Troublesome tech

In 2023, Michael Connelly joined a group of other writers to file a lawsuit against OpenAI for copyright infringement — for using their works without permission. His latest novel, The Proving Ground, goes after the artificial intelligence (AI) industry in furious, fictional form.

To do so he recruits Mickey Haller, the Lincoln Lawyer of seven of Connelly’s previous legal thrillers. Mickey is aided by another familiar Connelly character, Jack McEvoy, a journalist with expertise in computer technology and the main character in his own three-book series.

The Lincoln limos that once served as Mickey’s law offices have been put into storage, and he’s taken on bigger, nobler causes. He’s now a prosecutor in civil law cases rather than a defence attorney in criminal law. Technically he may no longer be a Lincoln Lawyer, but he’s still as quick-thinking, resourceful and feisty as ever.

Mickey is hired by single-parent Brenda Randolph, whose only daughter was murdered by her teenage boyfriend after encouragement by an AI chatbot. Brenda wants Tidalwaiv, the AI company that developed the chatbot, to apologize, take some responsibility for the murder and fix the problem so that it doesn’t happen again. Her lawsuit is joined by the parents of the 16-year-old murderer, who believe their son was tricked by the chatbot. Tidalwaiv just wants the entire matter to disappear and is willing to pay the parents 50 million if they sign non-disclosure agreements and drop the lawsuit.

With billions of dollars at stake for Tidalwaiv and their slick team of lawyers, this is perfectly set up as a classic David-versus-Goliath encounter. Mickey, who tells the story in his own inimitable first-person style, compares the courtroom to the Octagon, “where mixed martial arts are deployed in brutal combat.” He must battle to prove his case and prove himself.

The problem with The Proving Ground is the courtroom combat is far from brutal.

Mickey’s opposing attorneys, the Mason brothers, threaten him, but they’re pale, one-dimensional foils. A real two-against-one battle royal never materializes. Even the villain of the story, a conscience-free billionaire AI entrepreneur, fizzles.

In fact aside from Mickey, who has some depth because he tells the story and reveals his plans and anxieties, most of the other characters seem to be mere functions of the plot.

Rather than character development and equal opponents battling each other, what Connelly relies on are the complications and setbacks that can sabotage a trial. Possible witnesses for Mickey’s side die, back out or are ruled out by the judge. Mysterious break-ins occur, intimidations happen, bribes are proposed. An old case that Mickey lost intrudes again. His ex-wife, Maggie McFierce (McPherson), is a distraction when she moves back in with him because her house is destroyed in the L.A. wildfires. Problems, problems! But they’re all external. The fight doesn’t pivot on the battling fighters. And the ending is too easy.

During the trial, Mickey’s expert witness explains AI to the jury in such clear, understandable, unchallenged terms that it’s more like Connelly is addressing his readers as much as Mickey’s witnesses are talking to the jury. We learn why teenagers are so vulnerable, what the Eliza Effect is, why the phrase “Garbage in, garbage out” is at the heart of AI’s dangerous effects, why AI must be carefully regulated.

Connelly is a past master of legal dramas. The Proving Ground is informative, engaging and timely. It’s written with a certain urgency that makes it feel important. But it seems hasty, contrived, preachy. It’s not nearly as tense as his previous Lincoln Lawyer books. And it’s difficult to imagine that another one could possibly be in the works.

If this is in fact the final appearance of Mickey Haller, he could use a more satisfying send-off.

Gene Walz dedicates this review to the late Nick Martin, whose unique Free Press book reviews of crime novels will be dearly missed.