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The Good Fight Cast and Creators on the Final Season: “We Got to Do Everything We Wanted”

The Kings, Sarah Steele, and new cast member Andre Braugher break down what it was like saying goodbye

Good Fight Season 6
The Good Fight (Paramount+)

    The Good Fight star Sarah Steele wants to clear up one rumor she’s heard: Season 6 of the Paramount+ original series does not conclude with everyone dying. “That’s not how it ends,” she tells Consequence via Zoom. “The only show that ends like that is Six Feet Under, which is called Six Feet Under and is about death. But [when I heard the rumor] I was like, ‘that would certainly break the mold.'”

    “Break the mold” is a turn of phrase that has a lot of applications when talking about The Good Fight, because for six glorious seasons, the Paramount+ spinoff of CBS’s The Good Wife has defied all expectations of what a legal drama can, might, and should do.

    To put it another way, if rocks did fall and kill the entire cast in the series finale, that would not be the weirdest thing to have happened over the course of the show’s run, which has encompassed musical numbers, animated sequences, a season where the characters occasionally broke out into Shakespeare-esque monologues, and a season where the characters talked regularly to the ghosts of Frederick Douglass and Ruth Bader Ginsberg (played, of course, by Ben Vereen and Elaine May).

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    For the show’s final run, co-creator Robert King tells Consequence that “each season has its own obsession” and this season’s obsession is “civil war.” “What is interesting is when you’re in the midst of danger and violence, it’s not the way people on TV are expected to be where everybody’s braced and hiding,” he says. “They’re still trying to work, as things are falling apart. That was the key thing of this season, wanting to focus on this coming strife that we’re all thinking we’re heading towards.”

    Adds co-creator Michelle King, “We’re at a crisis point, but then we also want to see, what happens the day after a crisis point? You still need groceries. You still need to get to work.”

    It’s a vibe very similar to a slightly obscure 1971 film called Little Murders, which depicts a New York on the verge of descending into complete anarchy, which Robert acknowledges: “This idea of how one day you’re upset because a hand grenade’s been thrown in your elevator. The next day, it’s just like, ‘Oh yeah, another one of those.'”

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