble over your lip, jealous of the dream version of you and embarrassed all at once for having such an erotic dream in the first place. The sound of Michael moaning out loudly is still fresh in your mind.

“Shit…” You hiss to yourself as you get off the bed, feeling the stickiness of your panties rubbing against you.

Your eyes glance over to the clock, noticing you’ve only been asleep for two hours. You pause for a moment, unable to deny the tugging sensation of arousal built up in your gut over a dream, no less.

'Should I…?' A rush of butterflies mixes with anxiety in your stomach as you glance over to the telephone by your dresser, knowing that as much as you don’t want to come off as clingy or annoying, a dream of that nature was essentially the last straw.

A mix of emotions knots in your gut as you draw back the curtains, taking a moment to realize that the very spot you stand in was the one Michael was at when bullets began flying over both of your heads.

You cringe a little at the thought, turning on the light to your room before sitting by the telephone. Panties in a mess and in nothing but your undergarments, you pull the telephone closer to you and pick it up to your ear—getting through to the contact information Rocco gave you to reach Michael.

With each ring of the phone, you feel your emotions continuing to heighten. Your arousal demands for you to pay attention to it while you attempt to shake off the drowsiness of how deeply you slept, all while attempting to reach Michael.

For once in his life, Michael doesn’t pick up the phone on the first or second ring. For a moment, you assume he’s busy or not in his hotel room and contemplate hanging up the phone prematurely, but a desperate longing insists you try anyways.

'No, he’s not even there, is he? I should just hang up. What am I even going to tell him?' Just as you’re about to consider putting down the telephone, Michael picks up and catches you by surprise.

“Yes, Tom?”

“Michael?” You peep back, knowing, of course, he’d be expecting Tom, Sonny, or even Vito to call instead, which only makes you feel all the more annoying.

“Victoria?” Michael’s tone lightens in surprise.

“Mi manchi.” (I miss you.) You blurt out, almost instantly regretting speaking in the first place.

“Mi manchi di più, tesoro.” (I miss you more, darling.) Michael lets out a soft exhale. “How are you and the twins? Is everything fine?”

“Right as rain.” You answer rather glumly. “I just wish you were here with us. I…” You feel your cheeks sting with blush as you continue, “I miss you so much, mio amore. I can’t stop thinking about you.”

“You know I want nothing more than to be with you and the children right now. Why did you wait so long to call me?”

“What do you mean?” You blink. “I thought you and Fredo would be busy—that you wouldn’t be able to pick up.”

“That’s always a possibility, yes, but you know you can reach out to me regardless. Are you purposefully trying to hold yourself back?”

“Michael,” you whine out, “you know if I just called you whenever I wanted that, we’d be on the phone forever, right?”

“I know, baby. I haven’t stopped thinking of you since I left this morning.”

“Well, do you think you could just stay in Cuba during your business trip and out of my head?” You let out a soft laugh. “You’re infiltrating my dreams and everything.”

“This is how you admit to me you’ve been dreaming of me?”

“What can I say?” You nibble on your bottom lip, “I’m in love with you. It’s hard not to think about you—to always want you here. I hate sleeping alone, Michael, but not as much as I hate knowing you’re so far away with me spending your time in stuffy business meetings with men who view you as more valuable dead than alive.”

Michael pauses for a moment. “I love you, you know that? I don’t want your mind over here stressing yourself out. I don’t want anything stressing my wife, understand?”

“Understood.” You peep back quietly. “I guess maybe this is to be expected since I’m so used to having you around. I look for you wherever I go.”

“Am I being too clingy or whiny?” You pout. “I am, aren’t I? I’d snuggle with you here and say the same things, you know.”

“If that’s considered clingy or whiny, I’d like to have more of it,” Michael replies. “You said if you had the chance, you’d be on the phone with me every hour of the day. You didn’t consider the part where you know I’d want nothing more than to only hear your voice every hour of the day too.”

“Don Corleone,” you giggle back, “are you flirting with me?”

“Perhaps so, but you were dreaming about me, weren’t you?”

“I thought you forgot about that.” You groan back playfully. “You dream of what you think about the most, you know that?”

“Of course. How long are you going to keep stalling before you tell me what you dreamt of?”

“Um,” you glance back to your closed bedroom door, listening for any signs of someone out in the hallway. “Well, I…” You clench your legs, noticing the level of your arousal hasn’t changed. “Michael, I—”

“Dirty girl.” Michael’s tone grows husky and low.

“I—” You flush bright red, and for once, you’re glad Michael isn’t around to see you in this state.

“Have you been touching yourself?” The sound of his voice over the phone is enough to coax you into an orgasm. “I can’t see you do it, but I want to hear you do it.” Demand begins to grow in Michael’s voice. “Because I don’t believe you.”

“What?” You breathe back. “You don’t…?”

“Sei solo?” (Are you alone?)

“I am.” You answer back, feeling increasingly hot and bothered up to the point you’re practically writhing over the armchair.

Michael himself remains alone in his suite room in Havana, finishing up the last of his cigarette. Dressed now only in a half buttoned-up dress shirt, loose waistcoat, and his dress pants, he leans his back against his seat, his free hand working his fingers through his belt to unbuckle it.

“Tell me, baby, what are you doing right now?”

“I’m…” A soft little whimper escapes from your lips as you slouch over the armrest, spreading your legs open.

The sound of your wetness spreading is loud enough for Michael to pick up on the other end of the phone—simply music to his ears. His eyes darken with lust as he listens to your flustered breathing, now throwing his belt off to the floor quickly.

“You know you were like this on our wedding night too. I could just tell how aroused you were, all soft and gentle. You completely gave into me, and look at you now, barely able to hold yourself together over the phone…”

“How do you—” Your eyes widen in a mix of surprise and embarrassment.

“Can barely keep your legs closed, can you, baby?” Michael lets out a breathy chuckle, now very much aware of his own bulging erection threatening to push out of the tent in his briefs.

“Y-yeah…” You admit, feeling a trickle of your wetness soak again into your panties. “Michael, I’m just…”

“A dirty little whore.” Michael finishes your sentence for you, letting his hard cock spring free from his briefs. “Who can’t keep her mind off of me or my cock for a day, isn’t that right? I want to hear you say it. It’s true, isn’t it?”

“Yes…” You whine, tilting your head back against the armchair.

“Tsk, tsk. You should be inside with the family, yet you’re a flustered mess letting your mind wander in the middle of the day. What does that say about you?” Michael continues to tease as droplets of precum begin spurting out from his tip.

Dazed from the pulsating arousal in your pussy, you shakily slide your panties down to your knees and kick them off your ankles, placing both of your feet on each armrest of your seat.

“Touch yourself for me.” Michael’s tone begins to grow in demand, “I want to hear you playing with yourself while you tell me about this little dream you had.”

“I was…” You glance down to see the soaked mess of your pussy, glistening in dewiness from your natural lubrication. “I was in the kitchen with you, just pressed up against me.” You slide two fingers down to your wetness, hearing it slosh between your pussy lips.

‘Michael bites down harshly on his lip at the sound, beginning to slick his cock with his precum, almost enough to completely coat it.

“I could feel you…” You squeeze your eyes shut, rubbing over your pussy in quick, sloppy circles. “You were so close to me as if you were really there—back to back.”

“What was I doing to you, baby?” Eyes half-open, Michael begins to pump his cock to the sounds of you playing with yourself.

“Pressing yourself up against me, touching me, kissing me all over… Hands over my hips, your tongue on my neck.” You inhale sharply, finding your sweet spot over your clit. “You almost tore my panties right off, so eager to fuck me. I let you have all of me, Michael…”

Thousands of miles away with a three-hour time difference—apart from each other—but the same sensual erotica fills the air as if the two of you were physically together. Alone in his suite for the remainder of the evening, Michael finds himself wildly turned on at having his wife moan and touch herself on the telephone, all for him and him only.

It emphasizes the passionate and healthy sexual desire between the two of you that’s only been heightened over the past years. A longing desire for intimacy with each other has always been mutually desired, and something about it is so sexy between the two of you now, knowing it’s physically unattainable, but not by other means.

“Michael…” Your voice strains as you feel your orgasm building.

Your fingers threaten to slide off your pussy from what a soaked mess you’ve become. Each touch creates another sloshing sound easily heard over the phone as you buck your hips up, wanting nothing more than to be underneath Michael—to have him pound into you like he did in your dream.

“Go on, baby, tell me more.” Michael grips the telephone so hard his knuckles turn white.

He picks up the pace as he begins to stroke his cock faster, addicted to the little moans coming out of your mouth as he can practically feel you clenching around him.

“You were ruthless in how you fucked me…” You give in to your arousal, pushing aside any sense of humiliation as you tell it all to Michael, who you know is eager to listen to more. “Just slamming me against the kitchen counter like that—pulling my hair, spanking my ass.”

“Think you’ll have a lot more to anticipate when I come home, won’t you?” Michael grunts and you finally come to the realization that he’s touching himself too.

Your face burns scarlet as you let out a louder moan, now dipping your fingers in and out of yourself. “Don’t act like you’re not doing the same…”

“I won’t hold that back from you.” Michael groans out—the first moan you’ve heard from him throughout your “session.” “Because you know how badly I want you. You know what I’m going to do to you when I get home?”

“Michael, please—” You moan louder, imagining his cock fucking in and out of you instead of your fingers.

“I’m not even going to give you the luxury of being fucked on the bed, you hear me?” Out of reaction, Michael bucks his hips upward as his orgasm approaches.

“Please,” you beg out, “I’ll let you do anything to me.”

Purposefully to get a reaction out of you, Michael moans even louder over the phone. The low moans in his velvety voice are enough to drive you insane—always insistent to hear more from him. “I’m going to lick and fuck every inch of you until you’re crying—begging for more. You’ll be on your hands and knees by the door, waiting for me to come home.”

“Yes, yes I will.” You nod frantically, barely able to hold onto the telephone. “Oh God, yes.”

“First, I’ll fuck your mouth until you’re swallowing my cum down your throat,” Michael growls, his bare chest peeking out from his unbuttoned dress shirt as it begins to loosen over his arms. “I’ll tie you to the post of the bed, but I won’t gag you because I want to hear you scream my name.”

You snake a third finger inside of you, leaning your cheek to the telephone and pressing it up against the back of the armchair so you can use your other hand to rub over your throbbing clit. “Y-yes, and then…?”

“You’ll show Don Corleone the respect he deserves. You’ll do everything I say like a good girl. I’ll let you cum as many times as you want because you’ll be nothing but a blubbering mess when I’m done with you.” Michael continues, feeling himself dangerously close to his orgasm. “I can just imagine it now, mm… Bouncing you up and down on my cock like that. You love to ride me, don’t you?”

His dirty talk adds to your insistent, pounding arousal. The room around you practically goes white as you roll your eyes back in pleasure, easily able to picture yourself bouncing over Michael’s cock as he says.

“Yes, Don Corleone…” A filthy moan escapes your lips.

“Cum, baby, cum. Don’t hold yourself back. I want to hear all of it.” Michael breathes heavily, forcing himself back to time his orgasm with yours.

“Michael!” You squeal out, almost seeing stars from how hard your orgasm hits you.

The sensation is euphoric. Your orgasm washes over you heavily, hitting every inch of your body as you curl your toes in response. Your thighs immediately begin shaking as you let out a little squirt of your cum all over yourself, drenching your legs and the armchair.

Not holding back on your moans, Michael runs his tongue over his lips as he squeezes his hand over his shaft and lets go entirely. Spurts of his hot cum pump out over his chest and stomach as he lets out a drawn-out groan, covering himself in his own mess.

You let out a shuddering gasp, feeling how overly sensitive your clit has grown and how your thighs can’t stop trembling as your orgasm wavers over you. “Oh G-God, oh my God… Michael…”

The fact he’s all the way over in Cuba covered in his own cum perhaps does you some good, as the sight of him, half undressed, flustered, and horny, would be too much for you to bear at this moment.

#the godfather #godfather #al pacino #michael corleone x reader #michael corleone x oc #michael corleone fanfic #godfather au #michael corleone smut #michael corleone x reader smut #my writing #michael corleone #moth to flame fanfic #the godfather x reader #al pacino x reader #godfather x reader #alfredo james pacino #melis-writes #moth to flame fic

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florrickandassociates · 3 years

Text

TGF Thoughts: 5x10-- And the violence spread.

So, that’s it for season five. I’m still trying to sort out how I feel about the season as a whole and Wackner’s arc. I’m hopeful that writing this will help me decide.

This episode has a Previously, and it’s rather conventional. I’m guessing it’s here to bookend the season, with conveying information being only a secondary objective.

Did we see Rivi scream, “You’re done, Wacko, you’re done! Canceled! Canceled!” in the last episode or is that new to this previously? I feel like I absolutely would’ve had things to say about a) Wackner being called “Wacko,” which has been RIGHT THERE this whole time, and b) the use of “Canceled,” which is a thing Rivi would never say but is VERY thematic (you know, cancel culture and also Wackner having a TV show and also this being a TV show that’s wrapping up* Wackner’s arc).

* The way things end this episode, I’d say we’re done with Wackner. The Kings have said they aren’t sure about the plan for season six, so never say never, but I think that if we see Wackner again, it will be as part of a different arc.

I went back to 5x09 and while we do see the same shots of Rivi screaming, whatever he’s saying in 5x09 is in Spanish. So either he was saying this in Spanish or the dialogue here is totally new.

I’m a little sad that I knew in advance Robert King had directed this episode, because I want to know how long it would’ve taken me to guess. I’d like to think this first shot, of Diane flopping down on her bed in a very pretty floral print dress, then Kurt flopping down in the opposite direction, would’ve given it away. We usually don’t get shots that are both striking and kinda balanced unless RK’s directing.

This also has some big season three opener vibes—the scene where Diane turns to Kurt and says, “I’m happy,” thus jinxing the entire season.

Diane and Kurt are about to go on vacation, which means, of course, that Diane and Kurt are definitely not about to go on vacation. I’ve watched 12 seasons of this show; I know all the tricks!

If I didn’t get it from the initial staging of the opening shot, the camera panning to Diane and Kurt’s suitcases and then back would’ve been another clue that RK directed. He ALWAYS has the camera in motion.

I love that Diane’s travel outfit is a dress you could wear to a fancy party and a statement necklace. Of course it is.

And if I needed evidence that RK and MK wrote this episode (which I didn’t; it is a finale so I knew they wrote it), Diane quoting Waiting for Godot is a clue there.

I really should read Waiting for Godot, shouldn’t I?

“Wow. Educated and a good lay,” Kurt responds. I know that the political stuff between Diane and Kurt can get more than a little murky, but banter like this reminds me why they stay together and why politics never drive them apart. Also, it’s really nice to see Diane and Kurt have some fun banter that isn’t about politics.

And Diane making kissing noises and asking Kurt to meet her halfway! This just feels like I’m spying on someone’s private life and I love it. Not in a voyeuristic way, since this is actually a little uncomfortably private, but in a, “ah, yes, these do feel like real people” way. This is the kind of “a little goes a long way” character moment I always want more of, and Kings episodes ALWAYS include stuff like this.

And there it is. The phone rings as Diane and Kurt are about to start out for the airport. Diane thinks the call must be for Kurt, but it’s for her. It’s a very flustered Liz, informing her that STR Laurie’s execs are on their way to the office for a surprise visit.

If the Diane/Kurt scene didn’t tell me that Robert King directed, I almost certainly would’ve gotten it from the sudden cut to Liz, walking through the hallways and doing a million things at once with a ton of background noise. No one loves chaos the way Robert King loves chaos.

This episode STRONGLY reminds me of the Wife season five finale. It is equally chaotic and also spins a ton of plates. But, mostly, the similarity I see between the two episodes is that they are both extremely fun and captivating to watch because of how much momentum they have, but everything just feels slightly hollow and not exactly focused on the thing you want to see.

(Shout out to my friend Ryan, who messaged me the 5x22 comparison before I could message it to him!)

I decided I should rewatch the first few minutes of 5x22. I am now 15 minutes into 5x22 of Wife and 2 minutes into 5x10 of Fight. Oops.

Apparently, STR Laurie planned a surprise visit because they heard RL was dysfunctional. You don’t say!

I felt like 5x09 concluded with STR Laurie being won over by Allegra and the RL team, so this is a bit of a surprising place to start the episode. But, since Diane seems surprised too, I’ll allow it.

Now Liz and Diane have 90 minutes to agree on a financial plan! Kurt’s on the phone with the airline before Diane even hangs up with Liz.

Diane is determined not to lose out on her vacation and asks Kurt to change the flight to 8:00. “Kurt, we are going on this vacation if it kills me!” is a line I would worry was foreshadowing on basically any other show.

The RL/STRL PowerPoint template is pretty ugly. They want to call 2021 their best year yet, thanks to the deal between Rivi and Plum Meadow Farms we saw last week. Even though we saw champagne and signatures, the deal isn’t done yet because Plum Meadow can back out if Rivi goes to jail.

RK also loves close-ups more than any other director on the show; I do not love close-ups.

The Plum Meadow deal is such a big deal that for the quarter, they go from $45 million to $5 million without it. They should just not say numbers. I can believe it’s big enough to take them from a modest profit to being behind projections or whatever, but I can’t believe that they have $5 million in other business and $40 million on this one deal.

It seems that Rivi was arrested. I don’t think it is ever said in this episode why. I assume the arrest relates to his behavior in Wackner’s court, since there were police officers there, and I suppose that Rivi is a big enough deal the police would actually take him to real court, but are we not going to address the weirdness of Rivi being arrested in a fake court where his employees are being tried, then taken to a real court by the same people who just an episode ago were disillusioned with real court? This seems like a plot point.

Carmen on a frantic phone call in the backseat of a car feels very 7x22.

Who is James that Carmen has in her contacts!? And why does everyone always put Liz in their contacts as “Elizabeth Reddick” when everyone calls her Liz?

Carmen calls Marissa to go argue in Vinetta’s court since she’s on Rivi duty. Carmen doesn’t take Marissa’s job in Wackner’s court seriously and then notes that this instruction is coming straight from Liz, so Marissa falls in line.

Wackner’s case of the week is about rural Illinois wanting to form its own state separate from Chicago. There’s a farmer who feels like his tax money is only going to the big city and he wants it to stay in his community.

They’ve just now added stage lighting to the set of Wackner Rules, dunno why they wouldn’t have done that earlier!

I don’t know what standing you’d have to have to bring a case about wanting to divide the state in two to court, or if this is even something a court would or should decide, but, sure, Wackner and Cord, go for it. There are no rules!

This map splitting Illinois into two new states that Cord is holding is a dumb prop because Galena, where this farmer is from, is in the same section as Chicago. Do I pause every reference to Chicago on this show and then google information to see if the writers bothered to look it up or pretend they’ve ever set foot in Chicago? You know I do.

“Secession!” the audience screams. Does the audience of Wackner Rules really want to see this?

A Good Fight Short! And it really is short: “Stop this obsession with secession and breaking up the Union. It’s boring and it’s dumb, end of song.” I feel like that’s the thesis statement for this episode, or one of them (that this episode seems to have about ten thesis statements is kind of my problem with this episode, tbh). This episode is very much about danger of things becoming too fractured—the COTW, the copycat courts, the firm drama—and I feel like the writers come around to just saying no, this is enough, we need structure and consistency.

But more on that later. MUCH more on that later.

Marissa is swearing more because “the world has required it.” She notes this to Wackner as she calls him out on the secession case. Cord barges in.

Take a look at the employee of the month poster on the back of the door at 5:39. Then at 5:40, look at what’s in the box just to the right of the center of the screen: it’s an employee of the month poster with Wackner on it! Cute easter egg. (Would Marissa definitely notice this and have questions? Yes. Is this here as a cute easter egg for eagle-eyed fans? Almost certainly.)

“Insane is just one step away from reality if you get people to believe, and you know what makes people believe? TV.” Cord explains when Marissa asks how they can possibly be litigating this case. That’s thesis statements two and three, folks. The first is that if you get people to believe, then anything is possible, which sounds like a tagline for a Disney movie but is actually super dangerous; the second is that reality TV is a way to persuade people and change opinions.

So we’ve got: (1) Factions are bad. (2) People are persuadable and the rules don’t actually matter. (3) Reality TV changes minds. Let’s see if there are more.

(Yes, these theses do kind of add up to a whole—The rules don’t matter, so if you persuade people, through reality tv, you get factions of people believing their own sets of rules and facts—but what I'm interested in tracking throughout this episode is how well the writers actually bring these theses together.)

(And this is setting aside that key themes in previous episodes, that I think many of us were looking for resolution on, included outlining the flaws with the extant “real” justice system and exploring the role of prison in the justice system. From this episode, I don’t think the writers ever intended to really tackle either of those issues. That’s fine—I'm not sure that TGF has something to say about prison abolition and I don’t want a thought experiment where the writers actually try to fix the legal system—but feels a bit disjointed. I’ve said it before and I’ll say it again, but 5x08 and 5x09 needed to do a better, clearer job of setting up this finale. The key themes of Wackner’s arc were always present, but they needed to slowly narrow the scope so the resolution felt inevitable and clear. Instead, we spent time on things like parking spaces (when we could’ve had a real plot about how Wackner’s court gains legitimacy through violence, incarceration, and playing on people’s frustration with the real systems) and Del’s focus groups (when we could’ve instead done a plot about Wackner gaining fans who wanted to use his methods to do ill). Everything I just mentioned in the parentheticals is in the show! It’s not subtext! We see it all! We see Cord use violence and prisons to enforce Wackner’s rulings; we see the cops turn to Wackner out of frustration; we see that the people drawn to Wackner Rules and to Wackner’s court are increasingly sounding more and more like right-wing populists! I can’t be too hard on this arc because, again, all these ideas are there. I’m not coming up with them on my own!)

I’m just saying: this ending would’ve been a lot clearer and a lot more interesting had the writers focused on what I mentioned above instead of the distractions of the last two episodes.

Whew, that was a ramble. Hope you’re ready for more rambles.

On a similar note, I’d like to reiterate my problems with how the writers used Marissa after the private prison reveal. I don’t have much more to say than what I wrote last week, but it’s another example of the same problem. Marissa objecting to Wackner’s court because she notices what it’s becoming and how Cord plans to use it for political gain (two Illinoises (??) changes the Senate and the Electoral College...) always was going to be part of the endgame. Marissa only seriously objecting after the fourth or fifth line Wackner crosses feels bizarre.

Cord does NOT like that there is another court, and wants to protect Wackner’s IP. Wackner, as we saw last episode, does not feel threatened by the other court. In fact, he seems to be excited by it.

I love Liz questioning Diane’s outfit like it’s unprofessional. It’s a little low-cut and showy, but I don’t think unprofessional is the word I’d use for it.

Now they have 45 minutes to decide The Future Of The Firm and Diane wants to be considered a name partner. Oh, that debate is still raging?! Every time I think it’s done it comes back, which should probably be a sign to Diane that her options are to leave and start something new, jettison Madeline and the others, or step down. Staying on as name partner and calling it a black firm is just not an option.

“Diane, there is a split in the firm that...” Liz starts, before asking some associates to leave the room. Ha! The reveal Liz and Diane aren’t alone is a pretty fun touch.

“The Black equity partners don’t want to be in your work group,” Liz informs Diane. “Because they think they’ll be punished by this firm?” Diane asks. “No, that’s paranoia. We don’t punish here,” Liz responds. “Of course you do. My fracking client. My union client. The Black lawyers who work on those cases—they're considered traitors” Diane says. “Because those CEOs are racists,” Liz counters.

Lots going on here, and I’m not sure I understand it all. Why would the equity partners—who are partners—feel like they’re being punished by being in Diane’s work group? (And also what does a “work group” mean and why haven’t they talked about it in the past?) When Diane starts talking about the lawyers who staff her clients, she’s not talking about equity partners; she is talking about associates.

And people are giving associates shit for working on Diane’s clients whom they happen to be staffed on!? That’s sad, though believable.

“So what do we do? Only bring in clients who can pass the racial smell test?” Diane asks. I mean, actually, yes. IF the goal is to be a black firm and to have that designation mean something in moral terms rather than marketing terms, then yes.

“It’s okay if you’re a drug kingpin like Rivi, but it’s not okay if you want me as lead attorney?” Diane says. Also, yes. Diane makes good points here.

“Diane, this is not about you,” Liz counters. Um, sure, but it has to be about something, Liz. Unless you’re trying to build a firm you don’t control that makes 88% of its revenue from a drug dealer (40 million out of 45 million this quarter = 88%; I told you they shouldn’t give me numbers) but happens to have black people in charge, you have to grapple with this question. I don’t think anyone who’s fighting for the firm to be a black-led (not owned, bc STRL) business is the type of person who thinks that having a black-led firm that does all the same shit as any other firm is in itself a good thing, so you NEED to address your client list. Madeline is anti-Rivi, anti-Cord, anti-Wolfe-Coleman (the rapist guy), pro-social justice, and pro having a black led firm.

“I mean, why... why do white people personalize this?” Liz asks. “Oh, now I’m just a white person?” Diane responds. I... don’t know what to do with this! Liz is right that Diane is taking this personally; Diane is right that Liz needs to deal with the rest of the client list. But no one is saying the things that REALLY need to be said: That all their decisions are meaningless in the shadow of STRL, and that deciding to be a black led firm isn’t the end of the discussion if they haven’t decided what types of clients they want to have.

“What happened, Liz? Last year we were intent on an all-female-run law firm,” Diane starts. Oh, THIS AGAIN! Diane never learns, does she? She never seems to realize that no one she’s approached with this idea is NEARLY as in love with it as she is. She probably still wonders to herself why Alicia—who partnered with her at the end of season seven basically just because it was the easiest, most frictionless thing to do—didn't seem more committed to their firm.

“Diane, there is history here that we are trying to...” Liz says, but Diane cuts in to note that women (women like Diane Lockhart!) have history too! In fact, she’s spent “35 years fighting gender discrimination to get to this position.” “And we have spent 400 years fighting racial discrimination to try and, you know...” Liz starts, before cutting herself off to get back to the ticking clock.

Sigh. Just talk about the actual thing instead of talking around the thing, guys. Diane is obviously deserving of A name partnership, in the abstract. This is an undeniable fact. And while Diane is definitely making this about herself rather than the big picture, I don’t think Liz trying to trump Diane’s 35 year career with the history of black people is going to win her any arguments? Like, just say what you mean and say it clearly. What Liz, I think, wants to express is that Diane’s individual accomplishments aren’t the issue here and everyone thinks she’s deserving (though Liz suggested Diane was not deserving a few episodes ago, which I didn’t understand then and don’t understand now). The problem is that Diane is trying to fight a battle that’s about something much larger than herself with, “but I'm a good lawyer!”

And that’s KIND OF what Liz is saying here, if I add all her sentences up and read between the lines, but, again, why not just say it?

“Alright, now we have 43 minutes to fix race relations, gender relations. STR Laurie’s gonna fire our asses, and you know it,” Liz says. I am curious what that would look like. Wouldn’t that just mean that STRL wouldn’t control them anymore? I’m sure being fired would be bad and all, but wouldn’t it free them from the contract they wanted out of last year?

“Let’s split the firm down the middle. I hire half the lawyers, you hire the other half,” Diane suggests. What does this mean? Why are you hiring your employees? Huh?

“You hire the white associates, and I hire the black associates?” Liz confirms. This seems like a very bad idea that would make things a lot worse and open them up to lawsuits! I also still do not know what they’re even talking about. And I don’t know why Allegra isn’t a part of this conversation.

“I’m not saying it’s good. I’m just saying it’s what we’re left with. It's what we can agree on,” Diane says. I really wish I understood what “hire” meant in this context because I don’t understand why they have to split anything or why this has to be done now and I don’t understand why this would possibly be a good solution. Can you imagine the backlash when people realize all the white people report to Diane and all the black people to Liz and that people were taken off of the accounts they’ve worked on for years to accomplish this? And this must be something that the employees would know about eventually; otherwise they could just randomly assign half to Liz and half to Diane.

I’m sad Madeline isn’t in this episode because I feel like we needed to see more of her POV as well as the associate POV. I don’t really understand the divides at play within the firm or what the staff and other partners are asking for, but I suspect it isn’t this.

Hallucination Jesus is back, and at least there’s actually a point to him this time (he shows up when Jay is in Vinetta’s court and reminds Jay that Vinetta will rule based on her religious beliefs). I still dislike the hallucinations.

Jay advises Marissa, who is Jewish, to talk a lot about Jesus in her defense.

Charmaine Bingwa is really great as Carmen, and obviously she is not fluent in Spanish, but it’s so funny to me that the only time you can hear that she’s Australian is when she’s trying to say Oscar like she’s speaking Spanish.

"I know you’re hiding something when you speak English,” Rivi says to Carmen. Heh.

“Community court” is such a nice, unthreatening term for referring to Wackner and his copy cats. Thanks for that, Carmen!

It’s a smart plan to mention Jesus a lot, I guess, but Jay and Marissa both should’ve realized that Vinetta is too smart to tolerate obvious pandering. I’m a little surprised Jay doesn’t get up and argue since Marissa is, obviously, not familiar with the New Testament.

Marissa wins this round with facts and logic.

Why is the judge who was handling Rivi’s previous charge now in bond court? Make it make sense.

I like that Carmen calls out the ASA for swearing hahaha

Why... would this Matteo kid just casually mention he was holding a gun, omg.

In Vinetta’s court, you can be charged with murder and tried because... you had a gun and also there were murders at other times. Coolcoolcool no problems here.

Community courts for civil cases? Sure. That’s basically arbitration. Community courts for criminal cases? Bad, bad, bad idea.

Vinetta’s reasoning: “Those murders happened on our street, and the police haven’t convicted anyone because they don’t care. We care. This is self-defense. And how is it different from your court?” Aside from the whole imprisoning people in her basement thing, Vinetta’s not wrong. I almost brought this up last week but hesitated because I couldn’t remember the details enough to decide if I wanted to recommend it, but there’s a book I read a few years ago that seems relevant here: Ghettoside by Jill Leovy. Again, been a while so don’t take this as a wholehearted endorsement or anything, but from what I remember, the central issue at the heart of the book (it’s non-fiction) is that a poor black community (I think in LA?) doesn’t trust the police (in part) because the police don’t solve murders, and then with no way of getting justice through the court system, there’s more violence as a stand-in for justice. https://www.vox.com/2016/8/26/12631962/ghettoside-jill-leovy-black-crime

I’m not sure if that’s QUITE what Vinetta is saying but it seems similar, and it’s a decent point (though not a justification for her court). Why should she trust the system to improve her community when it’s ignored her community for years?

I like that the writers chose two very different, very understandable characters for their community courts. It’s easy to see why Wackner and Vinetta feel the need for alternative courts; it’s easy to see why others would trust them. This arc doesn’t really work unless there’s a legitimate frustration with existing systems...

Marissa calls Wackner’s court a “joke,” which she should understand by now isn’t the case. (Marissa’s smart; she knew it wasn’t a joke the second she saw David Cord get involved.)

Vinetta accuses Wackner of copying her court, which alarms Marissa. This isn’t addressed again, and I don’t know if it’s true! I could really go either way on this. On the one hand, I absolutely believe that Wackner saw/heard about it, liked it, and did it himself without thinking much of it—and if this is the case, then the ending where Vinetta gets in trouble for violating Wackner’s IP is a lot more of a gut punch. On the other hand, I don’t really feel like the seeds for this were planted. We see Wackner innovate a lot and try new things and he has an explanation for why he does everything—how much of that is Vinetta? And Vinetta clearly watches the show and likes it or she wouldn’t have recognized Marissa, so it’s a little hard for me to just believe her claim when literally all I know about her is she has a court that looks like Wackner’s and she is aware of and feels positively towards Wackner rules. Also, Wackner knows about Vinetta’s court (from Marissa) and sounded excited about it last episode. Sure, he didn’t necessarily know which one it was, exactly, but I assume if he’d copied the idea and then heard about a case involving people from the exact same community where he found the idea... his reaction would be different. So IDK. My reasons for doubting Vinetta’s claim are probably based a little too much in things I’m not meant to spend that much time paying attention to.

“I fucked up. It’s in the same court, but now it’s a murder case,” Marissa tells Diane. I do like hearing characters admit when they fucked up!

Diane hears that STRL is delayed, so she heads out to help Matteo. When she goes to change into her pantsuit, she finds that she’s grabbed Kurt’s bag by mistake. “Of course. That makes sense,” she reacts.

Diane pushes her flight to the next day, also telling Kurt, “And yes, for some reason, I took your suit instead of mine, so fuck it.” I love it when the characters feel like real people.

I am not sure why Kurt is getting to the office when Diane is leaving or why Kurt is there—to pick Diane up on the way to the airport, maybe?

Carter Schmidt walks into RL at the worst possible time, threating to blow up the Plum Meadow deal. Another 5x10 to Wife 5x22 similarity: he’s in both episodes.

Liz heads out to help Carmen with Rivi, and then STRL arrives. Oops.

Credits!

One thing about Wackner’s court that should definitely be a warning sign even though it seems noble: he ignores just about every warning sign, like this rowdy crowd screaming WE LOVE YOU WACKNER or the potential interests at play in a case about secession, because he thinks his fair judgement can overcome these obstacles. If the world worked that way, there’d be no need for his court in the first place.

Is anyone representing the State of Illinois in this trial? If not, then... how is it happening?

Dr. Goat, some dude who claims to have some hidden historical document about how Illinois is actually two states, is clearly making stuff up and yet Wackner indulges him and Cord. I feel about this the same way as I feel about the Devil’s Advocate: That Wackner would not allow this to go on for more than five seconds before calling bullshit and therefore there is no reason I should have to sit through it.

Why is some guy screaming, “No taxation without representation” like dude you absolutely have representation. But of course, I’m expecting him to be logical, and the point is that he is not.

Dr. Goat’s Latin phrases—shock!-- don’t actually translate into anything like what he said. Even though this information is verifiable by a quick google search, the crowd starts screaming “Liar!!!!” at Marissa. If only I could say this felt unrealistic.

Wackner asks Dr. Goat to bring in the document.

“You look like you’re heading to the beach,” Vinetta says to Diane, who looks like she’s heading somewhere but definitely not to the beach. Vinetta asks where Diane was headed on vacation. Diane says she’s headed to Lake Como, and unnecessarily clarifies that “It’s in Italy.” She assumes Vinetta doesn’t know that... but Vinetta does.

“So you’ve been there before?” Vinetta probes when Diane says it’s beautiful there. “Just once. We don’t get away often. We thought we’d splurge,” Diane says. Vinetta stares at her and smiles, and Diane hits her head on a basket that’s hanging in Vinetta’s kitchen. If I just write out the dialogue here, it sounds like a perfectly average conversation, but everything about this conversation is so charged: Diane is afraid to look like a wealthy white woman; Vinetta’s pleasantness is pretty clearly also a way of sizing up Diane.

Vinetta shows Diane pictures of neighborhood children and young adults killed as a consequence of gang violence. You can see she’s not trying to do anything other than help her community, even if her methods are highly questionable.

Diane argues that Matteo should be given over to the police; Vinetta disagrees: “The police haven’t arrested anyone for those murders, any of these. Since the BLM movement, they’ve pulled back from our streets. No one’s coming to help. That’s why I started this court. It’s not a joke to us.” Wait I’m sorry did Vinetta just blame lack of good detective work in black communities on... the BLM movement?!?!?! Is there any foundation to this!? Why can’t it just be that the police weren’t actually doing a good job of policing/finding justice and were being antagonistic towards the community instead of being helpful and no one trusted them?? That explanation is literally right there.

Jay suggests the Jesus strategy, again.

“It’s women! We could just move on, install men,” STRL guy says. I don’t know if he’s joking, but ugh. Also, what is RL if it has neither Diane nor Liz? A bunch of lawyers who will all promptly quit when they see their bosses get fired and a few opportunists?

Kurt is watching golf in Diane’s office, and the STRL people love it. Of course Kurt accidentally makes friends with them.

Court stuff happens. It’s not good for Rivi, and then Liz and Carmen come up with a theory: Plum Meadow is stalling the deal so they can find Rivi’s more stable second and make a deal with them instead.

Wackner giving Dr. Goat a single point on his stupid little board, for any reason related to his obviously fake totally unverified document, is dangerous. Why would you signal to a crowd that’s clearly not interested in fact that they have a point? That’s basically egging them on.

I know Wackner’s judgment is obviously not 100% sound—need I remind you of the PRIVATE PRISONS?-- but I thought it was more sound than this.

Wackner shows off his knowledge of paper and proves that Dr. Goat’s document is a fake. Why... did he just give Dr. Goat a point???

Or is he moving the point from Dr. Goat to Marissa?

Dr. Goat sounds like a fake name I would call a character in my recaps long past the point of anyone other than myself remembering the joke. (See: Mr. Elk)

“The truth is ugly. The only thing uglier is not pursuing it,” Wackner tells Marissa. How is taking on a case about very obvious falsehoods, funded by someone with a vested interest in the case, that gets people riled up, some noble pursuit of truth?

STRL and Kurt are now drinking and discussing hunting, while Diane’s arguing for Matteo in Vinetta’s living room. Vinetta is—as was always obvious, sorry Jay—far too smart to fall for this patronizing bullshit. She screams at Diane and plays back a recording (on a baby monitor) of Diane coaching Matteo to lie about his faith.

Soooooo yeah no you can’t do that, that is bad, recording conversations between lawyers and their clients is not good even if it leads to you exposing their schemes...

Then Vinetta places Diane under arrest, which obviously isn’t going to end well for Vinetta.

Liz and Carmen suggest a post-nup to Rivi to see if Isabel is planning on turning on him.

“I’m going to have to kill her,” Rivi says sadly. I don’t think Rivi will ever kill Isabel because we already did that with Bishop.

I’m going to assume that Diane chooses to stay in basement prison instead of calling one of the many, MANY, MANY people she could call to get her out/take down Vinetta because she doesn’t want the situation to be publicized or further deteriorate. That said, it’s really not clear why Diane just accepts being sentenced to basement prison with a cell phone.

Love the STRL man looking at that picture of Diane and HRC. They’ve gotten so much mileage out of that photo.

Wackner’s court has no rules, but at least since it has no rules, I can’t complain about how its rules make no sense!

What is this, debate practice?! Ugggghhhhh I can’t deal with this case for much longer.

Marissa takes a breath, then decides to pursue a strategy she knows could blow everything up.

“Then why care what Judge Wackner decides? Why should you defer to him? Why defer to anyone?” Cord says that’s the point—the people have decided to trust Wackner. “So if you don’t like this court’s decision, you’ll just start a new one?” Marissa asks. “I guess,” Cord concedes.

“So then why does this matter? This court?” “It matters only insofar as we continue to agree that it matters,” Cord says. “So if you don’t like Judge Wackner’s rulings, you can just ignore them and create a new court?”

Good point, Marissa. Good point. (Does this count as a thesis?)

“I’m guessing that I will like the way the judge decides,” Cord says. Well, that’s basically a threat.

Wackner takes a break and heads to chambers—without Marissa.

Kurt goes to visit Diane in basement jail. He’s granted a conjugal visit, which means Matteo gets moved up to the bedroom so Diane and Kurt can have some alone time.

Diane is staring at an image of Lake Como in her cell. I thought it was odd she brought a printout of her vacation destination with her, so I LOVED the line where she explains that Vinetta printed it out for her. COLD. (You know who also would’ve done this if they’d for some reason had a basement prison? Bree Van de Kamp. You know what show DID do a basement prison arc I’d rather forget? Desperate Housewives!)

I love how Diane responds to basement prison by making jokes non-stop.

“I thought the craziness would end with 2020,” Diane says. Nope.

Kurt brought alcohol; Diane brought pot gummies.

I love that Kurt has never had pot before. I was going to say that I bet Diane’s had a few experiences with recreational drugs when I remembered we had a whole damn season of Diane microdosing.

Christine and Gary’s acting and their chemistry really bring these basement prison scenes to life. The writing and directing are really sharp, but it’s the actors who make these scenes something special. You can tell Diane and Kurt love each other a lot. You can tell they’re disappointed about their vacation and exhausted by the chaos of the day. You can tell they’re in disbelief over this situation but also find it funny.

Didn’t Rivi and Isabel have an adult daughter who died of COVID a few episodes ago? Weird she isn’t mentioned in this scene. Maybe from a different marriage/relationship?

Isabel called the SA’s office because she thinks Rivi’s a threat? I think this is a power play.

Heh, Carmen saying, “Shut a black woman up!?” in disbelief in court. Love it.

Isabel instead flips her story and supports her husband and fights for his release. With no intervention from Plum Meadow, this gets the judge to free Rivi. I don’t really understand what’s happened here or why. I get the resolution, but I don’t get why Isabel called the SA or why this went away so quickly. I still don’t even get why Rivi’s been arrested.

Diane and Kurt put up Christmas lights for ambiance and talk about how they never go on vacation.

“I wanna see the pyramids on this coast!” drunk & high Kurt insists, hilariously. “I mean hemisphere. I like the Aztecs. They, they care about people.” I’m not going to transcribe the rest of the dialogue because it loses its magic when you’re not watching the scene.

After some fun banter about travel and movies, Diane changes the topic. “I should quit, shouldn’t I? That judge upstairs? She looked at me like I was the most entitled white bitch on the planet. And that’s the way they look at me at work.”

Kurt tries to say that’s not true, but Diane knows it is: “Yes they do. I’m the top Karen. And why do I care? I mean, I... I could find another firm. I could quit. I can’t impose my will on people who don’t want me.”

YES. I see a lot of debate over what the “right” thing to do is here. But I think we are long past “right” and “wrong.” At a certain point, this stops being about absolute moral truths. If Diane doesn’t have the respect of her partners and employees, that is a very real problem for the firm and for Diane. How can she continue to impose her will on a firm that doesn’t want her, all the while claiming to be an ally? (The back half of that sentence is the most important part.) Forget whether or not Diane “should” have to step down. Forget what’s “fair.” If the non-Diane leadership of RL thinks the firm should be a black firm, and the employees of RL think so too, and Diane just doubles down on her white feminism, she’s creating an even bigger problem for herself and ruining her reputation in the process.

Kurt stands up on the prison cot and warns Diane she might make a decision she’ll regret. This scene is so cute. Why can’t other shows do drug trips where the characters just act silly and have great chemistry? Why does it always have to be some profound meditation on death whenever characters get high?

“I think I like starting over. I like the chutes and ladders of life. I mean, I want the corner office, but then I wanna slip back to the beginning and fight for the corner office. I mean, I think maybe it’s better that I don’t get the top spot,” Diane says. LOVE to hear her admit this. I’m not sure I would’ve come to this conclusion on my own, and it sounds like it’s a bit more about how the writers like to write (you know, the “we love our characters to always be underdogs”) than Diane, but... you know what? I believe it. I fully believe it. Diane LOVES to fight, LOVES to feel like she’s in the right, LOVES power plays and to be making progress. She LOVES winning. The fact that she isn’t just choosing to retire right now, even though she’s past retirement age and has a great reputation, is in itself enough for me to believe that she would find it fun to repeatedly start over.

Plus, it’s a fun new direction for the show to take in season six, because they’ll get the same sense of conflict without the actual conflict. This season’s arc was firm drama and resulted in a firm name change... but it didn’t feel like a knock-off of Hitting the Fan. Diane trying to work her way back into power (I assume by becoming a better actual ally, otherwise doesn’t she just end up in the same exact situation?) should also provide conflict without being repetitive.

Hahahahahaha Kurt immediately reacting to this serious statement by being incredibly silly and horny and then Diane singing “I Touch Myself” to him, man, I love these two. I want to know the story behind this song choice.

Wackner emerges from his chambers. The score is tied. Wackner calls Cord corrupt and notes that they can’t just decide to call Downstate Illinois a new state based on his ruling. Now it’s thesis time!

“I was taken by Mr. Cord’s arguments of individualism. So much of our country has been built on people finding their own way, not being held back by bureaucracy. Yet, if we only follow individualism, that way lies chaos. And that was not the point of this court. Or at least not my point. Judgment for the defense. There will be no Downstate Illinois.”

“If we only follow individualism, that way lies chaos.” is probably the clearest of the many theses of this episode. To recap, we have:

(1) Factions are bad. (2) People are persuadable and the rules don’t actually matter. (3) Reality TV changes minds. (4) Institutions only exist when we collectively agree they exist (5) Individualism = chaos.

But let’s put a pin in this for now and let the chaos of individualism play out.

The crowd does not like Wackner’s decision, and decides that an appropriate way to express their displeasure is to make anti-Semitic remarks towards Marissa and then start throwing chairs. What nice people.

As the crowd goes totally 1/6 on Wackner’s court (thanks for pointing this out to me, Ryan—I cannot believe I didn’t make the connection myself!), the door slamming into the desk finally pays off since Marissa and Wackner are able to use it to keep the crowd from reaching them.

They immediately turn to the police, or they would, if they could get service. I’m sure it’s not a coincidence that as soon as things get bad, they want to involve the existing system.

Wackner Rules is, somehow, still taping in the midst of all the chaos. I don’t know if I think they’d air this, but someone certainly would. (I wonder if any of the cameras we see in these scenes are actually the cameras filming the other angles of the riot.)

Cord shakes his head and walks out, unharmed.

“You think they’ll kill us?” “I think they might,” Marissa and Wackner fret.

“My dad said the whole world would be a better place if everybody realized they were in the minority. ‘No matter where you are,’ he said, ‘Make sure you keep an eye on the exits, and make sure you’re closer to the exit than the Cossacks are to the entrance.’” Marissa says. Love Eli Gold coming through with thesis number 6 (and maybe thesis number 7).

“Your dad sounds a little paranoid,” Wackner says, correctly. Remember how I mentioned I accidentally wound up watching 5x22? Eli calls Alicia and responds to her hello with, “DISASTER!!!!” I miss him.

“He was, but he wasn’t wrong. He said, ‘Stay away from parades. They’re cute until they’re not. And don’t trust any pope who was Hitler Youth.” “What’s that law called?” “Godwin’s Law. My dad said anybody who argued for Godwin’s Law has never been near an actual crowd. Crowds love you, they hug you. Then they grab a gun and try to kill you.”

“Why? Why do they do that?” “I don’t know. Hate is fun. It’s clear-cut.”

I really like all of this. It is a little preachy, but it isn’t wrong and it’s self-aware. And, more importantly, it’s in character. I absolutely believe that Marissa would tell lots of stories about Eli in a moment of extreme stress. It’s nostalgic, probably comforting, and it also helps her feel like she’s on the right side with the right arguments. So, even backed into a corner, she’s still a winner: she has theory on her side.

Wackner speaks a foreign language (I do not know what language but I wish I did) and says, “A guy could get killed doing this,” which makes him and Marissa laugh as things crash around them.

Idk about you all, but I couldn’t really get myself to actually worry about their safety during this scene. Maybe Wackner’s, just a little, but I got the sense we were supposed to focus more on the chaos and destruction and monologuing than on the actual danger. That’s not to say the stakes didn’t feel high, but rather to say that this didn’t feel like an action sequence where you don’t know what’s going to happen next. The point was to watch the court fall and think about why it fell, not to worry about if Marissa would live.

Diane and Kurt are woken up by sirens and loud noises. The cops arrive and are shocked to find professionally dressed white people in a basement cell. They let Diane and Kurt out with compassion, but scream, “don’t you fucking move” to the people on the floor.

“It’s okay, they didn’t do anything,” Diane says. This is, as I theorized earlier, probably why Diane just sits there until her punishment blows over instead of escalating things.

If the cops weren’t there to free Diane, why were they there? Why, because they like David Cord and David Cord has gotten Chicago PD officers to protect Wackner’s IP.

If I had to say one thing in favor of Vinetta being the originator of the community court idea, it would be that it’s SUCH a gut punch to watch Diane and Kurt walk away from their bizarre little adventure as Vinetta gets arrested in the background, and it hits ten times as hard if Vinetta’s only being charged because some white guy is claiming IP that’s actually hers.

(I think Vinetta is probably, at this point, actually being arrested for imprisoning people illegally, but, still.)

“Pfft. Some judge,” one of the cops who adores Wackner says of Vinetta. Racist much?

Marissa and Wackner emerge from the backroom. “I think I better get back to work,” she says, meaning her RL job. "Me too,” Wackner says, grabbing a Copy Coop apron. He’s an employee of ten years.

I don’t think this lands as well as it’s meant to. I think the point is supposed to be that Wackner’s just some guy—not a billionaire, not an academic, not a judge, not a lawyer—with an idea. But it’s a little too neat. And it doesn’t explain how Wackner financed his court initially, nor does it explain why he has basically unlimited access to Copy Coop space and resources. I’d buy it if he were the OWNER of Copy Coop, but I have so many questions about him being an employee.

Diane tells Liz she’s actually going on vacation this time, and they laugh about how Kurt bonded with STRL.

“I want you and Allegra to be name partners. I’ll be an equity partner,” Diane says. “Why?” Liz asks. “Five years ago, when I hit rock bottom, this firm took me in. So I don’t like the idea of splitting this firm in two. And I can’t lead if no one will follow.” “And your clients?” “We’ll manage them together.” YES! I love this. I don’t love it because I necessarily think it had to go this way, but because it’s so refreshing to see Diane say that she actually is willing to take a step back because she cares about the firm and the people there more than she cares about being a name partner. This isn’t something we usually see. When we hear “this firm took x in” it’s usually being said incredulously against someone who’s decided to leave and steal clients (cough, Hitting the Fan, cough).

It’s been pretty clear for most of this arc that Diane and Liz like working together and they like their firm, but that no one (other than Diane, I guess) is willing to let RL lose its status as a black firm, and that the employees and equity partners weren’t going to be satisfied until Diane stepped down. Diane really had three options: Stay and piss everyone off and claim the whole firm for herself, quit and go somewhere else and totally abandon the good working dynamic she had, or step down and put her money where her mouth is.

Also yeah the clients were never actually going to be an issue! They were only an issue because Diane intentionally went about informing them she was stepping down in a way she knew would make them worry!

“I think I need to prove myself,” Diane says. I’m not sure that’s the key issue or that she can ever prove herself fully, but we’ll worry about that next year.

“I missed you,” Liz says. “I’m here,” Diane replies. “I know. Thank you,” Liz says.

Diane decides she’s going to move downstairs so Allegra can have her office. I think there’s another office on this floor, since she, Adrian and Liz all had offices. This feels a little bit like Diane’s in love with the idea of making things difficult for herself and maybe hasn’t fully grasped the point, but, you know, I’ll take it.

Diane tells Kurt her decision and he asks if it was the right thing to do. She says she doesn’t know—but she says it with a smile. Kurt notes he’s going hunting next month with the STRL folks and will put in a good word for her. Ah, yes, because STRL still controls all of this and all of this is moot! Thanks for the reminder Kurt! Diane says she wants in on the hunting trip. Of course.

And the elevator doors close. Remember how closing elevator doors was a motif earlier this season??? It’s back!

Then we get a little coda with Wackner Rules airing a new episode that’s just violence and destruction. This sequence seems to straddle the line between being there for thematic reasons for the viewers and there to show what happened in the show’s universe, but I think it’s main purpose is theme, so I will not go on a full rant questioning why Del would want to air this.

A white blonde lady in an apron watches the destruction of Wackner Rules. She looks concerned. “That was violet,” she says with dismay. And then we see she’s holding a guy in a jail cell in her kitchen.

And then we see other courts, as America the Beautiful plays. One’s in a garage debating kicking someone out of the neighborhood; another is across the street about the same case. There’s one in Oregon about secession. There’s one among Tiki Torch Nazis deciding only white people can own property. There’s (inexplicably) one about pronouns. There’s one with arm wrestling, one that happens while sky diving, and a bunch of others. It’s pretty ridiculous, and not necessarily in a good way. It feels at once like the natural extension of the Wackner Rules show and like an over the top parody you’d see on another show. Tiki Torch Nazis screaming “only white people can own property!” is the opposite of subtle writing. Tonally, this sequence feels more like the zany humor of Desperate Housewives or the insanity of BrainDead than anything TGF has done before (and TGF’s been plenty surreal), and it doesn’t quite work for me. It feels like it is trying to prove a point in the corniest, most on the nose way possible. It almost feels like it’s parodying its own plotlines.

On my first watch, this ending for Wackner left me stumped. I knew the writers were making an argument against individualism (Wackner’s speech + the repeated references to The Apprentice) and cults of personality. But I couldn’t figure out a real life analogue to Wackner’s court, and since this ending was so obviously trying to be About Something, that bugged me. Sure, that last sequence could be an argument against people making community courts, but WERE people making community courts? I didn’t see the urgency.

And then I talked to @mimeparadox. And as soon as he said that it was about factions and people playing by their own sets of rules beyond the justice system, it clicked. I’d been looking for Wackner’s plot to be a commentary on the legal system. It is much broader than that. It’s a commentary on the weakening of democratic systems (the Big Lie, etc.), more broadly, and Wackner and his common-sense approach are just a way to get liberal viewers to go along for the ride.

Now that I understand the point, or what I think is the point, I like this conclusion. Circumventing the system leads to chaos; that’s why we have institutions and bureaucracy, and I think the show is arguing that these institutions should still be respected despite their flaws. The many theses of this episode all come together to make this point (though the reality TV stuff is a little more tenuous and I'm a little shocked we got through all of this without any commentary on social media?): If we stop having a shared belief in institutions and instead follow individual leaders (whom we may learn about through reality TV), the rules will stop mattering and we’ll end up with a fractured country and widespread violence.

But, and maybe this is just about me being upset I missed both the obvious 1/6 parallels AND the point of the arc the first time through this episode (my defensive side feels the need to also note I first watched this episode at like 5 am when I was barely awake), I don’t know that I actually think this episode does a great job of driving its point home. There are SO many moving pieces to the Wackner plot and SO many references. There are so many threads we never return to from earlier in the season, and there’s so much that strains credulity (like Wackner taking Dr. Goat seriously for more than a split second). It’s pretty clear what the themes are—even though I’m saying I missed the point my first time through, I've hit on all these themes separately in past recaps and posts—but, I dunno, something about this episode just feels scattered. Maybe it’s all the moving pieces, maybe it’s all the moments where it sounds like the characters are voicing related ideas that don’t quite snap together to form one coherent picture, or maybe it’s that Wackner’s plot gets two endings (the actual ending + the coda) and it’s up to the viewer to put together how they relate.

I really don’t know. At the end of the day, I think there was a little too much going on with Wackner and that the writers needed to use the episodes between the private prison reveal and the finale to narrow—not broaden—the scope of what they were trying to do with Wackner. But I also think that what they were doing with Wackner was really, really smart and original. I don’t think I can overstate how impressed I am that the writers took an idea that sounded, frankly, awful when I first heard about it and turned it into something captivating and insightful that I was happy to spend nine weeks watching.

Overall, a few bad episodes aside, I thought season five was the strongest season of TGF yet. I haven’t seen this show be so focused in... well, maybe ever. Having two overarching plots that received consistent development and felt like they were happening in the same universe at the same time REALLY helps make season five feel like a coherent whole, and I can’t wait to rewatch it.

#tgf thoughts #the good fight

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silverinia · 5 years

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For that fic ask thingy... tell us about Lillies 😊😘

Hahaha, what all 15 questions? Okay, let’s do this 🙅🏻‍♀️

1: What inspired you to write the fic this way?

It must have been during one of my TGW rewatch sessions that I realized that after ep 1x13 they never mentioned Spellman and Diane being threatened by him again (I guess they were still experimenting with the characters and this storyline only served to show a more vulnerable side of her and to introduce us to her conflict of being pro gun control but still enjoying to carry at the same time). And the idea for the fic just popped into my head and wouldn’t let me go again, so yeah, here we are 😄

The most important thing to me was to do it in a respectful and realistic way, I never wanted to write about the topic of sexual assault for the assault itself, rather wanted to show those characters trying to wrap their lives and their relationship around it and moving on together, if that makes sense. That’s also why the bigger part of the fic takes place after the incident.

2: What scene did you first put down?

Well… I did start with the first chapter and took it from there, I find that this is the easiest way for me to write because I can build up the suspense more easily when I do it like this. The first scene that I pictured in my head before I even began the outline though was their fight in Chapter 11, that was the scene that wouldn’t let me go and eventually made me write it all.

3: What’s your favourite line of narration?

Hmm, I think it’s a tie between “Skin against skin, their embrace was the peak of intimacy in the purest and most innocent way.” in Chapter 38 and “And all those realizations, all those great things about this wonderful man who was standing there, waiting for her, waiting to agree to spend the rest of his life with her and the huge declaration of love he had just wordlessly told her with the way he was looking at her and the fact that she was finally able to hold that gaze, they shot hot tears into her eyes.” from the wedding chapter. That first one really reflected the deep level of trust between them, even though she wasn’t ready to sleep with him again, and I liked the contradiction in the term peak of intimacy. And the latter, I don’t know. It summed up their journey in this story, how he helped her overcome those insecurities, how he gained her trust over the course of this and, tbh, I also just really liked the image of her, walking down the aisle to him…

4: What’s your favourite line of dialogue?

Okay, there are certain parts of dialogue that I liked, but for stand-alone lines it would either be “You’re not a victim, Diane. You are a survivor.” (Chapter 28) or “Diane, you never needed anyone to save you. […] But I’m glad you let me help you save yourself. Because I love you.” (46, proposal chapter) (side note: this line was one I wrote towards on from a very early chapter. I thought about making it the last line for quite a while, thought about putting it in his vows but then settled on this), both said by Kurt because I needed him to believe in her strength at a time in which she couldn’t do that for herself. I like the empowerment of her independence in those lines. They really sum up how I wished to portray a woman who was forced to go through something like this. Like a survivor instead of a victim and as someone who didn’t need a knight in shining armour to save her from the pain. That was really important to me.

5: What part was the hardest to write?

God, so many 😂 The nightmares and their aftermath were very, VERY difficult though. Most of Kurt’s and Will’s dialogue with Diane in the greater part of this were incredibly difficult because I remember just sitting in front of the screen and thinking, What the hell are they supposed to say? I realized how intuitively you fall into the clichées of ‘How are you?’s or ‘If there’s anything I can do…’s and that sucks. Because it’s obvious that they’re not good. And it’s obvious that someone like Diane would never reach out for help if they don’t just give it to her without another word of questioning, as they end up doing. So, yeah. That was hard. But I wanted to do it right, so I guess it was at least worth it 😅 at least I hope so.

6: What makes this fic special or different from all your other fics?

One, that it was my first. I had almost 40 chapters of it written when I began to post it because this was all new territory for me, fanfiction, this particular fandom and their response to new writers, general perception of a difficult topic like rape… And then, of course, my own response to writing about it. I mean, as a writer, you really don’t just need to dive into those characters’ heads but also into your own to put at least a few emotions into it. I didn’t know if this was going to bring me down really bad, if I would cry during the process (fun fact: I did. Three times, I think) and if I could even go through with it and finish it at all. I also went through a lot of major life changes when I started to write this and I think that not only my writing changed a lot over the cause of it, but I as a person did, too. It’s very close to my heart. I associate certain chapters with the states that I was in when I wrote or edited them and that makes it pretty special 💕

7: Where did the title come from?

Okay, I really don’t know how to answer that. I’m really, really bad at coming up with titles. Actually, I think that this didn’t have a real title up until I started posting it because then I had to name it somehow. I’d referenced both the infamous white calla lilies and the smell of gunpowder a lot already at that point and I kinda just thought that they were sweet symbols for the two of them 🤷🏻‍♀️ I played around with several different titles and when this came out of nowhere, it felt right. It made sense because it was like a theme, threading through the story, and it sounded melodic and I honestly was just glad that I didn’t have to name it something too long and too ridiculous, like I did now with most of my other fics 😶

8: Did any real people or events inspire any part of this?

Difficult question. I think that (sadly), most women have had to deal with sexual assault at some point in their lives. I saw my friends and family reacting to my stories in similar ways Kurt does in the fic.

On a lighter note, a guy I really loved inspired lots of the happier parts in it. And my best friend, my own, female Will Gardner, she’s in a lot of it, too 💕

9: Were there any alternate versions of this fic?

Only in my head. Regarding whether or not I would have Kurt shooting Spellman, if I would kill Spellman off at all, if they should get married in the end, if I would write about Diane handling a rape case when she’s better (found the middle ground on that one in the epilogue, but this could have been an entire storyline) and so on. But the version I uploaded is the only one I wrote, though I did consider writing a sequel for it until I decided that the two of them had suffered enough in this alternate universe, so I created a new one around my idea and Everything’s gonna be alright was born.

10: Why did you choose this paring for this particular story?

Okay, first of all, I’d say that I chose this story for the pairing and not the other way around, and yes, I think there’s a huge difference in that.

I wanted to unravel them. They’re such amazingly complex characters, both incredibly proud and I really wanted to make them vulnerable (as I’m typing this, I’m very aware of that this makes me sound like a freaking psychopath). And the no. 1 thing, apart from politics, that always drove Kurt and Diane to each other was the (sexual) attraction between them. And while it is of course another layer of the depth of their relationship, another level of their bond, I wanted to explore the characters in a state where that bond was no easy way out. Two people that tend to choose physical attraction over having to deal with their emotions, who choose make-up sex over talking through their problems (sans season 3 of TGF because they’re perfect now), I wanted to explore what would happen if they couldn’t do that anymore, put them in a situation in which they had to confront major issues in another, healthier way.

11: What do you like best about this fic?

Oh God.

I tried to make it emotionally deep and respectful regarding the heavy topic. I tried not to rob Diane of her independence, rather wanted her to find additional strength in Kurt instead of completely making her depend on him. I wanted her to work this out in realistic timing and I didn’t want to rush their way back to physical intimacy. I wanted him to react to her pain and her ways around it, find his own mechanisms to deal with those and to the pace she set with it in the right way. And I don’t know if I did all that, but I’d like to hope so.

And I really like Chapter 38, because I think it underlined a lot of that.

And I ended up really liking the title of the fic.

12: What do you like least about this fic?

Hah, definitely the first few chapters. I mean, the characterisation was alright I guess, but my writing was just awful. Like, I never love my writing but sometimes it’s exceptionally bad, as it was in those first few chapters. Sometimes I scroll through them and want to rewrite it all, but it’s part of the journey and that’s why I don’t do it.

13: What music did you listen to, if any, to get in the mood for writing this story? Or if you didn’t listen to anything, what do you think readers should listen to to accompany us while reading?

I always listen to music when I write and the first thing that comes to mind here is Debussy’s Clair de Lune. And not just Clair de Lune, no, I mean the YouTube extended version that keeps on going for an hour. Over and over again. That’s why I referenced it in the proposal chapter, it really deserved to be mentioned at that point.

I also listened a lot to Lana del Rey and Nick Cave and the Bad Seeds during Chapters, I dunno, ten to thirty, I guess, for the angsty mood (honourable mentions: Tomorrow never came, Young and Beautiful, Art Deco and Blue Jeans; Into my Arms, Henry Lee and Where the Wild Roses Grow (ironic, I know)) and the song Firefighter by Cigarettes after Sex.

And for the happier Chapters after that lots of Cigarettes after Sex and Beach House (literally cannot put what their music does to me into words. It’s art, almost magical, really) (honourable mentions: Apocalypse (please do yourselves a favour and listen to this song), Sweet and Sunsetz; Myth, Space Song and On the Sea (over and over again during the epilogue)), Florence and The Machine AND Home by Edward Sharpe and the Magnetic Zeros. Lots of great music.

14: Is there anything you wanted readers to learn from this fic?

Huh. Well, it might sound bitchy or self-absorbed, but I mostly just write what I want to write. I want to study characters that I love and I want to write in a way that might hopefully touch people on any level, whether it’s humour or angst, I kinda just like the idea of writing words that make people feel things.

But if anyone’s learned something regarding the subject and their views about it, I’m more than happy and thrilled about that, though I wouldn’t put the praise for that on myself but rather on the ones who learned, you know? ‘Cause it’s one thing to write, it’s another thing to learn from reading. That requires more effort on the readers part IMO. I just can’t say that it was my intention to write something that holds major life lessons or revelations, I really just wanted to write and reach people emotionally by doing that and to maybe give them something they would enjoy by doing something that I enjoy.

15: What did you learn from writing this fic?

That love doesn’t solve all issues solely by itself and that it’s only enough if every involved party works to let love stay a beautiful thing instead of letting it grow to become something painful.

I learned a lot about sexual assault and how it’s handled in the social system when I did my research.

I already knew that if bad things happen to you, they still don’t need to define you if you don’t let them, but I learned that it’s not a bad thing if they shape you in some ways.

And I learned how much I missed writing until I did it again for this fic. And I learned that, oddly, my writing is able to touch some people. And even though I don’t want other people’s feedback to be my motivation when I write, I learned how wonderful it is to have strangers reaching out to you when they take joy from something you love to do.

—–

This is long, but yeah. Thanks for the questions, honey, this was very nice ❤ I feel all warm inside now, ew, feelings, ugh.

#fanfiction #fanfic #ask #can i tag mchart?#i'll just do it #mchart #thanks for the ask!#i loved this #lilies and gunpowder

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antiphon · 5 years

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mantis-blades replied to your post: the preview for the next episode has me tired...

I can’t stand Blum and I can’t stand the both sides are wrong false equivalencey nonsense they have been trying to shove down our throats this whole season.

First of all: I can’t stand Blum either. I share Marissa’s reaction to him: he’s boring. He’s a human embodiment of the Themes of the Show, but he’s toothless (unless you’re Maia, but honestly, Maia behaved very irresponsibly several times over and earned her firing).

Part two got really effing long, so it’s under a cut

That said: I don’t think, truly, that they’re trying to say both sides are the same. (For instance, this week I think the show was pretty clearly of the stance that Nazis are bad and Jay punching a Nazi is good and okay - and I guess the moderate conservatives in this instance chose not to align themselves with the Nazis. In the real world, there are plenty of people like “Nazis are awful, but PUNCHING THEM?!?!” The show didn’t have a crisis about the okay-ness of this; it had a monologue confirming the okay-ness of this.) They’ve been asking questions more like, how do you fight harmful lies when no one seems to care about the truth? and more broadly, how far can you go toward monstrous but effective tactics without becoming monstrous? The show has positioned “ethical” and “effective” as, if not dichotomous, at least in tension (effectiveness being the thing that might call you to behave unethically).

The show has a sense of the things that are clearly okay (punch a Nazi, register anti-45 voters, work against CPD on police brutality cases) and things that are clearly not okay (out and cruelly harass a trans girl; not get Kurt medical attention because it would interfere with hunting), but there are places it’s less clear. The hiring question was one - Liz’s “it’s about who we are.” Is it ok, in-universe, to (bad) hire people we disapprove of but that it’s politically advantageous to have around or take ethically murky cases if (good) that makes it possible, politically or financially, to do work that’s important? (This gets consistently negotiated, of course; Liz and Adrian took different sides when it was about hiring. In this case, for what it’s worth, I read the show as being more on Liz’s, or the more lefty, side - but the fact that they’re actively discussing their identity as a firm in these terms indicates that it’s a priority.) Is it ok, in-universe, to (bad) out and cruelly harass a trans girl if (good) it leads to the registration of tens of thousands of anti-45 voters?

The problem is that often as not, TGF is a blunt instrument. So last week we get Diane’s white lady resistance doing objectively horrible things because they like the end result, and both Diane and Liz end up going along with them because they were effective (as opposed to the *~resistance~* meeting Diane attended at the beginning of the episode, where no one could even agree on what the message was)--I wasn’t convinced as an audience member that their action was either effective enough or the only option, so there wasn’t strong tension; it was just a clearly wrong thing to do without a compelling argument for the people who did it. I think we’re supposed to see this as them compromising their values substantially but doing it anyway; I don’t think we’re supposed to see them as Just As Bad. And in general, I just don’t see the kind of both-sides-ism from the show that you’re talking about. When the show works, I see the protagonists - especially Diane previously and especially Liz now, and shoutout to Barbara Kolstad here for making real moves that way, even if it was to get written off the show, because she’s my wife and I respect her - genuinely struggling with this. (Liz taking on the responsibility for her dad’s rape and sexual assault but still getting NDAs instead of just like burning the whole thing down is an example here. She’s treating people with dignity and facing up to it - she’s not Just As Bad As Him in any way - but she’s still protecting the firm.) But it’s...also been known to fail at nuance.

Blum, for instance, has no nuance. He’s an answer to this question in human form - he’s all the way down the line where effectiveness matters entirely and ethics not at all. That’s why he’s boring: he’s the blunt-force trauma version of the Themes of the Show. TGF is trying to acknowledge the ridiculousness inherent in a world that values and responds to Blums and the absurdity of trying to exist in opposition to that within it - and sometimes it succeeds! Pitting Elsbeth Tascioni against Mike Kresteva made for great TV; Liz arguing to Margo Martindale (I forget her character’s name) (Ruth? Eastman?) that the truth doesn’t matter and getting hired for her *~anger~* was a hell of a ride. But the show has felt like a drag for me lately; part of that is that it’s been pretty humorless, but I think part of it is also that there’s been no one really fighting for the other side. Liz makes some stabs at it; Lucca and Jay have done a little, but they don’t have as much power as most of our characters.

But also - I don’t know whether you watched The Good Wife? I’m going to talk about The Good Wife, and the reason is that Alicia’s character arc was also very grounded in this ethics-effectiveness dichotomy. Over the course of the series, a lot of her development was on a path from wanting to do good to being willing to do what she had to, and what she had to would get pushed just a little farther and a little farther. (Alicia wasn’t in the law to help people; she was in the law because it made sense, and she liked being good at it.) But there was also a thing with her where at the same time that people (characters, in-universe people) were pushing her to be colder and more focused on succeeding at whatever cost in her professional life, they hated her for changing in the same way as a person - they only wanted her to be cruel during the nine to five, but how she worked was part of who she was. In I think season six, she sort of tries to facilitate a similar transformation in another high-minded character, but he backs out in the end. something she either hadn’t been able to do or hadn’t chosen to do (spoiler: both). It literally offers us an alternative to Alicia’s decisions and a person, when she’s far along in her like moral decay practically, who makes a different call. In Alicia, we get a protagonist who often makes harmful choices and certainly isn’t a good person, overall, being understandable and maybe even justified in a particular choice while still clearly seeing that she becomes worse - the show doesn’t approve of all her choices and align with her morally just because she’s the protagonist.

I bring this up because TGW was concerned with these things for seven seasons. This question of how much bad you can do (for the sake of good?) before you’re too bad, this question of how much ethically to compromise in order to accomplish what you (think you) need to, they’re baked into the universe of the show and clearly interests for its creators. So when I say I don’t think they’re being super both-sides-y, part of that is because TGW gave us seven seasons of a tension much like the one that TGF is trying to hold without writing off the distinction to make it easier. TGF situates this more in how you behave politically in the world than TGW generally did (except occasionally through Diane), but I think it has a fairly clear sense in that political existence of what goodness means. You might not always be able to accomplish it, and actions rather than people are good or bad (or at least, people are bad as a function of doing bad things), but I don’t think just because the “good” side sometimes does bad things, the show is necessarily heavy on both-sides-ism. It’s less two separate cups and more the string between two cups, with people and stances at different places on that axis.

I also think the show is trying more and more to uncouple the concepts of order and goodness, which have previously been uneasy allies in-universe. (Think of everyone’s horror when Liz suggested the DNC’s arguments needn’t be based in truth; think of how cruel Maia’s retaliatory fake news was. Worse - think how Diane was really presented as having the high ground when she told the Assholes to Avoid lady to do it right next time! Publishing unsubstantiated allegations that were clearly labeled as such was ‘doing it wrong’ at that point.) So some of the things that have previously been presented as bad AND associated with the right are now being presented more neutrally when associated with the left. I don’t think that’s a criticism of the left; I don’t think, for instance, that the first creation of retaliatory fake news by the white lady resistance (the one that closed the other fake news factory - I’m NOT talking about the stuff with the sister) was something we were supposed to see as bad or as an ethical compromise. The normal has changed, in-universe. Certain tactics that aren't necessarily harmful have been decoupled from ethical stigma that they received because they weren’t associated with order and honesty - the world has changed, and our characters are changing along with it. It’s totally possible that I’m misreading this situation, but I do think it means we’re seeing people in positions we would previously have considered compromised without seeing them as compromised. I don’t think the show has done a terrible job with this, though.

I also think the show is weaker when it takes this on outside of the workplace - it’s clearly decided it wants to situate some of its dilemmas in Diane’s personal life and not her professional life, but it benefits from having to work this out within existing, robust character relationships, not just a single person’s struggles or via some characters who are about as central to our understanding of the show as the NSA guys. So a lot of the white lady resistance stuff feels pretty thin to me, and that could be causing me to give it, and in particular its bad behavior (mostly just the thing with the sister, right? but that was really so bad), less weight than the show wants me to. Maybe it’s trying to be more both-sides-y than I’m reading it because I find the workplace stuff more real and impactful. But I feel like a lot of that has been really neglected - was the stuff about whether to hire conservatives for the sake of expediency just kind of closed when they made Lucca the head of family law, for instance? It’s been really focused on being murky but not on, like, situating that in its world and its story lmao.

#mantis-blades #the good fight #the good wife #alicia florrick #roland blum #nazi cw #transmisia cw #rape cw #meta?? in this economy??#sorry for the fucking essay #I'm sure I've explained some very obvious things in here #trying to be coherent lol #long post #good lord it's so far past my bedtime #me? writing fucking essays about tgf at the same time that I'm complaining about how hard it is to care about? it's more likely than you thi #combine this with the very long messages I just wrote actually defending the chracterization of Maia Rindell #and we might be forced to conclude that tragically I care about this show

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andgreeneyesmaybe · 7 years

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I am writing this in an attempt to make sense of, or rationalise if you like, the mess that the Kings have made of Diane and Kurt. I spent the better part of a year filled with rage about the way the end of The Good Wife left the characters but when The Good Fight was announced I decided to withhold my judgement, for the most part, and see what the writers were going to do. Well, I’ve now seen the first season and had a few weeks to think about it and I can’t say I’m entirely happy. That’s not to say there weren’t things that I loved, because it’s Diane and Kurt we’re talking about; even with horrendous and unfathomable writing decisions the characters and relationship are still evocative. (Basically, if the end of TGW didn’t destroy them for me, then I think they’re probably untouchable.) However, since I believe that they deserve better than what’s been written for them thus far on TGF I felt I had to write something, a rant perhaps, whatever ‘this’ is, to try and understand exactly what the problems I’m having with the relationship are. I can see though, that for some people the events of TGF could have been a balm to the serious wounding McHart shippers suffered in 2016, and so if anyone wants to avoid reading this because the ship is in a relatively good place right now and they don’t want to think about negative stuff anymore, I completely sympathise and understand. (Although I do talk about the good things too!)

I want to make clear though, that regardless of how things have played out on TGW or will in the future on TGF, I’m actually really grateful for this ship. They are so lovely to watch and I adore both characters intensely. So while I will have a bunch of negative things to say, I want to make sure that anyone who reads through this overlong and aimless post realises that whatever I end up saying, I really love Diane and Kurt and am grateful to the Kings for creating them.

Now to preface my (already) obvious bias upfront: before the last episode of TGW, I really thought Diane and Kurt were perfect. Just something about their contrasting personalities really clicked and felt right; his intensity and her poise; his stoicism and her mannered speech; country versus city; rustic versus elegant, Kurt’s willingness to throw his lot in with Diane relatively early on in their relationship while she was far less committal, and, oh yeah, liberal versus conservative. I almost forgot that last one, seriously. There’s just so much to point to and go ‘look how different they are’ but it never felt like these things would or could ever be a problem. That’s how right for each other they are. The political differences were like the sweet glace cherry on top of a gorgeous sundae: a grown up relationship for a grown up world. The inclusion of McHart was also one of the more feminist decisions in a show that was often touted for its feminist credentials. Gosh, it seems silly that this should be so but the fact of a mature woman at the top of her profession having a stable, drama-free but undeniably hot marriage is really fucking rare in fiction. I would love to have other examples pointed out to me but I really can’t think of many comparable fictional relationships.

The passionate certainty (which seems an odd phrase but it’s the best I can come up with) at the heart of their relationship, even from the earliest days, was one of the many things that made me fall so hard for them. So many ships I gravitate towards tend to be angsty couples with huge personal obstacles to overcome before the relationship can work, if it ever can; so McHart was a welcome change of pace. I had no doubts about them. Even from season one it was very hard for me to envision Diane with anyone else. Rewatching ‘Bang’ now makes me laugh because during their initial meeting they are so completely made for each other and it’s so obvious in retrospect, once the viewer is more familiar with the characters and how they interact, the way they act at this point is incredibly telling; Diane is hilariously unprofessional and off-kilter and Kurt not only puts up with it but he actually seems to enjoy this behaviour in a sort of bemused fashion even though despite his usual unflappability it clearly gets under his skin. Let’s not even mention the Sarah Palin picture in a frame thing and Kurt’s little ‘on the phone’ performance later in the episode because does anyone really think this falls anywhere on the spectrum of typical behaviour for him? Anyway, suffice to say – you can totally see them meeting ‘the one’. I know that the writers probably never intended any of this and the relationship actually grew organically from episode to episode but… I don’t know, maybe it’s just Christine and Gary’s impeccable chemistry at work but the longevity of McHart seems almost inevitable now. When they introduced Jack in season three I was genuinely confused because what was the point? Despite the fact that Kurt was hardly ever in the show, I couldn’t fathom the prospect that perhaps McHart wouldn’t be endgame. Diane and Kurt would assuredly end up together; this fact was never in doubt, even if Diane hadn’t quite worked it out at that point.

Sadly, it was this faith in the relationship that caused me to be so blindsided at the end of TGW. I have spent years stressing over other will they/won’t they ships on other shows but I barely had a moment of anxiety about McHart, because how could it ever end badly? Especially once they were married. After that point it made no logical sense from a character or overall plot point of view to break Diane and Kurt up. Once they’d finally, finally, got to the place where they were both emotionally ready to commit fully to one another, it would be totally unsatisfying to mess about with their relationship considering the kind of people they had always been depicted to be. Well boy, was I wrong! And it’s not even that I had any particular trust in the Kings as writers for that matter. I’ve been screwed over by the majority of shows I’ve watched at some point. Hell, I’m a Buffy fan. And I know that many people in the wake of TGW finale made comments about how the Kings are incapable of keeping an untarnished good and solid relationship on their shows, and looking back at TGW in retrospect, this is true, but you see because I wasn’t overly interested in the other relationships on the show I was never particularly affected when they got gutted, it was just unconnected passing drama to me and not part of a disturbing pattern. I obviously underestimated the writers desire to push cheap drama at the expense of well-drawn characters.

However, the cold truth is, the writers wrote the ending that they did and so now I have to make sense of canon and make it fit with my understanding of the McHart relationship. But I find that I just CAN’T! (Even with the added information from TGF.)

Now I realise that it is quite possible to point out various issues Diane and Kurt could have that they never properly dealt with. Obviously. But I don’t see how those issues translate into random infidelity. Of course, we can extrapolate that Kurt was unhappy that they didn’t spend more time together and maybe even that Diane had a tendency to prioritise work, especially after they were married. There’s more than enough textual evidence to make an informed guess about this. But couldn’t the writers have done something else with that idea? Okay, I get that it had been decided that Diane desperately needed to be left with nothing at the beginning of TGF (even though wrecking Diane’s personal life ended up being basically irrelevant to the setup of TGF in the end. I don’t see why she couldn’t be broke and jobless but with a support system at home; that would still be devastating for her? Anyway, I digress…) but even if they were dead set on splitting McHart up couldn’t they have used a more organic reason? Perhaps the fact that Diane’s ambition or professional life was driving a wedge between them; hell, they basically did that in season 7 anyway when she asked Kurt to compromise himself on the stand for her. They could have gone further with that, at least it would have been in character. Or they could have written about how difficult it is for two people as different and as set in their ways as Diane and Kurt to change their lives enough to accommodate another person on a full time basis. I mean, hesitation to commit because of other priorities was a factor throughout their entire first five years of knowing each other. It would make total sense that the issue didn’t just magically go away once they were married. Honestly, almost anything would have been better than the plot the writers went with. I would even have preferred Diane to have the affair (if the writers were so convinced one needed to happen) not because I think the idea is any more palatable or likely but because Kurt’s constancy was such an important part of his character. He made his feelings clear to Diane pretty early on in the show, he sort of asked her to marry him in ‘Silver Bullet’ for God’s sake, and when she shows up on his doorstep after a year in ‘Gloves Come Off’ he is… pretty happy about it I’d say, if taken aback. By that point he’s fully realised any relationship he has with Diane is going to be on her terms but he’s totally willing to go along with it because y’know… he loves her. And that feeling ain’t going away.

Of course, since it’s not like the writers spent much time developing his character maybe it was just presumptuous of me to draw these conclusions? And this is the crux of the problem for me; it’s not just that a relationship I liked got ruined by some leftfield infidelity (although that’s bad enough), it’s the fact that they had to basically assassinate Kurt’s character, as the audience understood him, to do it. For example, a decent part of the humour and tension in Diane and Kurt’s relationship came from Kurt’s friendships with his students and what Diane perceived this to mean. Which is all well and good when the truth is that the whole thing is totally innocent, because then the plot serves to highlight Diane’s insecurities even though we, and she, know that she should be above feeling like that and has no reason to anyway, and it also serves as an interesting character point for Kurt. Why are all his friends young women? It doesn’t have to be a negative thing. And I think it’s this that sticks in my craw most of all; it’s not only that they used his student relationships in the most lowbrow and predictable way possible (one of the few facts we actually knew about him keep in mind) but also simultaneously forced the older guy cheats on his wife with a younger woman story on us. It’s such a fucking cliché I could choke. I would hate that they did this to Kurt’s character enough on its own but honestly they did this to Diane too and just… WHY? On the most shallow level Diane is hot as fuck and smart as hell and basically WHAT? OMG I’m never going to stop being angry about this am I? Their story went from being really quite progressive to incredibly regressive in the span of one episode. One. I can still feel the emotional whiplash.

From the moment Kurt was introduced to us we were battered over the head with the fact that integrity is his defining feature. He will only testify on behalf of people he believes to be innocent. Whenever one of Kurt’s current or former students was brought up, the resolution was always that there was nothing dodgy going on. Diane directly asked him if he had slept with any of his students (or, at least, the ones she met in the bar) and he said no. He doesn’t lie or prevaricate on the stand, not even to protect himself. He agreed to help Alicia with a case because it was the right thing to do for the client despite the fact that Diane was unhappy about it. The only times we have ever seen him compromise himself then Diane was always the deciding factor; showing her the demonstration in ‘Running’ because of his feelings for her, and then later on, in season seven, agreeing to testify the way Diane wanted him to. (Interestingly enough, both of these incidents backfired on him spectacularly.)

Now, Kurt may only have been a supporting character of a supporting character on TGW but it still amounts to seven years worth of consistent characterisation down the drain for the writers to then say ‘oh actually he was a total hypocrite all along’. Because where does it end? If he lied once, then it’s feasible he lied a million times. And not only does this go for the affair itself but why did he not tell Diane about it immediately after it happened? Expecting me to believe that Kurt slept with Holly is almost beyond my comprehension but to then take it further and expect me to buy that he kept it a secret is just… madness. Keeping quiet about it is both completely out of character and really, really stupid; he knows Diane is whip-smart, it’s one of the reasons he fell for her after all, so why wouldn’t she be able to work it out? If we in hindsight say that Kurt was willing to lie on the stand when she asked because he was feeling guilty about the affair, then wouldn’t this be relatively apparent to his wife, if not at that moment then at some later point? He would realise this. He’s not an idiot. And not only was she bound to find out about it, considering the world in which these characters live and Diane’s position in it, there was always a strong possibility that it would happen in a really public horrific way. (Another reason I hate the writers btw is because Diane and Kurt had so many cute moments in court during their relationship and now that’s all tainted. And it also plays like a kind of nasty bizarro symmetry, considering the fact that Diane and Kurt’s relationship was initially outed in court when Kurt was testifying. I can’t even imagine deciding to write something that on the nose and crass.) I’m not saying that Kurt should have been expected to know that Alicia would be able to make the assumption of an affair having occurred and then stoop low enough to use that hunch in court, but I never got the impression that Kurt liked or trusted Alicia AT ALL. So again, I ask, why wouldn’t he consider this as a possibility? The only conclusions I am able to draw from this is that he’s either stupid (which we know he’s not) or callous, which is ridiculous because we know that he loves Diane. So… what am I supposed to think? Don’t the Kings realise what they’ve done? The affair plot completely undermines the entirety of Diane and Kurt’s relationship and by extension Diane herself somewhat. And considering they were planning a spinoff featuring Diane at the same point when they were writing the end of TGW, it seems insane that they would want to damage her character like this. Why did she marry him? Was she just wilfully blind to what he was really like? Did she not see it? Or was the affair supposed to be a random moment of weakness in reaction to a kind of emotional neglect and therefore more understandable (if still utterly ridiculous)? Wasn’t their attraction to each other based on the fact that despite their many ideological differences they each found many admirable qualities in the other person; Kurt’s Tea Party Republican schtick didn’t matter to Diane in the face of what a good and honourable man he was. Right? But if he doesn’t have his integrity then… what is the relationship based on? Sexual attraction? I don’t know. I genuinely can’t understand why the writers would want to throw it all away in the manner that they did. Was it really because of TGF? Or was it because by late season seven of TGW Diane and Kurt’s marriage was the only healthy and beautiful thing the show had left in it with any depth, and the Kings had run out of things to burn? If it’s the former, then it’s annoying, because as I’ve already pointed out, Diane’s situation in the TGF didn’t really require the sacrifice of her marriage. If it was the latter then I don’t know what to say other than TGW was ending and there was more than enough drama that could have been created around Alicia, who was the star of the show, without involving Diane. It’s not like the writers devoted that much time and energy to her in the last couple of seasons anyway and I think it was incredibly disrespectful to mess with Diane’s character just so the weird slap framework could play out. I genuinely believe that Diane would have been above all that shit anyway. I also think that if the writers had bothered to spend more time developing Diane’s character, and by extension Kurt, then maybe they would never have had to resort to such a poorly planned storyline in the first place. But obviously this was never going to happen on The Alicia Show.

Now, talk of character development leads me to the state of McHart in TGF. Look, part of me is just grateful they wrote Kurt into it, I was half-convinced that they were going to give Diane a clean romance slate for the new show. But now that they have actually allowed a situation where we could, and should, get some resolution to the affair storyline, they’ve basically done the exact opposite. Having said that, yes, I admit it: I loved seeing them together in ‘Inauguration’. I was ready for it but I wasn’t ready for it. Seeing him waiting outside her house, being almost unbearably Kurt-like, filled me with joy. (It’s a weird phenomenon but when I think about McHart in my general life, post TGW, it really stresses me out because of what was done to them, but then when I see them onscreen I can barely remember what bothered me so much; the way he looks at her, so intently, like he’s constantly trying to figure her out and the way Diane changes in Kurt’s presence, the way she emotionally opens up like a flower - they are just meant to be.) And while I knew the conversation they were about to have wouldn’t be particularly pleasant, in a lot of ways it felt okay, he was there for her, she kind of allowed him to be, she let herself be vulnerable with him despite everything. It was definitely better than many of the scenarios I had envisioned during the hiatus. The fact that she wanted Kurt to be the one to initiate divorce proceedings was a positive sign, clearly she wasn’t ready to let go of their marriage entirely despite her insistence that the relationship was over. I was interested in Kurt’s assertion that in his view he’d never left Diane and also his reaction when Diane pointed out that he had because of the affair with Holly. He actually seemed kind of… annoyed? I don’t know? Was he tired of having it thrown in his face? Does he think it’s an unreasonable thing for her to say at this juncture? Weird, because it’s really not, even if it did happen a year ago. Diane just seemed resigned and tired, and this could indicate that they’ve talked about the affair endlessly with constantly diminishing returns, but it’s more likely that it was a reaction to all the other bad things that had happened to her already that episode. We’re not told how often they’ve seen each other since the end of TGW, if they have at all, although the nature of their interactions in this episode suggests that they have at least spoken from time to time. It’s hard to tell though, they’ve always been able to fall seamlessly back into casual intimacy after a long time apart. Nor do we have any idea as to what the confrontation that they must have had after the scene in court back in TGW was like. Did she ask him why he did it? What did he say? Did he give her an explanation for anything? We don’t know because the writers chose to tell us exactly nothing. Kurt wasn’t exactly remorseful, but again, it’s been a year, he can’t make his whole life about a mistake he made. The problem is, since we haven’t seen these characters since ‘End’, the affair is fresh in the audience’s memory and it seems like we’re only getting half a story. I mean, if McHart is going to carry on being Diane’s primary romantic relationship in TGF then these are pretty important problems to be glossing over.

After this Diane and Kurt seemed to fall back into their old pattern; he reaches out to her, she gets swept up in it, and then she pulls back. Of course, it’s different now, she has an actual concrete reason to be hesitant with him. But they didn’t discuss it, of course! I’m not even saying this is out of character behaviour, but it is frustrating to watch.

Which leads me to ‘Chaos’, and this is where my problem actually lies. I know, I know, they reconciled; and it was lovely, and Diane was adorable in the hospital, and Kurt told her he loved her, and ‘Wild World’ played but… I’m sorry, the set up for the reconciliation irritated me. Juxtaposing Kurt’s ‘everyday heroism’ with Diane being morally compromised because of her job is pretty dreadful, especially if this incident is what leads to Diane deciding that she can now be with him again, in whatever capacity. For starters, I don’t see how Kurt rescuing a baby gets him off the hook for the affair; one has nothing to do with the other. We already know Kurt’s generally a decent guy (or at least we thought we did), this is not some shocking revelation. Or is the carjacking supposed to prove to us/Diane that Kurt really is a cowboy after all? Secondly, of course Diane has to make compromises as a lawyer, she’s been doing the job a long time, and therefore has probably come to terms with and found a way to compartmentalise most moral qualms she may have; I don’t see why Kurt putting himself in danger selflessly would make her feel bad about what she does. And thirdly, I can totally see why Kurt having to go to hospital and Diane not knowing the extent of his injuries would lead her to put the feelings she had for him in perspective; he may have betrayed her but she doesn’t want to lose him forever, obviously. However, was it necessary for the writers to artificially rush their reconciliation with this? They haven’t worked through anything as far as we know; Diane clearly still seems incredibly hesitant about moving forward with their relationship, she tells him he hurt her and he says ‘it won’t happen again’. Umm… okay? Is that it? Why won’t it happen again? I mean really why should we trust this statement? It would help if I knew why the affair happened in the first place, and what Kurt feels about it. But since I don’t and the show doesn’t seem inclined to tell me, the only thing I know is that Kurt had an affair and then lied by omission about it for an unspecified period of time. I want to trust him and I want Diane to be able to trust him again, but the writers have to give us something to go on other than his previous good character and unrelated acts of heroism.

Interestingly, writing this has made me feel better about McHart than I have for a year, it’s still much harder to ship them now though. If anyone has anything to add to what I’ve said or wants to take issue with something I’ve written then please feel free to say your piece.

#kurt x diane #mchart #the good fight #the good wife #diane lockhart #kurt mcveigh #tgw meta #tgf meta

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casualdestinynut-blog · 7 years

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Lackluster entry -- I am sick today

It seems almost appropriate that I’ve been fighting off a cold since I took a few hits off a dirty bowl a couple days before Thanksgiving. I got better, but the past several days it’s gotten worse again. I’ve been coughing, my nose is running again and my throat is very dry and somewhat sore. My hunch is that the heating system has some kind of dust or mold in it that exacerbates the mucus membranes in my nose. I changed the filter yesterday. Hopefully that’ll help. I also stopped douching my nose with saltwater a while ago. I’d been snorting saltwater every morning for years to prevent the sort of perpetual cold I used to suffer from growing up, and I don’t know why I stopped but I’ve started it back up again. I got sent to an allergist once who taught me how to do that. It was some of the best medical advice I’ve ever gotten, actual preventative medicine.

So, reading about how Marfan Syndrome is treated I learned in 2015 that the drugs that they give us reduce our growth hormones, though that was only part of the story. At first I thought it was unfair considering the emphasis on growth when it comes to boys and the preference for large body size that’s encouraged via praise young guys get in their families and oftentimes in school as well (there’s also discouragement if you don’t grow muscle, which I found out when the women in my family would tell me things like, “Stop looking like you just walked out of Auschwitz,” and how my parents used to dress me in mismatched clothes with very large and ridiculous-looking glasses, while dressing my brother, their non-freak child, in clothes that were color-coordinated), but yesterday I read that doctors seek to reduce our growth because we grow too fast, faster than most kids, which is what causes a lot of our problems to begin with. That makes sense because some time between the fourth and fifth grades I became the tallest kid in the entire elementary school, except I was so thin and lacking in any sort of muscle whatsoever that I was frightening-looking -- I have pictures as well as memories of the phenomenon. I really did after a very short period of time start to look like I’d just walked out of Auschwitz, and when I read that the drugs they give us reduce the production of not only adrenaline but testosterone, I became very angry in retrospect because I’d been put on the beta blocker (which is the kind of medicine we’re put on to reduce the speed of our growth) that reduces testosterone *the most* out of all of them, and it was around that time that I grew to be the tallest kid in elementary school *completely* and frighteningly without muscle on me was when the doctors switched me to a different beta blocker that doesn’t reduce testosterone as significantly as the one they’d prescribed me, as though they knew what had happened to me.

It’s like I was a guinea pig for medical science -- *like*, though not really.

So, it’s not testosterone that’s the problem in why we grow so fast; it’s a side effect of the medicines they give us that reduces our testosterone. The problem hormone is called transforming growth factor beta, about which there’s been a recent study that suggests a different kind of blood pressure reducer should be used in treatment rather than a bate blocker, since the specified drug, Losartan, directly affects the receptors for TGF-B in the body, from what I can understand in reading about Marfan mouse studies that have been recently completed to detect the molecular manifestation of the disease more accurately. I’ve read both that people with Marfans produce too much TGF-B and too much, so the results -- and reporting on the results -- are conflicting, but since Losartan from what I’ve read doesn’t cause as much fatigue as a beta-blocker, I’m all for changing the recommendation and the possibilities for new clinical studies and treatments for people with Marfans, especially in kids like me who may have been more drugged than they should’ve been growing up (I was very tired all the time as a kid; that’s why it seems appropriate that I’m sitting here sick and tired, because this is how I grew up, tired like I’d been hit by a ton of bricks all the time, but without a cold or flu).

There’s actually an article online about how the class of drugs Losartan is in is being reevaluated as more effective than beta blockers in a wide variety of treatments when blood pressure-reduction is necessary, not just with Marfans. My rabble-rousing question: who’s funding these studies?

Taking less beta blocker medicine is a factor in how I hurt my back (I hurt my back, irreparably, by the way, about a year and two months ago; I’ve lived with near-daily pain since). The increase in adrenaline was so astounding that I went a few months in a hyper-competitive state that I’d never really known before, and knew suddenly why I had nothing in common with the other boys growing up: because I simply didn’t have the same amount of adrenaline coursing through me. I was enraged, to be sure, and as I grew bigger the pill took less of an affect on me, but when I stopped taking it for months that conspired to create the conditions where I hurt my back.

Anyway, I’ve been blocked in my writing. Today I’m going to read and write, as is my vocation, as is the life I love to live, the life I should’ve never left. I don’t ever want to leave the house again. I’ve been obsessed with a neighbor for quite a long time. We were caught up in a pattern together I couldn’t recognize because I’d never been in it before. I tried to live and let live because I truly liked him and I knew we wouldn’t fit in together, but he wouldn’t let me do that. He taught me it’s not possible to live and let live. He’s an ethnic German Lutheran, a skateboarder, a bike-rider, a canoer, a runner, etc -- things that I wasn’t allowed to do growing up; even my pastor didn’t invite me to come to youth group growing up, instead telling me about how much he liked to watch movies when all I wanted to do was to go outside and play, essentially being told I was ungrateful for not consuming the corporate art I was being told to consume. I know this because after a year and a half of him shouting things at me in passing, I stopped taking my pills and got very angry at him and hurt myself, and I looked up his facebook page. He can tell when I look up his facebook page, he knows because we’re in a synchronous sort of relationship, and he can tell. He posts things like, “Skateboarding is not illegal,” except for guys like me it was illegal, all those things he does were illegal for me. We’d meet each other outside while we were walking our dogs and he’d shout things to me as he passed by. He’s athletic and obviously privileged in the ways that I wasn’t growing up, being allowed to go outside and to have boyfriends in addition to girlfriends. He was the first guy who talked to me in three years after moving back home and who treated me like a human being instead of someone to talk down to because I wasn’t a homeowner. I thought I could just let him live his life. I knew we weren’t the same kind of people. I didn’t expect anything of him except to live his life. And I was happy, but he wouldn’t let me be happy. I didn’t judge him at all. Maybe that was the problem. Maybe I should’ve judged him like he judged me. Because that’s how guys who were allowed to be outgoing have always treated me: in passing, saying things to me, sometimes the same words and phrases coming from different people. That’s how it’s always been with me, the guy who was given adrenaline-reducing drugs, as though they felt the need to manage me from afar because they wouldn’t live and let live.

Anyway, he constructed me socially as his stalker, and that’s how it developed eventually in reality. So I’ve been writing a novel about a deformed guy who’s writing about the murder of an infant by a woman who he notices has the same deformity as him. The event got national news, but it happened one county over from him where he lives, and the novel’s about him researching the novel and finding both support and resistance from the family who’s grandchild/child was killed. He’s also trying to figure out why the woman who killed the infant killed her. It’s somewhat based on my interactions with him because I know about his family now since he treated me like I was his stalker a year and a half before I did anything stalker-like, and to take the narrative out of his hands, I’ve been calling it research foor the novel to check out his and his family’s facebook page. I haven’t been studying his facebook page since the past summer though because there always seems to be a social retaliation for looking at his facebook page. I tried to live and let live, but he taught me that that’s not possible. Last night when I looked at his page for the first time since the summer, it was like the writer’s block I’d been suffering from for a few months started resolving and I remembered my place again. It’s definitely helping me get past my block, because now I know how to edit and where the story’s heading after looking at the page. He and his family did try to talk with me, but did I deserve retaliation when I wanted to keep living my life, when I was actually too crazy to talk to them? I don’t think so. Is it always a choice between being beautiful and being ugly? When someone’s mentally ill and doesn’t know what’s happening to them, when the kind of people they’ve been told to admire from afar their whole lives and told to look up to yet told that they can’t possibly be like because of something wrong with them at essence, shouldn’t there be forgiveness when they can’t see that they would’ve been accepted because they didn’t know any other way?

Anyway, the book is about a deformed man researching why a deformed woman one county over killed an infant in the perfect sort of outgoing athlete family we’re all required to admire in school, to use his family as the inspiration for the family whose infant was killed. That’s what the book is about. I’m going to go walk the dog now and hope that there’s no synchronous event that occurs as has happened the other times I’ve looked at his facebook page.

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florrickandassociates · 3 years

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TGF Thoughts: 5x09-- And the end was violent...

It’s been a busy week, but I didn’t want to wait until after 5x10 aired to write this. This recap may be a bit rushed (read: I am going to make an effort to just skip over scenes I don’t care about; we’ll see how many of those there actually are). I didn’t love this episode overall, but I thought it was a huge improvement over 5x08’s parking ticket fiasco and wish it had immediately followed 5x07.

Bless these episodes for not being overly long

Oooh, the opening sequence is long and I have nothing to say about it! Thanks for making my life easier, writers!

The point of this opening is to show that there are lots of problems with the official court system—inefficiencies, inconveniences like broken elevators, overcrowding in prisons (though, uh, I don’t think the actual problem there is that there’s not room to incarcerate more people)-- that might make cops open to an alternative like Wackner’s court.

I know the cop thread kind of started with last week’s parking nonsense, but surely there was a way other than the parking nonsense to bridge the gap between 5x07’s prison system and 5x09’s focus on Wackner’s court suddenly being a replacement for criminal court, too.

(Y’all, I have SO MANY questions about how Wackner can POSSIBLY judge criminal cases, but they’re all just variations on... UH, GUYS, ISN’T THIS ILLEGAL? LIKE SUPER DUPER ILLEGAL?)

I see that there is a filming notice when the cops bring a dude into Wackner’s court, and that the notice says that by entering on the premises you consent to being on film. I do not think that this sign being displayed would hold up as evidence of anyone consenting to be sentenced to a private prison on criminal charges.

New question: How did Wackner Rules get on the air so fast? And are they just filming endless episodes in real time? They just film anyone who walks in?

I think there is supposed to be a subplot about Marissa liking fame and attention; it is almost a little too subtle to be meaningful. I see a through line from her sleeping with that editor dude last week to her smiling at the flowers in this scene to her scenes with Carmen later this episode. Unfortunately, I need a lot more for this to work.

I don’t need Marissa to be a hero who constantly does the right thing and calls out Wackner on crossing the line, but I’m really sad that this is what they’re using Marissa for when we were due for Marissa calling Wackner out (in a meaningful, lasting way) like two episodes ago. It’s felt odd to me that she just sticks around and assists Wackner and Del when they’re doing things like putting people in private prisons and comparing the show they’re making to The Apprentice. Any subtle shift in Wackner’s decisions that has signaled to me that he’s gone too far is something that I can say with certainty would signal the same to Marissa. Marissa’s outspoken and passionate, and we have seen enough reaction shots to know she knows things are going bad, fast. Am I really meant to believe that because she likes Wackner and she likes fame, she’s not going to do anything more substantial than look upset from time to time? Not only does that feel out of character, it’s also just boring.

And, it speaks to another problem I’m starting to have with the arc: they needed to get to the point faster. Once Wackner said “David Cord’s private prison,” this stopped being fun. It would’ve stopped being fun for Marissa and it stopped being fun for viewers (seriously though, the change in tone on Reddit between 5x07 and 5x08/5x09 is VERY noticeable). So why did we follow that up with some repetitive filler bullshit about parking spaces and then start getting back to the point in this episode? I’m sure they’re going somewhere big in 5x10, but you can’t follow an explosive reveal with more status quo.

(Also, lol, I think the parking space thing was meant to be a fun silly absurd little way of entering into themes about authority and Wackner trying to legitimize his court, but it was about an issue so relatable and illogical that I think it feels even harder to believe than the, like, whole concept of a secret court in a Copy Coop.)

Time for Marissa to look concerned again! She’s confused about if the case is real or not, and when Wackner says it’s real, she says it’s not for their court and it’s crossing a line. She is absolutely correct. Wackner’s like, let me know if you think I’m crossing a line after I rule, and then he makes a silly flailing gesture that Marissa can use as a signal.

I actually don’t hate that scene; it is a good scene. I am only snarking on it because it feels like familiar territory and it belonged in an earlier episode.

Am I correctly understanding that these cops wanted to be filmed bringing a man against his will to a fake court with a private prison? And that they wanted this to air on television? Okay.

I will say that I believe the motivations of everyone involved except Marissa. Wackner thinks he’s doing good for the world. Del is getting good TV (I mean, I still think that Wackner Rules title sequence is shit and the show Del seems to be making is terrible, but that’s besides the point). Cord has so much money he’s untouchable and this is fun for him. The cops just don’t want to deal with bureaucracy when it comes to someone who they basically caught in the act.

Court! Stuff! Happens!

Wackner sentences the guy to one year in “David Cord’s private prison.” Again, I know they have to say this for exposition/storytelling reasons, but I continue to find it hilarious that David Cord would want his name to be used in this way (because he like, absolutely would not want his name to be used this way).

The cops like Wackner’s verdict so they tell all their friends to also take their cases to Wackner. What could possibly go wrong!

Like, yeah, there are problems with the criminal justice system—and some of them are even the ones these cops are mad about—but this is ABSOLUTELY not the answer!!! You cannot just take people off the streets and place them in private prisons because they were forced to enter a filming zone for a TV show what the actual fuck

Love David Lee still having candy on his desk. Some things never change.

Allegra, who was welcomed by the partners of RL last week, is interviewing for a job with David Lee. I don’t understand. Doesn’t David Lee have to approve new partners at RL?

Please don’t mention real estate on Mars, Allegra. You’ve made me think of Jason and how bad season seven was.

Allegra is feeling a bit different from Elsbeth this episode, though she very much still has some Elsbeth energy. She is very strategic and blunt in a way Elsbeth isn’t, and she seems a little more focused and intense.

“I notice, in a partisan world, the person in the middle controls the agenda,” Allegra says of her alliances with both Liz and Diane. This is interesting. What are Allegra’s goals here? Just to have power? Does she have a vision for RL? Is it just a good paycheck?

(My guess is it’s about power and money for her. I don’t think she is going to be the ally Madeline wants. I don’t think anyone who voluntarily signs up to be a name partner at a firm owned by corporate overlords is a natural ally for Madeline though, tbh.)

(I really hoped this arc would explore that just a tiny bit more. The longer this conflict drags on the more convinced I become that the whole question of if it’s appropriate for Diane to lead a black firm is moot. It’s an interesting and complicated question, but with some distance from the plot, it becomes pretty clear that in this particular situation, RL isn’t a black firm. It’s a subsidiary of a large multinational corporation.)

(The show seems very aware of this and keeps having plot points like Diane using David Lee to keep her job and having Madeline call out all the awful clients they have... but it needs to go somewhere.)

(This also may be why I’m more down on the end of the season—in the middle of the season, nods at the things I’ve been thinking are appreciated references. At the end, they’re more like plotholes or reminders of the questions we should actually be spending time on.)

“Are you shitting me?” David Lee storms into the room as Liz and Diane are working. “David, we are shitting you about so many things, you’re gonna have to be more specific,” Liz responds. God, funny!Liz is maybe my favorite part of season 5?

Liz calls David out on his power, noting that he also reports to STR Laurie. So it seems like Liz and Diane can make decisions on their own, and STR Laurie can overrule them, but not stop them in advance?

This little ad about an ice cream chain is like, 15 seconds too long.

Carmen is back!!!! She’s helping Rivi sign a deal with an ice cream chain so that they’ll turn into a distributor of weed.

Why do we have to watch a SECOND commercial?

The farm wants Rivi to stop dealing other drugs if they’re going to enter into this deal.

Allegra, another character who seemingly has no qualms about representing drug kingpins, quickly impresses Rivi.

I understand why there is an interpreter for Rivi’s wife. I do not understand why the interpreter interprets conversations BETWEEN Rivi and his wife. And then he’s translating the sign language into Spanish? But also Rivi speaks fluent English in half of these scenes? WHAT is happening?

Allegra is also different from Elsbeth in that with clients, you’re NEVER going to underestimate her. You might not follow her at first, but she’ll get to the point clearly and concisely and without telling you how much she likes your lipstick.

But like at 13:44 Rivi signs something to his wife, and when she signs back the interpreter tells him what she’s saying. This is so so so clearly for the audience but I wish it had just been captions because it makes NO SENSE that the interpreter is in on this private conversation between two people who both know sign language!?

Rivi and Isabel now LOVE Allegra. Diane and Liz are like, okay!

Cop stuff happens.

Credits!!! If you haven’t already, be sure to check out indiewire’s piece on the making of the credits—it's fascinating.

Brooke directed 😀

Marissa the celebrity is signing autographs in Wackner’s court when the cops bring in some young men affiliated with Rivi.

NO, GOD NO, NOT THIS DEVIL’S ADVOCATE FUCKERY. The problem I have with the Devil’s Advocate, in addition to it being fucking annoying, is that it is also the exact opposite of what Wackner’s court is all about. Wackner is about facts and really hearing people out, and from what we’ve seen, Devil’s Advocate is about... stereotypes and pop sociology so bad it’s essentially just racism?

“These young men are the victims of a system that arbitrarily declares some drugs illegal, and others, like alcohol, not. They should be released. To hold them is to perpetuate an unfair system,” Devil’s Advocate says. Good lord, a 7th grader could write a more persuasive speech than this bullshit.

WHY IS DAVID CORD PROSECUTING THIS, WHY IS THE TRIAL ABOUT WHETHER OR NOT DRUGS HARM COMMUNITIES, WHY IS THE DEVIL’S ADVOCATE SOUNDING LIKE A WHITE BOY IN AN INTRO TO SOCIOLOGY CLASS WITH HIS REFERENCES TO THE WIRE, WHY IS ANY OF THIS HAPPENING OMG MAKE IT STOP HOLY FUCKING SHIT THIS IS BAD

Why is Marissa the court clerk being called upon to be defense, WHY IS THE DEVIL’S ADVOCATE JUST SCREAMING “DEFUND THE POLICE” WHAT THE FUCK

I’m sorry, I am going to rant about this more, I truly cannot get over how fucking stupid the Devil’s Advocate is. He just starts screaming “defund the police”??? To what end?! Why does Wackner want this in his court?!

I revise what I said earlier. Devil’s Advocate isn’t just sounding a white boy in an intro to sociology class. He is sounding like a white boy who showed up to an intro to sociology class absolutely hammered.

Marissa, correctly, argues that the arrestees should be taken to Cook County. Then she hears that they work for Rivi and she knows this is bad.

Cord calling Marissa out for her firm representing Rivi: Another thing that would NEVER air on Wackner Rules.

David Lee seems surprised Liz and Diane did not get rid of Allegra. I don’t know why he is surprised, I think they made it very clear they don’t see him as an authority figure.

STR Laurie is now demanding (another) 10% in cuts to pay for Allegra. Liz says they’ll pay for her with the money that used to be for Adrian and Diane notes that Allegra has more stature than Adrian. Interesting.

David Lee then decides to be both sexist and racist for really no reason at all. Pleasant!

Showing Carmen as competent but not yet as strategic as Allegra is a really nice way to underline that Carmen is still a first year even if she is very very good.

Liz, Diane, and Allegra talk about cost cutting. Allegra is like, no, we need to spend more, which makes sense, both for the reasons she outlines and because when you bring on a powerful name partner, your need for lower level support does not DECREASE, it INCREASES.

I know this scene is meant to show Allegra thinking outside the box, but I am a bit surprised that (1) Neither Liz nor Diane push back on the 10% cut and (2) When Allegra suggests hiring back all the associates and then some, Diane seems to think Allegra doesn’t understand they’re talking about cuts? Like, obviously she knows the topic of conversation, Diane.

“We don’t run our own business. We work for a global conglomerate,” Liz notes. Yup. Right point, wrong context lol.

Diane and Liz are just too smart and strategic to have to be told ALL of this by Allegra... especially Diane, who is not only smart but also used to dealing with management.

And worse... Liz and Diane think they made a mistake with Allegra because of this? I mean, I guess if your goal is to permanently work for a big corporation that will slowly chip away at your budget because they can and to never make any waves because that might disrupt the status quo, sure, Allegra isn’t who you want! But do Diane and Liz REALLY want the status quo?

I hope they find a way out from under STR Laurie next year, as much as I hate the firm switching, because it’s just such a boring dead-end when Diane and Liz don’t actually have power or control.

OOOH I like Del asking Liz what SHE wants wrt the whole Diane situation. She says she wants to “stop fighting” and for Diane to “stop using her racist clients to keep her job” and for “the firm to be led in the right way by the right people.” So sounds like she wants to work with Diane, then? That last one is as vague as can be, but I think we can infer at this point that Liz is more concerned with stability and a work environment she likes than idealism.

God, Liz and Alicia would’ve gotten along so well as adults lmao.

Del tells Liz that “women at work always want to be thought of as nice. Women always want consensus. But you know what, baby, sometimes you just gotta say, ‘Fuck you, and you and you and you. Alright? This is my business and it’s my decision.’” I see where he’s coming from (even though this sounds like something my nemesis the Devil’s Advocate would say) but I am not sure I agree that’s Liz’s problem here.

Actually, maybe I do agree with Del. I think Del’s saying to say FU to Diane, but what Liz clearly actually wants to do is say FU to Madeline lol

Liz asks him to change the topic. Where ARE they? Is this a restaurant or an incredibly nice backyard?

Del changes the topic to how his boss wants him to come back to LA, but he wants to get Liz’s thoughts on their future. Liz asks him to start since men are better at saying what they mean (ha, love her giving him shit for that).

He basically tells her he wants to stay and she says he should stay. Aww.

Rivi’s house is... certainly something.

Isabel is concerned because three of their boys have disappeared. She, naturally, suspects they’re at police blacksites.

I’m sorry, did Marissa not elevate the Rivi case in Wackner’s court to the partners’ attention!? Rivi blames the dairy company, even though this does not... make that much sense?

This escalates into the murder of cows?? What... the fuck.

Now Marissa finds Carmen and loops her in! But only now that she knows Rivi’s looking for them and Rivi’s about to, like, kill Christian Borle’s character whose name I’ve forgotten.

Marissa’s position on this is that Wackner will just let the boys go so Rivi shouldn’t know about any of this. Rivi would just kill Wackner. And Carmen is like, Rivi will just kill Christian Borle if we don’t tell. Fair point.

Carmen, being an actual adult (sorry Marissa, I usually love you), is willing to admit when she’s in over her head, so she walks off to go get Liz for help. Yay!

Rivi is not impressed with Wackner’s court or Marissa. He and Isabel want either Carmen or Allegra. Liz says Carmen will do it, I think meaning Marissa will do it but Carmen will be client facing.

I love it when we get to see Liz just be super competent. It’s not a rare occurrence, but it’s just very, very clear in this scene how much better Liz is at handling this situation than Carmen or Marissa would’ve been and I like it when the show makes time to emphasize that even on a show full of hypercompetent people, some people are more skilled than others at handling some situations.

Liz, Diane, and David meet with STRL over Zoom. Allegra somehow pops up on the meeting but also joins as a cat because you know what the cat lawyer on Zoom needed? To be parodied on TGF. Ugh

OH MY GOD I DIDN’T PUT THIS TOGETHER SOONER BUT IT’S A CAT LAWYER YOU GUYS. This will mean NOTHING to any of you because it’s about an inside joke I have with the friend who got me into TGW, but indulge me in a little nostalgia here, ‘kay? So in like 2012, there was a trend on Tumblr where everyone would photoshop cat ears onto their favorite TV characters and my friend and I were like, why would I want to put cat ears on my favorite character, idgi. So then we started photoshopping cat ears on to the most unlikely characters and we landed on David Lee. We referred to David Lee as a cat for a really long time. Like, if we were to talk about David Lee today we would probably still call him Cat! David Lee.

Allegra starts trying to work her magic on STRL. Diane literally runs down the stairs to try to stop Allegra. I am not sure why Diane and Liz are so anti-Allegra during this conversation which is only happening so they can have the funds to keep her on board!

Allegra tries to share a burrito with Diane and Liz and says she stands by her strategy. Liz finally says she’s not sure this will work. Allegra is understanding.

I respect that. Allegra may as well go all out and see if she can make this workable.

(That said, this is pretty much the opposite of her whole staying neutral thing from earlier!)

No one is in the audience at Wackner’s court when Carmen shows up, yet the musician who I like only very slightly more than Devil’s Advocate is still on call. Just STOP.

Overall I’ve liked the Wackner arc and I’m excited to see it wrap up tomorrow, but lemme tell you: it had better wrap up tomorrow. I am NOT open to dealing with this for another season.

The musician takes orders from Cord? The cameras are rolling? Rivi is there? WHAT?

I know that NONE of this makes sense, but some things make exceptionally little sense and I just can’t.

Guys, remember the parking tickets?!

Oh, excuse me, the ice cream company is actually a yogurt company.

Rivi notes that there are three boys missing. Wackner only has two.

I am a little surprised Rivi has managed to be successful with that temper. Idk what skill set you need to be a top drug dealer, but he attacks people like three times an episode and that seems like a really good way to not build trust and to also get yourself killed?

Liz and Del talk about what happened in Wackner’s court. Liz asks how they deal with liability. I guess she isn’t Del’s lawyer, then. Del says they have releases and people want to be on TV. Liz says what I’ve been saying, which is that Rivi doesn’t want to be on TV. Del says there are ways around that and references the show Cops as though that’s enough to make this question go completely away.

Liz references The Apprentice, for those of us who didn’t catch the reference last week and/or for those of us (me!) who wanted to pretend that Wackner wasn’t somehow a commentary on Trump and star power. Ugh.

(I don’t necessarily think it’s a bad point, I just am not sure that I think it is the most interesting point about the Wackner plot.)

“Remember how we all watched and laughed and thought it was funny when they fired people?” Liz says. “We? No, no. Hmm, you... you never watched The Apprentice,” Del responds. She did not. Hahahahahaha I love this exchange. It feels very real.

Liz seems less concerned with Wackner and more concerned with Del’s eagerness to turn Wackner into a larger than life personality with a devoted following, which, yes, thank you, Liz, this is actually a much better and more interesting point!

“That came out of nowhere,” Del says. “No, it didn’t,” Liz responds, correctly.

Del talks about how Liz represents Wackner, along with murderers, rapists, drug dealers, and yet she wants to draw the line at reality show producer who makes people famous? He’s got a point, even if I’d argue that choosing a romantic partner is not the same as running a business.

“Would your firm turn down [the producer of The Apprentice] if he wanted to join the roster?” Del asks. “Good point,” Liz sighs, resigned. She’s not happy he’s right, but she knows he is.

Sigh. I already said some variation of this, but this season seems to have all the right ideas floating around, it’s just choosing the wrong ones to explore deeply and the wrong moments to mention other ones. Things like Liz worrying that someone she’s considering starting a serious relationship with might have some personality traits she doesn’t love can be done through throwaway lines that quickly come back to being about work/plot (that’s what happens in this scene, basically) and I love that. But the existence of STRL and the influence it has over whether or not RL is a black firm at some point can’t be dealt with through references. Wackner becoming increasingly off the rails can’t be turned down to a simmer after reaching boiling point. RL’s unsavory client’s can’t just come up in moments like this; they have to play into a central conflict.

Like, what good is it to constantly remind the audience that RL represents a ton of “bad guys” if you’re not going to go anywhere with that other than making Liz and Diane occasionally be like, “hmm, good point.” when called out on their client list? This could be a really, really good piece of a larger puzzle about the culture at RL, and instead it feels like it’s a card they play whenever they need some moral complexity. Just... go somewhere with it, please. Either stop pretending that RL are the good guys or have them seriously deal with their client list.

Anyway, then Liz and Del talk about his possible LA move. It’s kinda inconclusive; they talk about work just being work.

Outside of court, Carmen doesn’t believe that Wackner only has two of Rivi’s boys.

“I don’t know why you’ve been wasting so much time with this joke court, because it’s not gonna magically turn you into a real lawyer, Marissa,” Carmen lashes out. Oooo. Now this is interesting, can I have an extended version of this scene and also all the other Carmen/Marissa scenes that we should’ve gotten in the episodes Carmen was barely in?

I understand Carmen’s frustration, especially since I imagine she worked pretty damn hard to get into/get through law school. And, as fun and smart as Marissa can be, she does get bored easily, try to skip over the dull moments, and moves on and still always lands on her feet. I can see how that would rub Carmen the wrong way, especially during a stressful moment.

Carmen isn’t exactly a rule follower, but I’d say she is someone who is very conscious of the rules, and, I think someone who values structure more than she lets on (I especially see this in her decision to stay at RL instead of work independently/with Lester).

Marissa calls Jay for help!

Allegra talks to David Lee, with Liz and Diane in the background. Allegra makes her argument to David Lee again and it goes over well. I think the writers think there’s more suspense in this plot than there is; it’s pretty obvious from the start that Allegra is correct and Diane and Liz are only correct if the goal is to avoid all conflict.

What is David Lee’s role at STRL? Is there anything else in that office besides awful HR and RL? He talks like he is more RL than STRL and that doesn’t track with what we saw of STRL last year.

Marissa spots a flyer that leads her and Jay to where the missing boy is: another fake court. This was inevitable—I think one of the very first things I said was that Wackner himself seemed fine and decent, but what happens when someone else decides they, too, want to be a judge because they said so—and I’m glad to see the writers go this direction. I actually think this would’ve been an effective build after 5x07 and would’ve kept turning up the tension, so again, most of my issues with this arc lie in 5x08’s momentum killing bullshit. It’s hard to get back into this plot when they lost me last week.

Shocker: Wackner having a reality show inspired more copy cats who take cues from the show and think Marissa is a celebrity.

Vinetta, the judge of the second court, puts people in “time-out” (read: imprisons them in her basement) and... yeah, I don’t care how kind she is to them, this is not okay! The solution to the prison system is not for people to turn their basements into prisons!

I don’t know that the writers are TRYING to comment on this here, but there is definitely something to be said about communities that the legal system repeatedly fails finding alternative measures of justice.

Vinetta is nice and seems reasonable as a judge, but she also has a basement prison her judgments are influenced by her religious believes so, uh, yeah, not good!!!

Wackner, however, thinks Vinetta’s court is GREAT! He wants to go see it, because “it’s finally happening.” What’s happening? “Justice,” he says. Uhhhhhhh, no. This is just so dangerous, even if everyone involved so far seems to mean well.

I’m very curious to see how this little thought experiment wraps up (again: I say wraps up because I cannot deal with the thought of this being more than a one season arc).

One thing I love about the Wackner arc—my 5x08 issues aside—is its slow burn. The writers did a phenomenal job of getting me to take Wackner seriously at first, then slowly started to take all the things that seemed great and reasonable about Wackner’s court to their extremes (while still making his judgment on any individual topic* sound). It’s a very fun and entertaining thought experiment, and I think that’s why this arc has largely succeeded for me, even though it’s so far removed from reality.

* Exceptions to this include policing, prisons, cancel culture, and, of course, parking spaces.

#the good fight #tgf thoughts

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florrickandassociates · 4 years

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TGF Thoughts: 3x08-- The One Where Kurt Saves Diane

I wrote this over the span of, like, a full year and it is not very interesting. I am posting it simply because I am committed to the idea of writing something about every episode of this series. I recommend that you go check out Evil instead of reading this.

I’m just not intrigued by the clips of news footage about some sort of “Unredacted Unspecified Report” that open this episode.

Diane doesn’t seem to be that interested either: she’s not watching and talks over it.

More interesting (but, tbh, not actually that interesting to me either, because I’m losing interest in this season) is that Diane gets a letter of warning from a ~mysterious source~.

Most interesting of all: Diane and Kurt have a normal morning together.

Kurt spots the letter first and opens it. STOP DIANE. THEY KNOW ABOUT THE HACK. So maybe it’s directed at Kurt. Or maybe it’s supposed to say, “Stop, Diane.”

I still haven’t warmed to Diane’s bedroom set, especially because it still feels like Diane lives in her bedroom and her home has no other rooms.

Joy, Felix Staples has returned. All I have to say about this case is that the day this ep aired, basically what’s happening in this case happened in real life, because… Kings.

Hello, it’s October now and I suddenly felt like returning to The Good Universe and writing. It’s been a while.

My memory of this episode/arc is that Diane and Liz just did something uncharacteristically dumb and illegal, and this is the episode where Kurt secretly puts an end to the shenanigans without Diane even knowing. I remember this episode being satisfying, if only because it got rid of the aforementioned dumb and illegal plot. Let’s see how good my memory is.

Wait why don’t I remember Roger Bart being on this show and why didn’t I note it earlier?! How could I let George The Killer Pharmacist go unmentioned?!

On that note, how did I not use the opening scene of the season (Diane saying “I’m happy” as an excuse to ramble about how weird it is to experience happiness on a personal level in today’s world?) (I was just watching 3x01.)

I’m actively not watching the case scenes so they don’t kill my drive to actually write this.

Oh God, I’m going to have to deal with Blum again at some point. I had blocked out his bloviating. I think this is the last of the Blum/Maia free eps?

The weird Lucca/British actor plot is still happening!!!! I didn’t miss it during all those months in which I wasn’t reminded of it.

The joke about how these TV lawyers aren’t like other TV lawyers, except they are, was funny the first time.

Always great to see how Lucca, who is the head of a department at this point, gets called into other cases frequently. Definitely how things work.

Is it bad that I’m more interested in making a mental list of all the times TGF/TGW have filmed in this little park than this Marissa/Alan Alda scene?

I can see why this is the episode that made me stop writing these for a bit. So far, this ep is all case and a subplot I don’t care for.

You know what else was funny the first time and has hit a point of diminishing returns? The thing where a main character’s love interest shows up in court and then they get thrown off their game and it’s CUTE FLIRTING!!! Find a new, unique way to signal interest, writers!

This gag now involves literal gagging. I’m overjoyed.

Lucca’s monologuing at a toilet about her crush. This plot is cute. It isn’t bad. It is watchable. BUT! I know it’s a novelty, so I’m just not that excited by it or invested in it. It’s not really deepening my understanding of Lucca.

Lucca picturing everyone in court in their underwear is just unnecessary and honestly not funny???

Kurt leaves the warning note out for Diane to see. He confronts her about it and she asks for a drink.

The credits are at 19 minutes in. I do love them. Have any of you watched Evil yet? I watched part of the first episode (I intend to go back to it, I’ve just been busy) and the credits resemble the TGF credits. (Update as of March 2020: I watched all of Evil and you should too.)

Diane tells Kurt about Book Club or #Resistance or whatever I was calling it. Even though Diane doesn’t tell him the full story (mostly for his own protection, and she makes it clear she’s omitting stuff), I do appreciate that Diane and Kurt don’t keep secrets from each other, and if/when they do, they talk about it openly and calmly. I love them.

(I have blocked out Kurt/Holly almost entirely. I know it’s canon, but I still don’t believe it was anything other than a plot device to motivate some unnecessary drama in the TGW finale. God, that finale was bad. Ghost Will? Kurt cheating? GENEVA and Peter? GHOST WILL? Even the slap, which is one of my favorite parts, is more powerful as a symbol than as an actual plot development, since (1) Alicia betraying Diane is something Pilot!Alicia would’ve done to any friend to protect her family and (2) it stems from the nonsense about Kurt cheating and Peter tampering with evidence. What a letdown of a finale. The Kings are lucky they got to redeem themselves with TGF.)

(As anyone who’s had a one-on-one convo with me about the TGW finale at any point in the last three years will tell you, I will NEVER tire of discussing it, even if it means rehashing the same points over and over and over.)

I forgot about the thing where it wouldn’t stop storming in season 3.

Don’t have much to say about Kurt devising a plan to help Diane get out of trouble, but I do find it very fun!

OOOOH this is the episode about censorship that got censored!!! If you haven’t already, do read Emily Nussbaum’s piece about the behind-the-scenes drama of this episode. I thought the “this content has been censored” screen where the short would have been was a joke… but it was actually censored. That may be the most interesting thing about this episode.

I want more character-driven plots. I want more Liz and Lucca. I have nothing to say.

Book Club still believes the con artist who brought them together is something other than a con artist. Book Club is not that smart for being a collection of very smart people.

“So the whole group is bullshit?” Liz asks when Diane loops her in. Yes. But also, like, this is what happens when you do illegal shit with a group formed by a literal con artist. Liz may have an excuse for trusting the group (Diane brought her in), but why does DIANE trust them?

“My life is simple, Diane. I have a son. I have a mortgage. I have my job. And I go from home to work and work to home. So this stuff is, this bullshit intrigue… I’m done. Too much drama,” Liz laments, about a week too late. Where was this last week when Liz was like YES LET’S DO CRIMES?

One of my problems with the whole Book Club arc is that it makes very little sense that Liz would get involved in the first place. I understand why she would be sympathetic to their cause and willing to look the other way on their methods… if she were watching a news report about them on TV. She’s too practical, and has too much to lose, to get involved with a group like this.

An NSA nerd is back!! He’s the one warning Diane!

Okay, picking this back up in March 2020 because *gestures at the world* I have time. Like, I have so much free time I’ve finished 9 books in the last 14 days AND finally made it to the episodes of The Sopranos with JMargs. I began watching The Sopranos in 2017.

As I write this, I have no idea if TGF is coming back on April 9th as planned or not. Unless there’s something in the works for season 4 that can’t possibly be left unfinished or air today, I think they should air whatever they have now. TGF is always timely, and while scenes set in an office are suddenly feeling weird and implausible, they’ll probably play better now than in six months. And we’d all forgive the writers if they had to wrap up the arcs through an animated recap song.

It’s been a while since I’ve seen the TGF credits so I rewound to watch the credits. I went to 2 minutes into the episode, then remembered… they’re 20 minutes in.

Y’all. They blow up a purse with hand sanitizer in it. Did they predict this?!

I wrote that preamble and then stopped writing. But now we know that TGF is really coming back on April 9th, which means I have to stop watching The Sopranos and write these things!

Ah, Felix Staples. I haven’t missed you!

Case stuff happens. Really riveting episode, this one. (It is an interesting case, though.)

Kurt saving Diane is pretty fun. But I don’t have anything to say about it and to write about it would just to be to give a half-assed play by play… and why?

Oh WOW, Lucca and Downton Abbey guy is still happening?!

Getting to see Kurt be really competent and caring is the best thing, by far, about the Book Club arc.

Wait, I take that back, Liz’s speech about voter suppression is also pretty high up there-- as long as you ignore the context.

V excited (!!) to get back to Maia’s bullshit in the next few episodes, not because I want to watch it but because if there’s one thing I’m actually motivated to write about, it’s how the show has handled Maia Rindell. Also, they handle the next few episodes well for her.

Oh RIGHT Liz tells ChumHum about her dad’s sexual harassment issues! And Adrian and Liz are finally going to tell the press! It may mean losing Neil Gross, though.

Book Club is over! Wooooooooooooooooooooo! On to more interesting things!!!

Also gone? Downton Abbey guy, who gave an interview about something new and exciting in his life. Lucca thought he was talking about her, and he was talking about some...personality test that sounds like a cult from the way he describes it? AAAAAND I Googled it and yup. It is. What a goofy ending to this arc I didn’t care about. Reminds me of the way the Marilyn arc ended (with a cameo from a celebrity who she was supposedly sleeping with). Glad the actor was so game to poke fun at himself, but is this the best we can do for Lucca?

Diane thinks she took care of the hack and made it go away. Kurt lets her take the credit.

The end!

#the good fight #is coming back soon!!!!#tgfthoughts #yes i still check this thing

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florrickandassociates · 5 years

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TGF Thoughts: 3x01-- The One About The Recent Troubles

HI GUYS I WROTE A LOT

New season, new naming convention. Well, it’s either that or Diane Lockhart’s joined a reboot of Friends. Jokes aside, I don’t love the new naming convention (I never watched Friends) but I don’t dislike it either. It’s fine. What I do like is that we’ve dropped any sort of counting (unless you consider “the one” counting). (I am just now realizing that last season’s episode titles were more in the TGW tradition than I thought-- they were just another form of counting). Three seasons in, TGF is its own show (with its own titles!), and that makes me very happy.

I’m about to hit play on my third viewing of this episode. I watched at 5 am on the day it was released (worth it, tbh), then again with my roommate after work that same day.

This year’s previously montage works better than last year’s, but I still don’t love it. The selection of clips seems a little random at first: Liz talking about her father? The Assholes to Avoid case that I was hoping to avoid thinking about ever again? Okay…?

It’s time for some tone-setting! “I’m happy,” Diane states as the season opens. She’s in bed with Kurt, waking up in the morning. This is one of those statements that becomes important mostly because it’s so prominent. I believe that Diane’s happy with her life and happy waking up next to her husband, but I don’t think Diane is trying to make a Thesis Statement. I think she’s just expressing that she feels good. The writers, however, definitely want us to note that Diane starts out the season in a good, happy place. This is because they are going to slowly complicate and destroy Diane’s happiness. That’s not a spoiler-- it’s a prediction.

Kurt laughs. “You like narrating your life,” he comments. Interesting.

“You know, there are psychological studies that say, when people are happy, they look desperately for things to make them unhappy. But that won’t happen to us, will it?” Diane wonders. Of course it will. I know these writers. If there’s one thing they hate it’s writing more than a few scenes of a healthy marriage.

Diane and Kurt’s new bedroom confuses me. It has an arch that seems very low and I can’t tell if that’s the angle or not. Also, we only see the area with the bed, the bathroom, and a large sitting room in this episode. It would make sense for Diane to have a bedroom suite and a separate living room/dining room/kitchen, but the way this episode is shot makes it feel like Diane and Kurt only have that one space.

Now Diane’s asking Kurt for reassurance that everything’s going to be alright, and she seems moderately worried that he doesn’t sound certain when he responds. Maybe there are still some issues there…?

“What could go wrong?” Kurt asks, and right on cue, shit starts to blow up. (By which I mean the title sequence rolls.)

New objects/shots this year include: A tea set, aerial shots of a wine bottle, coffee cups (they discovered aerial shots this year and clearly liked them a lot), the same four purses from last year but arranged differently (looks cooler now), new images on the TV (bye, tiki torch nazis), and the entire set where they staged the explosions.

The third co-creator is still listed, because his name will be attached to this show for as long as it runs, but I really want to know: what did Phil Alden Robinson even do to create the show? Invent the basic sketch of the premise and the new characters? Just today I saw him credited in an article praising season 3, and it’s my understanding that he hasn’t even touched TGF since the pilot, back before the Kings signed on.

The Kings wrote this episode, but I didn’t need the credits to tell me that. Robert directed, too, which is only surprising because I wasn’t sure if it would be him or if it would be Brooke Kennedy.

Complaining about this now before I get any farther into the episode: CBS, FIX YOUR CLOSED CAPTIONING. Someone over at All Access doesn’t believe in apostrophes and it’s driving me up a wall.

After the credits, we resume with Julius talking about Carl Reddick, founding partner of RBL and civil rights icon. Julius has to be prompted to add on that last part, but Lucca doesn’t: she read about Reddick in history books.

Lucca’s dress for the interview shouldn’t work, but she pulls it off. It has several different colors and patterns, big gold buttons, and a ruffle down one side.

Here’s Liz’s comment on her father: “When my father died, I could think of no better way to honor his life than by taking over his partnership here.” We know that’s only partially true.

Next up is Reddick’s secretary of 15 years. She refers to him as “Mr. Reddick” instead of “Carl” and seems uncomfortable talking about her experience. Jay and Marissa, who have for some reason been tasked with creating promotional materials for the firm, notice her hesitance. Marissa asks what a typical day was like, and the secretary-- Cynthia-- starts to cry.

Cut to the RBL website, which is very boring and generic. “Who are you?” a publicity consultant asks Adrian and Liz. This reminds me of two things: one, Diane and Will’s conversation in season 4 about firm identity, and two, the fact that Hitting the Fan started off with the line “You’re stable.” Isn’t that very reminiscent of this episode starting off with, “I’m happy.”?! Yikes, we must be in for a ride…

Adrian’s answer is that they are a “mid-size Chicago law firm.” Really? That’s all you’ve got? The consultant pushes further-- he wants their story. Liz says their story is that they’re growing with new hires and a new floor. The consultant isn’t happy with that, either, because he seems to believe there’s only one right answer: they’re an African American firm, and that is their entire identity. Ugh.

When TGF first started, RBK felt like a firm that had an identity and a mission-- a commitment to giving black lawyers opportunities for success in an environment where no one would be a token, coupled with a strong focus on civil rights cases (particularly police brutality cases). I assumed that was the shared goal of Carl, Adrian, and Barbara, but the firm’s gone through enough changes that I’m willing to accept that RBL might now be struggling for an identity. Carl’s dead, Barbara was always the one who would actually put her money where her mouth is (sorry, Adrian), Diane is (as always) interested in being profitable while looking like a liberal legend, and Liz accepted partnership because it was a lucrative offer that fell into her lap right when she lost her job at the DOJ.

Adrian says he doesn’t want RBL to be sold as an African American law firm. Hasn’t he pitched it as such in the past?

“Diversity is in right now. Black Panther. Black-ish. And diversity is something you have in sp-- in abundance,” the consultant says. My God, he’s terrible. He’s also using “diverse” and “black” as interchangeable words.

Adrian gets a reprieve when Jay and Marissa call him out of his meeting, but it doesn’t last long. Cynthia, Carl’s secretary, told Jay and Marissa that Carl repeatedly sexually assaulted her.

“He forced her for 15 years? Why would Cynthia stay for 15 years?” Adrian asks incredulously. “Seriously?” Marissa replies. Woah there. I agree wholeheartedly with Marissa but just because I’d write “SERIOUSLY?” in a recap doesn’t mean I’d ever say it to a name partner with that tone! (But really: Marissa’s very right. “Why would she stay?” is a terrible argument. Cynthia had bills to pay and a family (or at least a daughter) to care for. She likely didn’t have the luxury of looking for a new job. And that’s setting aside the fact that for decades, language around sexual assault wasn’t widely known!)

Adrian asks Marissa and Jay to keep quiet, and Marissa pushes back, asking if it’s so they can cover it up. Marissa! You’re not helping your cause here!

“Marissa, I don’t have the luxury right now of being outraged. That doesn’t mean I’m not outraged,” Adrian explains.

In the hallway, Jay suggests that Marissa give Adrian (and Carl) a break, since the Reddick name brings in half of their business, and if Reddick’s name becomes toxic, the firm could be in trouble. “Well, then, maybe it should be,” Marissa responds.

I loooooooove Diane’s new hairstyle! It’s been ten years; it’s time for a change.

Diane is about to head into the office when she notices Kurt went hunting the previous night with a gun he hates. And to make matters worse, there are blonde hairs on his jacket and Kurt won’t admit he went shooting with anyone. Well, I guess Diane’s happiness didn’t last very long at all.

Maia has a scratched cornea, so she’s wearing big sunglasses. “I wouldn’t wear those when you meet with the partners,” Marissa says, planting a bad idea in Maia’s mind. The sunglasses take two seconds to explain, and no one is going to fault her for this. If Maia didn’t get fired for not doing any work over a two year period, she’s going to be just fine wearing medically-required sunglasses to an internal meeting.

Julius wants to talk to Maia and explains that on the new website, they’re adding associate and partner bios. They just might not be adding Maia’s. “Don’t take it as a criticism. You’re doing a great job,” Julius says. This is basically the only circumstance in which I understand giving Maia praise: trying to keep her from causing a scene by stroking her ego.

Since Maia took off her sunglasses, she now appears to be crying. Since Maia lacks common sense, she does not explain why she is crying, leading Julius to keep heaping on the praise and explain the obvious (it’s about her parents’ scandal). Maia says she understands and that “this is all medical.” THAT’S SO VAGUE, MAIA. You’re looking for the sentence you just said to Marissa: “I have a scratched cornea.” I know this moment is supposed to be funny. It just makes Maia look impressionable (she took off the glasses) and slow (she can’t easily navigate out of this situation when the exit route is obvious). I already think Maia is both of those things, so I’m not complaining about this scene (I did laugh!), it’s just… Maia, why???

Julius is so confused by Maia’s odd reaction that he goes straight to Lucca’s office. Lucca is pumping and doesn’t care who sees, because she’s the fucking best. Julius asks Lucca to talk to Maia about the website.

Diane’s still thinking about the hair when she arrives at RBL. Marissa greets her with an empty mug, I mean, with coffee. Diane asks what Adrian wants to talk to her about, and Marissa says, “I’ve been told I speak too much, so I won’t handle that.” If Marissa weren’t so good at her job she’d need to watch out.

Marissa tries to join Adrian and Diane’s meeting, and Adrian slowly closes the door in her face. Marissa walks away. I love it when this show emphasizes that their main players aren’t all of equal status at the firm, and this episode does a fantastic job of showing it.

Adrian explains the Reddick issue to Diane. He’s (wisely) chosen to go to Diane before Liz about this.

Adrian’s plan is to have Cynthia sign an NDA, and now there’s a “Good Fight Short” to educate us about NDAs. God, this show is weird and I love it.

“Think they’re maybe always in a red folder but I didn’t do my research that well” cracks me up.

“Let’s try to count all the red folders in the show today. You know what who cares just pay attention, put your phone away,” the song continues. Okay, show, I’ll listen to you and put my phone (on which I’m watching this show) away and go run my errands. That’s what you wanted, right?

A storm rolls in as Adrian and Diane pay Cynthia a visit. Thunder is dramatic, in case you were unaware.

Adrian tells Cynthia he knew nothing about Reddick’s behavior. He reaches for the NDA a little too quickly and Diane slows things down.

Adrian promises they’ll have sexual harassment training moving forward. Cynthia reminds him that they’ve always had that-- but partners never attended. Or, apparently, remembered that it existed.

Diane and Adrian hear pots and pans banging in the kitchen and realize that Cynthia’s daughter is home. That complicates things because the daughter anticipates the NDA and doesn’t want her mom to sign.

When Cynthia leaves the room, Adrian comments to Diane that “this house, it reminds me of my aunty’s house.” Diane just smiles, probably because that’s a reference she can’t understand.

The partners hold a secret meeting without Liz, which is certainly a way to handle this but probably not the optimal way. Liz should know what’s going on before any NDAs concerning her firm are created.

Liz notices that the offices are empty, and asks Marissa (who’s walking past) where everyone is. “I have no idea. I’m just staying on the sidelines today,” Marissa says unhelpfully. Great attitude. Very professional. As you’d expect, Liz is not satisfied with that answer.

Downstairs, the MANY partners of RBL are debating next steps. Why do they always pack these partner meeting scenes with so damn many extras? How many partners am I meant to believe they have?!

As we learned in the Assholes to Avoid episode, the most interesting thing about #MeToo is that it’s controversial and leads people to talk over each other. That’s what’s happening in this scene, but it works far better than the show’s last attempt at showing this idea. Unsurprisingly, when they have more to say than just “controversial topic is controversial” they do better.

And, I’m not sure where to put it so I’ll just say it here, I think the Kings have more to say about #MeToo, and a new (and better) angle on it because it hit closer to home. This plot isn’t a reenactment of what happened with Moonves, but the ideas it explores? Once you think about Moonves and the role he had in bringing TGW to life (and keeping it on the air), it’s all you’ll see. This plot is the Kings reckoning with how to move forward and create distance after a powerful man in no small part responsible for their own success turns out to be a serial harasser.

And that’s so much more interesting than “what if we took the Aziz Ansari thing but removed all nuance?” TGW, and TGF, wouldn’t have existed without Les Moonves. I’m pretty certain I’ve heard the Kings and Julianna-- and probably other cast members-- speak glowingly about him (before the allegations, obvs). He allowed TGW to flourish (and TGF to exist, which is kind of amazing when you think about it) while also enabling sexual assault all throughout CBS.

The reason for this meeting? Now they want to pay Cynthia off. Diane suggests letting the story surface, emphasizing that Carl did good things and bad things. Diane also, wisely, notes that if they pay someone off, then it becomes the whole firm’s problem. But it seems they might have already paid someone off, so it’s too little, too late. RBK had, in 2012, agreed to cover all of Reddick’s sexual harassment suits. (This is, apparently, “standard” for CEOs, barf.)

I’d still like to dig into Diane’s “just own it” idea a little more, but I do see why the other partners (the ones who were actually there for the bulk of the time Reddick was) shut it down.

Then Wendy, the stenographer, speaks up: Carl Reddick assaulted her, too. If there are two, there are more than two, and I’m surprised that Liz is the first person to suggest this.

At home, later, Diane scrolls through Netflix (not a streaming site, this is Netflix’s layout with different shows), unable to decide what to watch. I’m sad to report none of the fake shows are any fun, and none of them are Darkness at Noon. I guess Darkness at Noon is probably on AMC All Access, behind a paywall…

Kurt arrives home and asks what Diane’s doing. “Figuring out whether to watch a German series about serial killers or a Scandinavian series about serial killers,” Diane replies. Haven’t we all been there? That’s scrolling through Netflix in one sentence.

Diane has “helped” Kurt pack for a trip, and THANK GOD, she’s not kicking him out (that’s how scenes where the husband arrives home to find his bags packed always go). She’s passive-aggressively packing for his upcoming trip she discovered on their credit card account.

Kurt’s going on a safari. Diane says she doesn’t shoot anymore (I guess since 2x10?) and wants to know who Kurt’s going with. Shouldn’t Kurt be telling Diane if he’s going to go on a safari?

Kurt senses something’s up and asks what’s wrong. Diane says work has her thinking about “men.” Then she tells Kurt she doesn’t think he’s being honest and says she doesn’t like pretending to be the “cool wife who overlooks lies.” Is “Cool Wife” a variation of “Cool Girl” and if so, can we get a Gillian Flynn novel about it, please?

Finally, the truth emerges: Kurt isn’t hiding an affair (though Diane briefly suspects he’s seeing someone named “Holly Westfall” again… idk, have we ever heard that name? Nothing’s coming to mind, because Kurt never cheated on Diane and Peter’s trial never happened.). He’s giving private shooting lessons to 45’s sons.

My GOD, Diane’s reaction.

I love how every time Diane says “safari” she says it with a little more disbelief in her voice.

Kurt says this is just a job; he’s being paid. Can he take someone else’s money then? How strapped for cash is he? This is like the “we’re defense attorneys!” line Diane always goes back to. SURE, but you don’t have to take EVERY case to be profitable.

Diane proceeds to start BANGING HER HEAD AGAINST THE WALL, REPEATEDLY. This scene is simultaneously comedic, dramatic, and ridiculous and I love it. I’m not sure how it manages to feel far-fetched and also character-driven at the same time, but hey, it works.

Diane storms out, saying she’s going to do something she should’ve done nine months ago: conjure up space bugs. Okay, no, she’s making contact with her FuzzyFuzzyCuteCute friend, but she’s doing so in a way that involves moving lots of flowers to her windowsill, and THAT’S HOW YOU DRAW IN THE SPACE BUGS.

In case I haven’t said it enough times, TGF in some ways seems more like it’s a continuation of BrainDead than TGW.

Diane talks to Tara and asks her to break her NDA (some legal nonsense) and come forward with allegations that 45 paid for her abortion. Tara asks Diane why now, and Diane’s answer is kind of bullshit: “because now it’s personal.” And it wasn’t before?! And that matters?! (I believe it from Diane, but come on. You need it to be personal to fight this as hard as you can? The fact that this administration’s policies are having catastrophic effects on families isn’t enough?)

Adrian finally shows Liz the interview with Cynthia, and Audra McDonald could win an Emmy for her reaction shots alone (I can’t say enough times how pleased I am with the addition of Liz). Adrian draws the curtains of Will’s office, I mean Liz’s office, to give them some privacy. Good move.

Liz wants to know if Adrian knew, and she has good reasons to believe he might have. For one, when they were married, Adrian asked how her parents were doing-- suggesting they might have reason to not be doing so well.

Liz goes into her bathroom (first time we’ve seen this set, though we’ve obviously known it existed from ~Willicia sexytimes~) (Not to derail this recap entirely, but does anyone else ever wonder how Willicia would’ve played in this day and age? I wouldn’t consider it assault or harassment because it was obviously consensual, but I don’t know that you can do a boss/employee romance plot as easily today as you could in 2011.)

Liz, through tears, confesses that her father didn’t always treat her mom (or “us”-- I assume meaning Liz and any siblings she may have) well. She’d always rationalized it as the part of “sharing him with the world” while he was “fighting,” but “he was just here.” God, this is devastating, and this scene is spectacularly done.

Adrian tries to comfort Liz, but she realizes something: Adrian put in the glass walls. She wants to know why. Was he trying to force Carl to be more transparent about something? Liz remembers her dad complaining about the glass walls. Adrian says it was just a design choice. Liz doesn’t believe it, but she’s moved on to other things. She’s putting on her jacket and trying to decide her next move. She angrily opens up the curtains even though she’s about to leave her office (just to show that she values transparency) and marches down to the partner’s meeting.

Everyone quiets down when Liz walks in. She grabs a notepad and a chair and begins to take an active role in negotiating payouts. Julius mentions Wendy, and Liz didn’t know about Wendy yet. Her reaction? A long pause, and then: “My dad raped the stenographer?”

Have I mentioned yet that Audra’s great? She delivers the line with a fantastic blend of anger and resignation. And I love the line itself, particularly the use of the word “rape.” Aside from Cynthia’s daughter, Liz is the first person in the episode to call Carl’s actions what they are, and it’s meaningful to hear the word from her. Liz isn’t shying away from what her father did; she is trying to figure out how to name it and address it. Pretty remarkable.

Liz volunteers to make the deal with Cynthia. She immediately begins to ask Jay for help, but she thinks again and goes to Marissa instead (and says “rape” again) to find out if there are any others. Adrian and Diane should’ve had Marissa on this yesterday.

LUCCA!!!!!!!!!!

Sorry I’m just happy to see Lucca Quinn, who is the best and does not get nearly enough screentime. Because Lucca is the best, she’s meeting with the partners. She thinks something must be wrong-- that she’s about to be fired (no!!! I don’t even like thinking about that!!). But nothing is wrong. “In fact, consider this a promotion,” Adrian says. He offers Lucca the position of head of divorce law. (What are the odds we get through this arc without a cameo from David Lee?)

People who know more about the law than I do, is this even remotely plausible? Shouldn’t this be Lucca’s specialty if we’re going to see her head it up? Have we ever seen her on a divorce case?

The guy they had hired to head up divorce law had “harassment issues at his last firm.” “And that’s a problem these days?” Lucca jokes, not knowing just how bad her timing is. No one else laughs. (I! Love! Scenes! That! Show! That! Some! Of! The! Characters! Are! Junior! Staff!)

Lucca does not seem to want this promotion, but she realizes she’s being told, not asked.

Meanwhile, Maia’s spending her work day staring at the company website. Adrian stops by to see her (guess Lucca didn’t talk to her) and console her about the website. Maia now chooses to explain her scratched cornea. She doesn’t explain it clearly, so Adrian continues with his speech. “This is not a reflection of how we feel about you. It’s a branding thing.”

I suppose the same could also be said of the fact that the main poster for this season of TGF features Diane, Adrian, and Lucca when the first two seasons had posters featuring Diane, Maia, and Lucca. Maia adds less value, to the show and to the firm!!!!!

(I don’t hate this Maia plot, I just think it’s silly and unnecessary, and Maia’s still done nothing to prove to me that she’s interested in her job and/or good at it.)

“You keep up the good work,” Adrian says. Forget good work. What WORK?

The partners fussing over the website has made it a Big Deal for Maia, and now she’s pissed! Luckily, Marissa’s there to teach her how to be a badass.

“I’m a third year associate, and they are treating me like I was hired yesterday,” Maia fumes. Well, are you doing the work of a third year associate, or are you doing the “work” of a new hire who hasn’t yet been staffed on projects and just stares at the company website all day? Hmmmmm?

Marissa blames this on “the curse of short people.” Is Maia short? She’s never seemed short. Rose Leslie is, according to Google, 5’6”, which is hardly short! Then Marissa starts rambling about “the volcano of Vulcan” and, whatever, Marissa, I think Maia’s problem is that she has scumbag parents, not that she’s short.

Marissa’s advice-- which is basically to be more confident-- isn’t bad advice. But that’s not why Maia’s not on the website. Maia could be Lucca levels of incredible and her name would still look toxic on the website.

Maia’s so awkward she makes me look confident.

Marissa commands a “tall lady” not to wash her hands after using the bathroom and what, that’s gross, why are you doing this Marissa?

Marissa has a gift for Maia: Sunglasses that are “cool.” Marissa then breaks the doctor-approved sunglasses. Seems… unwise.

New, cool Maia gets a theme song and a leather jacket. She makes quite an impression on the image consultant in the elevator, and he asks her out. She rejects him. Ha ha.

Liz and Jay head to Cynthia’s next. They remember meeting each other before. Liz mentions the NDA, and Cynthia responds, “Your father wasn’t a bad man.” “I don’t understand how you can feel that way after everything that he did,” Liz replies.

Liz seems like she’s close to getting a signature on the NDA when Naomi Nivola, the reporter from 2x05, appears at her door asking about sexual harassment. Cynthia’s daughter tipped her off. I’m very happy to see Naomi again, not because I think she’s a wonderful character but because I thought Adrian’s “starfucking” excuse was too weak of a conclusion to her plotline last season. I’m almost glad to know she still holds a grudge, because it doesn’t let Adrian off the hook for some shitty behavior. Adrian isn’t Carl Reddick levels of disgusting but he’s done some troublesome things (and the way he talks to the female characters is a little condescending, no??)

(I went to re-read my thoughts on 2x05 and Naomi as I was writing this, and apparently I said I thought an episode about NDAs as they relate to #MeToo would be interesting. Hah!)

It’s still raining.

“I’ll talk to Naomi, find out what she knows,” Adrian decides. “You?! No,” Liz replies. Adrian actually asks why not!!!

Liz goes to settle with the stenographer next, and, again, she insists on doing it herself.

Maia is holding an NDA and sitting out at one of the associate desks, surrounded by a bunch of black men (does the firm have female associates?). Maia’s holding a red folder, and while that should mean she’s working on a case, she probably just picked it up because it was BOLD LIKE HER. What are work files if not accessories to make you look badass?

Maia’s also got her feet up on the desk. YOU’RE AT WORK, GIRL.

Julius asks Maia to move her feet. “Yeah? What do you need?” she replies. Julius is too stunned to actually play rank. Maia takes this as a victory. She shouldn’t. She can do this once, maybe twice, before it stops being cute and confusing and starts looking like what it is: an entitled white girl acting out and being disrespectful. If she wants to create distance from her parents’ scandal-- the actual issue here-- then she needs to be mature and develop a plan to work around it. She could, for example, take on lots of charity work and write an op-ed about deciding to help turn her dad in, and what she’s learned about the world from having her world crash down. Acting out in designer boots, red lipstick, and sunglasses is going to make Maia look like the oblivious child of privilege she is.

Why does this show insist on saying that Maia’s biggest weakness is her lack of boldness? She’s just awkward. She’s plenty confident. She just expresses it poorly.

I know this is a comedic subplot but Maia does not really behave like a human being??? Who would have that interaction and then feel self-satisfied? This is her place of work!!! She looks ridiculous!! She just talked back to a partner!!

Wendy doesn’t want to sign the NDA, and she doesn’t want any money. She says she’ll never tell anyone, because “there are so many people who want to destroy men. Black men.” And she doesn’t want to be a part of it. Interesting perspective, not one I agree with but one I’m pleased the writers included because it adds some nuance to the episode’s exploration of #MeToo.

Naomi and Jay talk in a not-very-interesting scene that includes some weird and unnecessary close ups of Jay. Main takeaway: Naomi thinks it’s Adrian who assaulted Cynthia.

Don’t really get why it’s great that Naomi thinks it’s Adrian. I suppose she’s a good enough journalist she wouldn’t publish a story there was no evidence for, but Adrian being able to deny it without lying hardly seems like cause for celebration. And would Naomi really drop it if Adrian said he didn’t rape anyone?

Eric and Don bailed on the safari, so Kurt’s still around. He winces when Diane hugs him, and Diane doesn’t let it slip. Kurt, being Kurt, says nothing is wrong.

He goes to the bathroom, and Diane’s phone rings. It’s Tara saying she won’t come forward.

Diane joins Kurt in the bathroom (lots of scenes in bathrooms this ep) and notices he has a huge bruise on his shoulder because Eric or Don shot him. We don’t get to find out-- and neither does Diane-- because Kurt’s signed an NDA about the incident. HAHAHA!

Adrian has his interview with Naomi. He denies they’ve asked Cynthia to sign an NDA, and denies he harassed her. And that’s it, until Naomi reveals THE REAL STORY: Assholes to Avoid.

I wonder, IRL, how much this would hurt the firm. I also am still not sure why they took that damn case. 2x05 and whichever ep was Assholes (I mentioned I’m glad we’re not counting days anymore, right?) annoyed me more than basically any other s2 episode because they were tied up so neatly, so I’m happy to see both cases come back to complicate things.

Now shit gets weird. I assume this next scene is one of the “soliloquies” the Kings mentioned that the season would include, and I like the idea more than the execution. The characters taking turns verbalizing their inner thoughts in eloquent speeches to no one? Sure! I’m down! Diane suddenly beginning to talk to a Trump-shaped bruise THAT MOVES AND TALKS in the middle of an episode? I’ll just say I hope they’re not all like this.

“The footman to the king. I am married to the footman to the king,�� Diane starts. Then TrumpBruise talks back (don’t love this impersonation). I think this would work just fine as a monologue, and I definitely don’t need the animation. I couldn’t see it the first time through and the episode was better for it.

Anyway, Diane’s upset that Kurt’s become a worthless servant to a family she loathes, and she connects this to her ongoing thoughts on the State of Masculinity.

“What has happened to men? Where did the real guys go? Why do we now have these snide little creatures with slicked-back hair and cologne? What happened to Paul Newman and Burt Lancaster? What happened to men who were slow to anger and responsible and who didn’t cry like whiny little bitches? When did Trump and Kavanaugh become our idea of an aggrieved man, quivering lips, blaming everyone but themselves? You’re not fit to kiss my husband’s feet. A truthful man, uncomplaining, never passing the buck, never punching unless he’s punched. When did he become the exception?” Okay. But toxic masculinity is not a new thing. This isn’t insightful enough for me to applaud it and it’s not offensive/wrong enough for me to actually want to dissect it. I like that the show’s taking risks and like the soliloquy idea but this is… meh.

Bruise starts talking about how happy he is. He’s taunting Diane (well, technically, Diane is criticizing herself) because she was happy earlier, and now she’s not and this asshole Bruise is sooooo happy.

So Diane’s solution is to leak Tara’s abortion. Interestingly, she imagines TrumpBruise calling her out on breaking Tara’s confidence. Implying that Bruise has a conscience (or enough savvy to push her buttons), even one fueled by Diane’s imagination, feels weird to me. Diane’s imagining Bruise has a conscience?!

FRANCESCA IS STILL AROUND!!! My wish to ditch Colin and keep his mom came true!

Francesa is singing “I Wanna Be Sedated” to her grandson. Of course she is.

I’m unclear on a few things with this scene: who is Francesca talking to? Does Francesca know them? This must be Lucca’s house (?) if Francesca is leaving and taking calls for Lucca, but why does Lucca have a land line, and why would a client be calling her on it?

Francesca has an Instagram. God, I would love it if that account existed.

Lucca’s baby is really cute. What’s the kid’s name? Is it Joseph?

Francesca tells Lucca she’s the perfect divorce lawyer. Anyone else feel like we missed a scene or three with this Lucca/divorce law plot? Why would Francesca say that? Does she know about the opportunity? Was Lucca working divorce cases and doing great? MORE LUCCA NOW.

Maia’s still wearing her sunglasses the next day (unclear if this is for medical reasons or because she doesn’t know when to just stop). She’s sitting in on a meeting of the partners about the new Assholes scandal.

Adrian says they need to get their story straight, that they didn’t know they were taking down the site. That’s blatantly false, and Maia speaks up to say so. Adrian says they didn’t. Um, they did. Julius asks Maia to step out, and Lucca, who has a seat at the table, defends Maia. Julius says “this should be a partner thing” and Maia gets up to leave. Lucca, who is also not a partner unless we did, indeed, miss multiple Lucca scenes, asks Maia for her opinion.

On her way out, Maia says RBL should “own it. Our client wanted us to take down a #MeToo site. We didn’t agree, but we took it down. Because we’re that good.” Meh. That’s really the only way out of this. But as a client, I would not be reassured by that, especially not if I had brought my business to a firm specifically because of its values.

Adrian takes Badass!Maia’s advice, word for word. And it works. This particular client also wants to know who Maia Rindell is. He typed in ReddickBoseman.net instead of .com (but WHY) and it landed on a “really really cool” page about Maia.

Liz and Adrian immediately go to find this cool site, and Adrian shows how hip he is by typing a url in the search bar. What pops up is a site with the RBL logo and several ~fashionable~ pictures of Maia and her Miraculous Sunglasses. It’s hilariously terrible. They’re not bad pictures, but it’s sooooooooooooooooo inappropriate and ridiculous. It’s also unnecessary, and I know I’m overthinking a sight gag (and it is an effective sight gag) but if Maia wanted to be on the website that badly, she could have, you know, SAID SO instead of making a fucking website.

Lol @ Maia staging a photoshoot at the office. Why wouldn’t she?

The website has the tagline “younger-tougher-smarter”. Well, one of those things is true, and you all know which one it is.

Cynthia’s back, in the office, to sign the NDA. She does.

Marissa’s prepared her research on Carl Reddick. She leaves it with Liz, in a green folder.

Diane goes to Naomi with Tara’s story. We don’t hear her tell it, so there’s a chance she thought better of it, but omg, how shitty, Diane!!!!!

Liz and Adrian share a drink. Adrian says he did suspect that Carl might have been having an affair, he just never thought it was assault.

“Your dad was really good to me, Liz. He’s the reason I have a career,” Adrian explains. “Me too,” Liz says, raising her glass. Damn. I don’t think those words were chosen unintentionally. Lots of layers to this scene.

Adrian decides to lighten the mood by mocking the image consultant. Liz, who’s wearing heels similar to the ones Maia was wearing earlier and has her feet up just like Maia did, comes up with an identity for the firm: “We’re a firm with no past. Not anymore. We’re starting over. That’s refreshing.”

Then they toast to Peter Florrick’s State’s Attorney campaign slogan/the writer’s perpetual favorite phrase: “New beginnings.” But it’s still storming, and the folder with all of Carl Reddick’s past misdeeds is sitting feet away. Dramatic!

As the credits roll, there’s an actual count of all the red folders in the episode. Heh.

I’m very on board with this season so far. Can’t wait to see what happens next!

Couldn’t all the episodes of this show (and TGW) be called The One About the Recent Troubles, though???

#the good fight #tgf thoughts #i feel so out of practice. what are words and how do i make them go together?!

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