Scott Aaronson in Shtetl-Optimized:
In one sentence, then, here’s my beef with The Chair: its script portrays a mob, step by step, destroying an innocent man’s life over nothing, and yet it wants me to feel the mob’s pain, and be disappointed in its victim for mulishly insisting on his innocence (even though he is, in fact, innocent).
With real-life woke controversies, there often lingers the question of whether the accused might really be a racist, fascist, sexual predator, or whatever else, adequate proof or no. What’s different here is that we know that Bill Dobson is none of those things, we know he’s decent to his core, because the writers have painstakingly shown us that. And yet, in a weird narrative pretzel, we’re nevertheless supposed to be mad at him, and to sympathize with the campaign to cancel him.