Good to Go

The action unfolds during the 1970s in Washington, D.C., a period marked by political scandals and social change. The era's media sensationalism and the rising go-go music scene provide the film's backdrop. Street-level crime and municipal investigations converge as journalism, police work, and music collide.

Set in 1970s Washington, D.C., the film unfolds across a city of power, media, and music. The Watergate complex appears as a symbol of political maneuvering and big-money deals. Washington Metropolitan Hospital anchors the central crime that triggers the investigation. The go-go clubs and the Washington Daily Tribune newsroom anchor the film's cultural and media landscape.

🗞️ Media Ethics

The story centers on journalism and the pressure to publish sensational stories. Blass initially aids in a controversial report that links a nurse’s murder to go-go culture and drugs. As truth emerges, he confronts the risks of publishing biased or fabricated information. The film explores the responsibility of reporters to verify facts before distributing potentially explosive claims.

🕵️ Police Misconduct

Det. Harrigan uses his authority to manipulate police reports and deflect blame onto a cultural movement. The plot follows Blass’s realization that the police narrative is built on falsifications. This theme tracks the clash between investigative integrity and systemic corruption. The protagonist’s efforts aim to expose misconduct and hold power to account.

🎵 Go-Go Culture

Go-go music is depicted as a vibrant urban force driving venues and a new national attention for local bands. Max seeks to leverage the genre’s energy into a national recording contract, highlighting the business side of a community art form. The film also shows how media sensationalism can shape public perception of the culture. The tension between artistic empowerment and criminal associations underscores the complexity of the scene.