The Good Daughter Is One Exhausting Trauma Dump After Another ...Middle East

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Rose Byrne, left, and Meghann Fahy in The Good Daughter —Peacock

A couple of decades after the above tragedy, the younger sister, Charlie Quinn (Meghann Fahy), is a lawyer working with her dad Rusty (Brendan Gleeson). Brash and crude yet fond of quoting highbrow literature—and pariahs in a town that blames Rusty for multiple real or perceived miscarriages of justice—father and daughter are in rough shape. He’s a sickly, aging drinker. Separated from her husband (Michael Dorman), Charlie awakens one morning with a phone belonging to last night’s hookup (Jake McDorman). She brings it to the high school where he teaches (and she spent some of the worst years of her life as a student) and happens to be present for a fatal shooting. But something doesn’t add up about the apparent culprit, Kelly (Shayna Benardo), a poor, placid girl with learning difficulties. She’s the perfect client for Rusty.

Meghann Fahy and Brendan Gleeson in The Good Daughter —Mark Hill—Peacock

Byrne, Gleeson, and Fahy (the standout here) are great actors, but there’s only so much they can do for a script built on coincidence and contrivance. One death happens at such a convenient moment, it's comical. Worse is how The Good Daughter, adapted by veteran suspense author and rookie showrunner Karin Slaughter from her 2017 best seller, collects horrors, as though cataloging everything awful that could happen to a woman. Sure, it exposes one gender’s brutality to another, but that isn't exactly unexplored territory, especially in this genre. Real mysteries, like what keeps Rusty in a town and a job that destroyed his family, are shrugged off with portentous metaphors about stories—who has the power to tell them, who gets to rewrite their own. In bringing this book to TV, Slaughter might have entrusted the latter task to someone else.

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