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March 1, 2012 Allgemein , , ,

How “The Good Wife” became the first great series about technology.

Der Newyorker über die heim­liche Stärke von “The Good Wife”, den Fällen die sich endlich auf Höhe der Zeit mit Tech­nolo­gie, Per­sön­lichkeits — und Urhe­ber­recht im Inter­net beschäftigen:

What has received less notice than the show’s com­plex­ity and its bold female char­ac­ters is its unprece­dented empha­sis on tech­nol­ogy. This sea­son alone, Lock­hart Gard­ner took a case involv­ing the online cur­rency bit­coin; used Twit­ter to upend British libel laws; han­dled a mil­i­tary case involv­ing drone war­fare; lit­i­gated crimes fea­tur­ing vio­lent video games and a “date rape” app; and dealt with var­i­ous leaked-image dis­as­ters[…]. In one dizzy­ingly self-reflective story line, a Zucker­ber­gian entre­pre­neur sued a Sorki­nesque screen­writer; the episode had a con­fi­dent struc­tural wit, sub­ject­ing a writer who defended dis­torted por­tray­als to his own dis­torted por­trayal. Over time, such plots have become a dense, provoca­tive dialec­tic, one that weighs technology’s free­doms against its dan­gers, with a global sweep and an insider’s nuance.