The economic maladies portrayed in Aziz Ansari’s Good Fortune have degrees of legitimacy and resonance, but they are rooted in a profoundly misguided worldview. This is Ansari’s first major work since his 2018 #MeToo cancellation — sparked by a tabloid exposé of a bad date — and he returns with a script and directorial debut that combines the stubbornly obtuse economics of John Steinbeck’s The Grapes of Wrath with the blithe tone of a buddy comedy .

Ansari casts himself as Arj, a downtrodden documentary filmmaker working odd jobs to get by. The film fixates much of its ire on the gig economy; Arj is seen doing everything from food delivery to standing in line for others — anything to make ends meet. He is no noble, starving artist from Puccini’s La Bohème but simply brok

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