THE GOOD WIFE Sees "Red"

Article first published as THE GOOD WIFE Review Season 6 Episode 8 The Red Zone on Seat42F.



Numerous players on CBS’s THE GOOD WIFE go into “The Red Zone” this week. Alicia (Julianna Margulies) tries to do what she thinks is right and good, but quickly learns that, like Games of Thrones’ Jon Snow, she knows nothing (about campaigning or how things she does will play to the public). Cary (Matt Czuchry) considers testifying on his own behalf, since any witnesses that can help him are dead, but prep for said testifying goes horribly wrong. Kalinda (Archie Panjabi) is caught between the woman she loves, the man she loves, and a cold-hearted murderer. So, it’s just a typical day at Florrick / Agos / Lockhart.

First, let’s talk Alicia. She is still living her life like she’s not looking for votes. She takes on a new client (Californication’s Madeleine Martin) just as she’s supposed to be pulling back just because her brother (Dallas Roberts) asks her to. Then, she accompanies Finn (Matthew Goode) to a soup kitchen because she genuinely feels the need to give back, but unconcerned about appearance, the trip backfires when skewed pics are taken and posted online. Alicia protests that it goes against common sense to avoid these things, but Eli (Alan Cumming) basically tells her to get over it.

Candidate Alicia is going to be different than Lawyer Alicia. Now that she’s made the decision to run, she’s also made the decision to change, to become a politician. She resists, of course, but she does want the office, so she can’t help but make allowances. “The Red Zone” finds her listening to Eli and Johnny (Steven Pasquale) and the focus group they conduct. She may not like it, but she is coming around to how the game is played.

Can Alicia do this and still hold onto herself? I think so. Her case against Louis Canning (Michael J. Fox), which she wins be default, proves that. It’s a way to show her keeping a grip on the woman she’s become, the woman worthy of the office.

The question is, though, how far will she go? When her opponent is Castro, one could see her making quite a few sacrifices because he’s an evil bastard and needs to go down. Now that she’s up against a much more upstanding citizen, she may be tempted to hold back. Alicia hates Prady, who did trick her, but she has to admit he’ll do a much better job as State’s Attorney than Castro, so that might give her pause at a key moment.

Cary needs a pause in “The Red Zone.” With trial fast approaching and no one left to help him, he takes Kalinda’s advice to testify for himself. But angry that Kalinda is lying to him, sleeping with her old flame, Lana (Jill Flint), Cary gets emotional when Viola Walsh (Rita Wilson) and Diane (Christine Baranski) attempt to prep him. This Cary seems entitled and arrogant, and while we the viewers who know and love him can understand his frustration and rage, a jury will not. It takes Alicia in a moment of brutal honesty to make him pull back and find his center.

I’m really worried about Cary. He is drowning. He reaches out to Kalinda for an emotional life raft, and she snatches it away. Whether because she doesn’t feel the same way or because she’s trying to protect him, the reason doesn’t matter. Cary is alone with this and things are not looking good, even once he gets his head on straight.

Funnily enough, it is Kalinda that can save him. Kalinda is also backed into a corner, being intimidated by Lemond Bishop (Mike Colter), who doesn’t like her sleeping with a fed. Kalinda knows how dangerous Lemond is, how he’s killed those that inconvenience him. Kalinda alone at the law firm could come forward to testify against Lemond and stop him once and for all. It’s losing a valuable client, whom they’ve at least temporarily lost anyway, but it’s the right thing to do, if she can manage to stay alive while doing it.

I’m not sure if Kalinda is at that point yet, but she should be. By choosing not to stick a card in Lana’s wallet, Kalinda has marked both herself and her girlfriend for death or further threat. This is the time Kalinda needs to come clean to Lana or other law enforcement officials and go into witness protection. Though, knowing Kalinda, should she decided to go on the take-Lemond-down path, she’ll want to gather more evidence first or wear a wire, which could end tragically. Panjabi is slated to depart at the end of this season of THE GOOD WIFE anyway; might the show make her exit a little sooner and a little more permanent?

“The Red Zone” is another outstanding installment of THE GOOD WIFE, jam-packed with gripping story and numerous, great, recurring guest stars. The stakes seem high, the drama feels real, and no one is in a great position, making fans drool with anticipation for the next episode. I’m impressed the show has kept this up at such a high level for over a year now, and hope it continues indefinitely.

THE GOOD WIFE airs Sundays at 9-ish ET, depending on football, on CBS.

No "Oppo" For THE GOOD WIFE

Article first published as THE GOOD WIFE Review Season 6 Episode 4 Oppo Research on Seat42F.

This week’s episode of CBS’s THE GOOD WIFE, “Oppo Research,” puts the recent legal drama on hiatus as the focus shifts to Alicia’s (Julianna Margulies) campaign for State’s Attorney. That’s right, she’s running, and Eli (Alan Cumming) sets her up with a campaign manager named Johnny Elfman (Steven Pasquale, Rescue Me). Together, the three begin laying out what Alicia’s campaign will look like, starting with the bad stuff, which is much more of a problem than Alicia, or perhaps the viewer, expects.

There are plenty of people in Alicia’s life that could spell trouble for her. Her mother, Veronica (Stockard Channing), isn’t the most put-together woman, and there is video of her spanking a (horrible, misbehaving) child. Alicia’s husband, Peter (Chris Noth), hasn’t always been faithful, and because their separation isn’t public, it’s quite likely that he is sleeping with someone and it will look like he’s cheating. We learn in “Oppo Research” he isn’t fooling around with his slutty intern, whom Eli takes great joy in firing, but Peter could be sleeping with the intern’s mother. These two will probably flare up with more issues as the story unfolds.

Worse is Alicia’s brother, Owen (Dallas Roberts), who is seeing a married bareback gay porn star. Alicia doesn’t confront Owen about this in a mean way; instead, she is worried about his safety. But even raising the issue causes him to storm out. It’s really a shame that this should come between them, though Owen would have a right to be mad at Alicia for dragging him into the public eye without his consent. Let’s hope they work it out.

She also has a big problem with her son, Zach (Graham Phillips), who she learns had a secret abortion. Alicia is so furious at Zach that she essentially cuts him off, just asking him to support her in the media’s eye. We’ve never seen Alicia like this, though her anger is understandable, her son having been lying to her for quite awhile. Can she repair her relationship with Zach? He’s one with a track record of being trouble while thinking he’s doing the right thing, righteous stupidity. Combined with the now-chilly relationship, this can’t be good.

Alicia herself is by and large a good person. That’s why the name of the show is THE GOOD WIFE, and when considering her personally, there isn’t much dirt to dig up. She is moral, and while some may have a problem with her atheist leanings (a real life political landmine that shouldn’t be, in my opinion, being one myself), she does the right thing the vast majority of the time. Her slip ups are minor and average.

But even she does not escape the smear. Before even announces she’s entering the race, she is already set up for a DUI test (which she passes easily) in full front of the public eye, and stories about her alcoholism (which isn’t true; she isn’t an alcoholic) are spread. This goes to show that even someone as good as Alicia is at risk of being torn down during a campaign, a regrettable fact that only paints her opponent in a more negative light, which is saying something, since he’s already known to be total scum; the main reason Alicia is getting into politics is to keep him out of a position he doesn’t deserve.

The question I’m left wondering, and I’m sure it’s intentionally painted that way, is, is Finn (Matthew Goode) betraying Alicia? She is meeting him for a drink just before she is pulled over. Technically, he works for her opponent. While he claims that he wishes her nothing but the best and that their fights in court are merely a part of the job, what if he’s turned?

Now, I don’t really think that, of course, but you can be sure the thought will cross Alicia’s mind, and if not hers, than Elfman’s. This makes Finn look very bad. Thus far, Finn is painted only as a good guy on THE GOOD WIFE, and if he ends up being crooked, I will be very surprised. But the implication may be enough to stir up trouble.

And, of course, there’s Lemond Bishop (Mike Colter), a drug dealer that Alicia represents. She tried to fire him, and once he finds out why, he not only lets her, but forms a secret PAC to support her. Alicia has never liked Lemond and it’s likely she sees the campaign as a good excuse to be rid of him once and for her. His thwarting of her efforts, tying her even more firmly to him, will come back to hurt her in the end. It’s not Alicia’s fault she’s in this position, exactly, but I don’t see any way for her to come out of it smelling good.

So, with all of this in mind, should she run? It’s a little late to ask that, since she’s pulled the trigger, but I’m more divided now than ever. One wants to see her move up in life, and the arc ramped up on “Oppo Research” gives the show new ways to grow, exploring fresh plot avenues. Unfortunately, this is also a way more cruel game than Alicia is used to playing and I worry what might happen to her in the heat of battle. One thing is for sure, this will not be a boring year.

THE GOOD WIFE airs Sunday evenings on CBS around 9 p.m. ET. Air times may vary based on sports run-overs.

The Walking Dead Ventures Into the Tombs

Article first published as THE WALKING DEAD Recap Season 3 Episode 16 Welcome To The Tombs on Seat42F.

Grade: 91%

AMC’s THE WALKING DEAD completes its third season with “Welcome to the Tombs.” The Governor (David Morrissey) takes most of his people out to slaughter the prison group. Upon arriving, they find a seemingly empty prison, and then Rick (Andrew Lincoln) and the others emerge from hiding and drive them off. The Governor is furious at the retreat, and when his army refuses to go back, he kills his own people.

This is the darkest we have ever seen the Governor get. We know that he has no problem murdering and torturing individuals, and he full intends to massacre Rick’s people now. Yet, there is something extra chilling about the callous way he mows down an entire squadron under his command, walking around and delivering extra bullets into their heads, just to make sure they are dead. Then, he jumps into his truck nonchalantly. It’s an all new level for character that is already very dark.

The Governor doesn’t quite kill everyone, though. He leaves Martinez (Jose Pablo Cantillo) and Shupert (Travis Love) alive, and they get into the truck with him, although they are both clearly very shaken by what they witness him do. Assumedly, they get to live because the Governor still needs some assistance, and they seem to be the most loyal of his followers. At this point, their allegiance may stem more from fear than a commitment to the man, but hey, loyalty is loyalty, right?

Unfortunately, we don’t see this trio again for the rest of the hour. Many people expect “Welcome to the Tombs” to be a huge battle between the Governor and Rick’s respective camps, with high body counts on both sides. This is probably because that is how THE WALKING DEAD comics ended the story, and season two’s climax last spring was huge, from an action standpoint. Yet, the Governor drives off, not to be seen again, for now.

Is this a misstep for the show? On one hand, I completely respect that the series’ writers did the unexpected and went down a surprising path, one that is quite a bit more understated than most thought it would be. Martinez and Shupert don’t seem in any shape to continue, and Rick’s people would still be ready for them if they struck again right away. Three men against the prison group wouldn’t likely do so well, even with their superior firepower.

On the other hand, there are sure to be many unhappy fans after viewing the episode. The Governor seems so bent on revenge, it doesn’t quite make sense to see his character give up, even if only temporarily. He’s a smart man, though, so I guess he’s right to bide his time. But by doing so, it means that the hour fails to deliver the adrenaline-pumping finale viewers are looking for. I really hope it doesn’t create a backlash that the show didn’t deliver, a la The Killing.

The Governor’s initial attack on the prison, blowing up the guard towers, and plunging into the dark depths of the facility, is cool. This is what we are looking for. It just ends far too early for some tastes.

Honestly, as someone who absolutely loves this series, I’m still not sure if I’m satisfied or not with this installment yet. But considering how seriously good THE WALKING DEAD has been for so long, I’m willing to try to give them the benefit of the doubt that a neat plan is in place, even if that means waiting six months for the next part of it.

It has already been announced that Morrissey will return full-time next season, so the Governor’s arc isn’t over yet; there may still be a large-scale showdown. The Governor has been such a deliciously layered character, a truly remarkable villain, that it is gratifying to know he won’t just disappear into the night, or be killed off too quickly. This isn’t really the ending, so in that regard, it’s OK that it’s smaller.

When the Governor’s people retreat, Rick and the group to decide to go after them. They’re ready to be done with the conflict, and so they decide to attack the bad guys on the road or in Woodbury. It’s a little weird that only Rick, Michonne (Danai Gurari), and Daryl (Norman Reedus) go, as three people against the big gang that just fled doesn’t seem like enough. Yet, if any three could accomplish such a feat, it would be these.

Is it a mistake that Glenn (SteveN Yeun) and Maggie (Lauren Cohan) decide to stay behind? Are they sending their friends to certain death, since they won’t provide support? Or are they too happy as a couple, having recently gotten engaged, to risk losing one another? Their motivations aren’t discussed, and Rick accepts their decision without argument. Yet, at the same time, it’s a bit of a disappointment that these two don’t appear to be willing to play their part anymore, and one could argue that their refusal constitutes betrayal, even if it isn’t treated as such by Rick.

This is a great scene to parallel the Governor’s plot. As the Governor gets ready to leave Woodbury for the prison, Tyreese (Chad L. Coleman) and Sasha (Sonequa Martin-Green) also decide to stay behind. At that point, readying the troops, the Governor can’t deny them in front of everyone. Instead, he says “thank you,” but it’s the angriest thanks I’ve ever heard, in stark contrast to Rick’s understanding tone. This illustrates the difference between the two leadership styles, and who the men are, perfectly.

It also allows Tyreese and Sasha to be the only ones at Woodbury, besides the very young or old, who can’t fight, when Rick, Michonne, and Daryl arrive. After a nice showdown at the gate, the remaining Woodbury residents decide to return to the prison and join Rick’s group.

Tyreese seems to have a good read of people, and while he is originally scared off by Rick, he is willing to forgive now, especially given the options. After all, Rick approaches with no aggression at all, weapon down. It helps that there is one survivor of the Governor’s killing spree, Karen (Melissa Ponzio, Teen Wolf), who can vouch for the Governor’s instability. Given the choice of staying in Woodbury, waiting for a crazy man to come back, or going to the relative safety of the prison, where there will be armed protection, Tyreese and the remaining Woodbury innocents make the right choice.

I do wonder if this doesn’t hurt the prison group, though. Many of their exterior defenses are destroyed, and although they have added a lot of people to protect and a lot of mouths to feed, they aren’t likely to find much help among the Woodbury denizens for defending or providing for the group, other than Tyreese, Sasha, and Karen. Everyone else isn’t fit enough to carry a gun, or the Governor would have forced them into servitude for his purposes. This may end up leaving the prison in a dire circumstance, and the Governor will likely be pleased by the burden Rick has agreed to, as it weakens Rick’s people.

At least Rick’s group doesn’t have any non-fighters left in it before the newbies come, which will help. Glenn and Maggie may not want to go to Woodbury, but they handle themselves well in conflict, Glenn no longer being the nervous nerd he is introduced as. Carl (Chandler Riggs) is practically an adult in the clan now, and even Beth (Emily Kinney) finally gets a Walker kill in this episode! They are as prepared as they can be.

While in Woodbury, Rick and the others find Andrea (Laurie Holden). At the beginning of “Welcome to the Tombs,” the Governor tortures Milton (Dallas Roberts), then leaves him dying in the room with Andrea when Milton refuses to kill her, Milton finally growing the backbone we’ve been waiting for. This effectively means he turns into a Walker and will attack her anyway, a very cruel move for the Governor to make, though certainly in keeping with his past behavior.

By the time Rick, et al arrive, Andrea has killed Walker Milton, but has been bitten, and will soon be turning herself. Michonne stays with her, and they Rick gives Andrea a gun so that she can end her life on her own terms. This is an incredibly moving scene, not only showing the affection between the characters, but even issuing a callback to a line of dialogue between Andrea and Rick early in the series’ run. It’s one of the better deaths in THE WALKING DEAD, since Andrea gets time to say goodbye.

It’s a little disappointing that Andrea dies so soon. She has been a wonderful character, one who survives much longer in the books, and it’s sad to see her go. However, “Welcome to the Tombs” effectively ends her current arc, where she does her best to save everyone and keeping blood from being shed. Some have found her recent plot to be annoying, but it’s hard to argue that it doesn’t end appropriately. Her heart is in the right place, and she goes out with dignity. Plus, she gets to explain some of her actions to Milton before he passes, which should ally some fan complaints.

Lastly, Carl shoots point blank a young member of the Woodbury offensive who tries to surrender. This, like Andrea’s recent story, is an action worth arguing over. Hershel (Scott Wilson) is disturbed to see Carl’s callousness, and reports it to Rick, who also disagrees with what Carl did. However, Carl points out that Rick has left other people alive, and it is has often come back to bite him in the butt. Carl, by killing the guy, is making sure he can’t hurt them later.

This is an interesting dilemma. Carl is justified in his opinion, and killing the boy is something Shane would have done, or even maybe Rick, a few episodes ago. Yet, the hard lesson Rick has been learning this season is to hang onto his humanity, and killing those they don’t have to is not in line with good judgment. Rick seems to have figured out that he still has to be a good person and try to help others, evidenced when he sees smiling Lori (Sarah Wayne Callies) in the prison this week, smiling as if approving of what Rick is doing. Sometimes, hard choices must be made, but sometimes that means taking a risk to do right by others, even if it costs you something later.

This is a debate that has gone on for some time on the show, with different characters taking up the two positions. How far should one go to survive and protect one’s friends and family? At this point, it looks like Rick is going to have to try to back Carl down from the stance he’s taken, making Carl remember the values Carl’s mother taught him. But will Rick come to regret that if softening Carl puts his son in danger? This will be interesting to see play out next year.

Season three has been a fantastic year for THE WALKING DEAD. The storytelling has shifted even more towards exploring character development and moral issues, while still keeping enough action and surprises to stay engaging. Even without the huge, expected war, this finale is a great episode by any measure. And, after the shock of not getting exactly what we were looking forward so much to wears off, I think most fans will appreciate it more.

THE WALKING DEAD will return in October on AMC.

The Walking Dead hunts its "Prey"

Article first published as THE WALKING DEAD Recap Season 3 Episode 14 Prey on Seat42F.

Grade: 93%

This week’s installment of AMC’s THE WALKING DEAD, “Prey,” is by and large a Woodbury-centric episode, even when it leaves the confines of the town. Andrea (Laurie Holden) is warned by Milton (Dallas Roberts) that the Governor (David Morrissey) plans on killing the prison group, no matter if they do as he has asked or not. And what he has asked for is Michonne (Danai Gurari), so he can torture her. It’s enough to make Andrea sick, and she flees town.

Setting off without a gun, with only a small knife for protection, in a post-apocalyptic world overrun by Walkers is insane. It is a measure of just how terrible a place Woodbury has become, now that Andrea sees the type of man the Governor really is in full light, that she attempts such a thing. Most stable people would not flee relative safety, but when that safety comes at a very high price, one that Andrea cannot live with, she makes her escape.

If anyone can survive with only a knife, it’s Andrea. After all, she only has to make it to the prison, so it’s not like she’ll be out wandering around for weeks. However, the Governor doesn’t make that easy for her, knowing that Andrea will warn her friends about his plans, thus spoiling them, and so he sets out after her.

I do think it’s a little thin that the Governor is able to so easily track Andrea down several times. Seeing her in the field is happenstance; I get that. But why doesn’t he pursue her on foot into the trees? And why doesn’t Andrea pick a different point to leave the trees at, instead of going straight through them, as she must for the Governor to be waiting on the other side? How does the Governor know which building Andrea goes into? Does she have to approach the prison from that exact spot, the one the Governor tracks her to? Why doesn’t she circle around? Why doesn’t Andrea take the Governor’s truck, or sabotage it, after dodging him in the building? Why does the Governor go after her alone, when taking Martinez (Jose Pablo Cantillo) and others will better assure Andrea can be found and stopped?

Some of this can be explained because the Governor and Andrea are both very smart, and they do what makes sense. After the building encounter, one of the creepiest scenes ever for THE WALKING DEAD, she may even be forgiven for thinking that the Governor is dead, and thus not needing to vary her path. But when the hunt is taken altogether, it does play a bit into bad horror movie conventions, where the villain has an uncanny ability to track his intended victim, no matter what happens.

“Prey” is the episode where we see the depth of the Governor’s insanity. He sets up a torture chamber in Woodbury, and stalks Andrea with a single-minded ruthlessness. The fact that he whistles while doing so and scrapes the shovel, alerting Andrea to his presence, is not only silly, because it allows her to avoid him, but cruel, intended to strike fear into her heart (and succeeding). Only a true psychopath, without any empathy for anyone else would act like this. He is a monster, plain and simple.

Andrea is one of the toughest characters on THE WALKING DEAD, and definitely someone who survives. Her play of letting loose the Walkers on the Governor is brilliant, bold, and brave. But I worry about her, now that the Governor has her. THE WALKING DEAD television series verges quite a bit away from its comic book roots, and so no one is safe. While I desperately hope that Andrea survives the season, for once she will not be able to do so alone, as she has become helpless. It’s a strange situation to see her in, but one that really ups the ante.

Andrea’s best shot is with Milton, but his days are numbered, too, and I really expect him not to survive the last two hours of the season. He has gone against the Governor, warning Andrea and quite possibly setting fire to the Governor’s captured Walkers. The fact that he knew the Governor before he was the Governor has given Milton a pass thus far. But as the Governor moves further and further away from being a person, losing his connection to humanity, this won’t save Milton anymore. Just when the doctor grows a spine, he is liable to get it ripped out.

Milton could still let Andrea go before being killed himself, though. Yes, the Governor will be keeping an eye on Milton, as the trust is definitely lost between the two men. However, the Governor can’t watch Milton at all times, so there could be a window of opportunity. If he manages to save Andrea, it will redeem Milton for being complicit in the Governor’s previous activities. First, though, Milton must learn that Andrea is being held captive.

Tyreese (Chad L. Coleman) and his sister, Sasha (Sonequa Martin-Green, The Good Wife), are the unknown factor. They are also beginning to see the true nature of Woodbury, after going out to the Walker pits, and hearing the Governor lie about Andrea. Tyreese plays it cool, acting like he’s on the team, but I feel like at this point he is only doing so to save his skin. I’m not sure if he’ll make a break for it, maybe with Andrea, or if he’s so scared of the outside world that he intends to stay and keep faking it. Tyreese does not trust the Governor, though, so he is not a happy citizen. And he’s a good man who seems like he will stand up for what is right when the chips are down.

THE WALKING DEAD does a fantastic job at character development, and the past three episodes in a row have shown that. When the series focuses on a small number of people per episode, allowing the scenes to dwell on them, lingering on their thoughts and motivations, we get a picture of the person. It’s how, in just a short amount of screen time, we already know Tyreese. This really works for the show, and they should mostly stick to this formula, other than when it’s time for the big action episodes, such as season finales.

The weak spots in the Governor’s hunting bring this episode down a little in my estimation, compared to other entries. But it’s still far better than most other series on television, and I think that “Prey” wonderfully sets up a two hour finale, which will sadly be split over the next two weeks. THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

Showdown for The Walking Dead

Article first published as THE WALKING DEAD Review Season 3 Episode 13 Arrow on the Doorpost on Seat42F.

Grade: 98%

AMC’s THE WALKING DEAD builds tension this week in “Arrow on the Doorpost” not with armed conflict, but with a peace treaty negotiation. Andrea (Laurie Holden) arranges a meeting in a barn between Rick (Andrew Lincoln) and the Governor (David Morrissey). They quickly kick her out of the negotiations and, rather than calm fears, their time together only heightens the drama.

I did not think about it until “Arrow on the Doorpost,” but Rick and the Governor have not spent a lot of time face to face. It’s one thing to know about the crazy, dangerous man that lives next door, but it’s quite another to look them in the eye, especially when he only has one. In order to better understand the danger they face, and to decide how to deal with it, Rick needs this time with the Governor, and it builds a relationship between them that the fans want to see. It’s a satisfying and necessary episode.

This also gives a brilliant showcase for Morrissey and Lincoln, both terrific performers. The way Lincoln keeps it together, acting tough, even though he is faced by such a great threat, is wonderful. Morrissey flits around, his character trying on many faces, attempting to find a tact that will get through to the other man. So much is left unsaid, played out in facial expressions and movements, and it’s a triumph for the actors as much as the roles they play.

In the end, the Governor tells Rick he’ll leave the group alone if they hand over Michonne (Danai Gurira), whom took the Governor’s eye. It’s a lie, of course, but how can Rick be sure? If there’s even a small chance that giving him Michonne, which will mean certain death for the woman, will protect everyone else, it’s something Rick has to seriously consider. He has children to think about, as well as people he has known much longer than she’s been around.

Hershel (Scott Wilson) tells Rick that Michonne has saved their lives and has earned her place in the group, and Rick admits that Hershel is right, but still considers sacrificing her. This is where things get tough. Before last week’s episode, Rick probably would have been fine with the deal, not caring about Michonne. Now, though, he likes and values her. Plus, there are her practical skills and the protection she offers the group to consider. She would be sorely missed.

Giving Michonne to the Governor to die will cost Rick a piece of his soul. He is willing to do things that in a non-post-apocalyptic world, some would consider cruel. But leaving a hitchhiker on the side of the road and actively giving a woman to her enemy are two entirely different things. Rick would be making a conscious, preventable decision to let someone he knows be murdered. Her death would be on his hands.

The bottom line, though, is the Governor is not trustworthy. Rick needs to realize this, and also understand that giving up Michonne makes him weaker in the inevitable battle. If the Governor is going to attack them no matter what, and everything Rick knows about the man points to this, there is no sense giving into his demands, especially when said demands hurt Rick’s group as a whole. It’s a no-brainer, and whether Hershel succeeds in talking Rick out of it or it’s a decision the leader comes to on his own, Michonne must not be given to the Governor.

Andrea, for her part, has almost as tough a decision to make. Speaking with Hershel outside of the meeting, Andrea knows she is welcome back with the prison group and must choose sides. The issue is, Andrea hasn’t seen the Governor’s cruelty firsthand, and admitting he’s a monster also admits a failing on her part, as she has put her trust in him, even telling him about Rick’s baby and Shane. She still hopes things are just a misunderstanding between the two groups and can be peacefully resolved, as any other option is a failure, but it’s time for her to accept responsibility for her failure. Her decision to return to Woodbury at the end of the episode is as much about faith in own judgment as it is about faith in the Governor, and it’s the wrong choice to make. I just hope it’s a decision that doesn’t get her killed.

The end of “Arrow on the Doorpost” does give us some hope that the Governor can be stopped. Milton (Dallas Roberts) overhears the Governor tell Martinez (Jose Pablo Cantillo) to kill anyone in Rick’s group he can when they return to hand over Michonne or discuss tactics, and Milton clearly doesn’t approve. After all, he has a nice conversation with Hershel, and I can’t imagine Milton wants to see him, at least, die. Knowing Andrea’s connection to Rick and the others, Milton should definitely grow a spine and confide in her. It’s the only way to stop a slaughter.

It’s true that Andrea and Milton alone don’t stand a chance of accomplishing anything in Woodbury, especially since Milton is not a fighter. However, if Andrea can rally others to her side, perhaps Tyreese (Chad L. Coleman), then maybe something can be done.

Back at the prison, Merle (Michael Rooker) is not happy sitting by while Daryl (Norman Reedus) risks his life protecting Rick at the meet and wants to go after him. No one will help Merle, feeling that Merle will put the others in danger. This is not only a summation of Merle’s standing in the group, realized by the character himself when he can’t get even “outsider” Michonne to join him, but also the beginning of a new threat. Merle isn’t one to be put in his place easily, and if he senses that he has no power or respect here, he could react badly.

The unknown quantity is Merle’s affection for his brother, Daryl. Merle definitely cares about his kin, and Daryl is the reason Merle is at the prison in the first place. Will Daryl be able to keep Merle in line, or might Merle switch back to the Governor’s side at a crucial moment, hoping that a betrayal might be enough to earn him the Governor’s forgiveness, even though viewers at home are pretty sure by now that it won’t.

A touching scene in “Arrow on the Doorpost” is when Glenn (Steven Yeun) reconnects with Maggie (Lauren Cohan). They finally talk about their relationship and their feelings, since things have been strained between them ever since their captivity in Woodbury. It not only lets them work through the issues, but also reaffirms their love for one another. It’s a little unsettling that they leave the watch post to have sex, as that leaves the group in danger, but I guess in this wasteland of a world, you have to take it where you can get it, no? And it’s very nice to see them work things out.

“Arrow on the Doorpost” is an excellent installment, ripe with heavy drama and wonderful character development. There are some serious questions raised, and it puts everyone in an interesting holding pattern as we near the end of the season. How it will all shake out, and who will be among the bodies left on the floor, as there will surely be more major deaths by the finale, is anyone’s guess at this point.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

The Walking Dead suffers no Judas

Article first published as THE WALKING DEAD Review Season 3 Episode 11 I Ain't A Judas on Seat42F.

Grade: 97%

AMC’s THE WALKING DEAD is heavy on great character moments and one-on-one scenes in the latest episode, “I Ain’t a Judas.” The series works best when delving into the tough choices these people have to make in their current hellscape of a world, and we get plenty of that, as there are tough decisions to be made this week. Tensions are high, and they will soon break, one way or the other.

Andrea (Laurie Holden) pushes the Governor (David Morrissey) for more information about her friends staying at the prison, mad at him for lying to her about going to talk with them, and disturbed to learn that there has been a shootout between the two groups. The Governor tries to deflect and push blame off, but Andrea insists on talking to her comrades herself, assuming there has been a simple misunderstanding, and that peace can be brokered.

There is no misunderstanding, as she soon learns, told by the others the horrible things the Governor has done. She isn’t sure if she can believe them, being under the Governor’s spell, and treated hostilely by the people she considers friends, who have good reason to be suspicious of her, especially since she waits several days after learning about them to visit. But a day at the prison seems to convince her, even if it’s not enough to get her to execute the Governor in his sleep.

I feel bad for Andrea in “I Ain’t a Judas,” caught in a tough place. She hasn’t witnessed the Governor’s brutality first hand, and based on what he tells her, she’s getting two conflicting stories. As much as she cares for those she left Atlanta with, she has been absent from them for a long time, and the Governor offers her a chance at a real life, in a community of others.

Andrea sure knows how to pick bad men in THE WALKING DEAD, first Shane, then the Governor. As discussed on the after show, Talking Dead, it takes a certain amount of crazy to be a leader in this new way of life, as even Rick (Andrew Lincoln), the hero of the show, demonstrates. Andrea is attracted to that power, and somehow thinks that wisdom comes with it, blinding her to obvious flaws. It does make me wonder if the series will go the way of the comics, eventually landing Andrea in Rick’s bed, even if that almost makes her a cliché or a floozy, which she is neither.

I’m not entirely sure our protagonists have convinced Andrea that he’s evil, even if she seems to be in good standing with her again, convinced she isn’t siding against them. She pulls the knife on the Governor, but can’t bring herself to kill him. Does she doubt the truth of what her friends say? Does she just not have it in her to murder a (at the time) defenseless man? Is she wondering how the Governor’s death might effect Woodbury, and her standing in it? So many questions playing across her face that are not answered for us.

How about Carol (Melissa McBride) laying out the plan to screw and then assassinate the Governor? We don’t expect this from her, as hardened as she might be, and hopefully that helps Andrea see how serious the situation is.

Michonne (Danai Gurira) is the most hurt by Andrea’s behavior, and she has every reason to be. The two are alone together even longer than Andrea is with the others, and for Andrea to not believe Michonne, to turn her back on her companion, is rough. I do think Michonne’s words about the Governor are the ones that finally make Andrea see that something is up. But yet, she still hesitates. Doesn’t Andrea realize that taking out the Governor would repair this fragile relationship?

The one thing that is positive from this is that the Governor seems to trust Andrea. For her to return to him and sleep with him after talking to her friends convinces him that she hasn’t been swayed away. This could make a betrayal by her unexpected when she does finally muster up the gumption to act, as long as she can keep her behavior and face in check.

Unfortunately, Tyreese (Chad L. Coleman) and his gang end up in Woodbury at the end of “I Ain’t a Judas.” They see a little bit of crazy Rick at the prison, through not enough for Tyreese to want to fight him; too bad the same can’t be said for others in his group. However, the Governor is gearing up for a fight, and they need a way to earn their keep so that they can settle in a semi-safe place. It doesn’t reflect poorly on them, given their limited view of the situation, that they side with the Governor now. It’s just a shame. I hope this ends with Tyreese, a good guy, providing the inside man turning against the cruel dictator at a key moment.

I can’t decide if Milton (Dallas Roberts) has a chance at surviving this season of THE WALKING DEAD or not, or if I want him to. I really hoped that he’d go with Andrea to the prison and stay there, desperate to get out from under the Governor’s thumb. Milton is terrified of his boss, after all. But it seems that fear is so powerful, and his faith that the Governor will prevail so absolute, that he hesitates to switch sides. Maybe he can survive the coming confrontation, and Andrea can vouch he’s not bad, even if he is a coward?

Back at the prison, Hershel (Scott Wilson) yells at Rick, and Carl (Chandler Riggs) asks him to step down as leader. I think this one-two punch is enough to snap Rick out of his crazy, as he glimpses what could be a Lori slightly after Hershel’s words, but not again after Carl’s. For the rest of the episode, we see him stepping up, being the leader he is supposed to be, doing what he needs to for the group, including planning a scouting mission with Michonne.

Hopefully, the faith that the others have in Rick has not been shaken too badly. We know he’s a good man, and so do they, or they wouldn’t have put their trust in him in the first place. They see when he’s off the rails, and when he’s who he needs to be, and hopefully they also see the difference. Hershel and Daryl (Norman Reedus) seem to, content to take orders from Rick again in “I Ain’t a Judas.”

I do think Rick will get at least a brief chance to step away from being the leader, likely next season at some point. But he’s born to be in charge, and has qualities that few others possess. For the rest of the group, he must be strong.

It’s great that Rick sees Carl as a man. The Governor is right that adolescence is a twentieth century invention, and without the luxuries of the old way of life, there isn’t time for a teenager to act like a kid. Carl is conducting himself like a grown up, and Rick deciding to take him on the mission proves that his father, as protective as he might want to be with his son, realizes that Carl deserves to be included fully in the group.

I do wonder if Daryl really has a handle on Merle (Michael Rooker). Merle is playing nice for now, knowing he can’t go back to the Governor at this point, and this being the safest place for him, as well as where his brother is. But if Merle sees a chance to get back in the Governor’s good graces by doing harm to one of the group, especially Rick, I think he’ll jump at the chance. As I’ve said before, I just hope Daryl doesn’t have to be the one to personally put Merle down. Because Carol, the woman Daryl trusts most, warns him about Merle, I think Daryl is steeling himself for the possibility.

I am sure I missed some wonderful moment in the episode between two characters, there being so many to touch on. “I Ain’t a Judas” is a fine installment, giving us some words to ponder, some decisions to question, some cliffhangers to speculate on, and a few zombies bashed in the face to keep the action level up, even in a very personal episode. Fantastic job this week.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

The Walking Dead not safe at "Home"

Article first published as THE WALKING DEAD Recap Season 3 Episode 10 Home at Seat42F.

Grade: 96%

Things are tense at the prison in this week’s episode of AMC’s THE WALKING DEAD, “Home.” Rick (Andrew Lincoln) is out beyond the prison walls, chasing the ghost of his dead wife, Lori (Sarah Wayne Callies). Glenn (Steven Yeun) tries to keep it together, seeing himself as the substitute leader, but with Maggie’s (Lauren Cohan) moping unresolved, he isn’t doing much good.

I like the idea of Glenn as a leader because it gives the character something important to do. Yet, he is not cut out to make the tough decisions, at least not yet. He does OK, with a heaping portion of advice from Hershel (Scott Wilson). But he lacks the quality that leaders must have. I’m very glad that his promotion is temporary, as I don’t want to see him become something he’s not.

Hershel seems to be doing plenty of mentoring in “Home.” He helps Glenn, and he hobbles down to talk to Rick. While before he is an antagonist, whom Rick has to find an understanding with to even get them to stay together, now he has become the wizened advisor, more than proving his worth to the group, even without a leg.

I am not so crazy about Axel (Lew Temple) cozying up to Carol (Melissa McBride). She is spoken for. I know Daryl (Norman Reedus) has left the group, but that will be corrected. He’s too much a part of the rest, cares too much about the others, to stay away for long, even for a brother. For most of the hour, I’m expecting a little conflict between Daryl and Axel when Daryl returns.

I also begin to suspect that Axel may not be as good as he claims to be. The way his story keeps changing as he talks to Carol, adding new bits to his story as he goes that don’t quite match up with what he says previously, makes him seem shifty. I know that the group must trust outsiders periodically to make up for those that are lost, but I’m wondering if they’ve made a bad choice with Axel. Which is why I’m not too upset when he dies, though we’ll get to that scene in a minute.

Wandering the woods, Daryl quickly grows tired of Merle (Michael Rooker). They are clearly kin who did not fully grow up together, and while it’s hard to tell how long they may have been reunited before becoming separated in season one, it seems like it wasn’t for very long. They are two drastically different people.

When the series starts, Merle is a bad influence on Daryl. Now, Daryl has gotten enough good influences to take away the temptation of the evil whisper. Daryl knows another way now, how things can be better with people who look out for each other. It’s why he goes to the rescue of a family being attacked by zombies without expecting anything in return. When Merle tries to take advantage of the situation, it seems like it’s the last straw for Daryl, who isn’t willing to bend to Merle’s will anymore.

I am a little disappointed that Merle follows Daryl back to the prison, but not too much so. I worry about where Merle’s allegiance might lay in a big battle with The Governor (David Morrissey) if he senses that The Governor is going to win. But he also brings a level of conflict to the group, which is always interesting, and I’m curious to see how it all plays out, though I do not expect Merle to live past this season. I just hope Daryl doesn’t have to be the one to kill him.

In Woodbury, Andrea (Laurie Holden) is calmed by The Governor’s contrition. He vows no retribution against the prison group, and, for awhile, it seems like Andrea might be a good influence on him. It also makes it look like the war between The Governor and the prison won’t come until the end of the season, as expected, building up slowly to a large assault.

However, then The Governor goes and talks to Milton Mamet (Dallas Roberts), and mentions asking others about their loyalty. This is a sign that he’s just playing Andrea, the same way he so often plays a part in front of his people. I still don’t see the attack coming, though, until it happens.

For most of “Home,” the pacing is slow, and not a lot is happening. It’s a good episode, but not overly exciting. However, this seems to be THE WALKING DEAD’s new pattern, as it did just before Lori’s death, lulling us into a false sense of peace, especially those who’ve read the comics and think they know what’s coming, and then striking in an unexpected and sudden way.

The attack that The Governor launches on the prison is fantastic television. From Carol using Axel’s body as a shield, to the van releasing zombies into the prison yard, to Hershel’s last minute rescue, and the way that everyone bands together, proving their strength, it’s full of amazing moments. Yes, they are unprepared and scattered this time. But as The Governor rides away, there is little doubt that they’ll be ready when he returns, and once they are, they might just stand a chance.

Why doesn’t The Governor just finish them off now, when he has a prime opportunity to do so? Is it because he needs people to lord over, and scaring, not killing, the group gives him a sense of power? Does he think that Andrea might forgive him for an attack, but not for a slaughter? It’s unclear exactly what his plan is, but this is definitely only the first stage of the showdown.

I do think this will snap Rick out of his delirium. He seems to be doing better after his talk with Hershel, but the urgency of protecting his people against The Governor should be enough to fully right his path again. He needs to fortify their defenses and prepare to take on their greatest foe.

It’s sad that Tyreese (Chad L. Coleman) and his people don’t make an appearance in “Home.” Rick and the group desperately need the help. Will Tyreese come back? He’s important in the comics, but the reasons for his importance don’t seem very present in the series. After being threatened by crazy Rick, he has good reason to want to get as far away as he can, and why should he risk his neck fighting The Governor? Or maybe his absence for the fight in “Home” will keep him in the dark about the true threat Rick’s people face, meaning he can join back up without knowing the danger, which makes more sense for the story.

I admit, I felt a little disappointed for the first almost-two hours of this mid-season, when not a lot of adrenaline-pumping stuff happened. The end of “Home” more than makes up for it, and is a message to fans that they won’t have to wait until the end of the season for more action.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

"Get a Room" for The Good Wife

     In last night's episode of CBS's The Good Wife, "Get a Room," Alicia (Julianna Margulies) and Will (Josh Charles) are forced to mediate with a former girlfriend of Will's, Celeste (Lisa Edelstein, House, American Dad!). Celeste tries to use what she knows about Will to gain an advantage, while Alicia agrees to play dirty to help their side. The mediator does side with Alicia, but she feels bad when he calls her out on her sneaky tactics.

      Alicia is a "good girl," as well as a good wife, when the series begins. There has been a slow transition in her character to someone who can be a bit naughtier. This isn't necessarily a bad thing. Sure, she finds some moral grey area where there wasn't any before. But it also makes her seem like a freer, happier, more well-rounded person. Whatever else her relationship with Peter (Chris Noth) is, it is a bit suffocating for her. Seeing Alicia being truly happy, even if that means stepping on a few toes, is worth the price.

     One can credit Will with much of the change. Finding pleasure in his arms, she loosens up sexually. Alicia may seem a bit prudish and repressed to most, but she is not that way when flirting with Will, as evidenced by the fact that she offers to dress in costume for him; an American Revolution costume, no less. Will is allowing Alicia to find her sexiness, and they seem to enjoy each other's company. It's really a win-win situation for the couple.

     That is, it's a win-win unless Will is in love with her. Alicia's brother, Owen (Dallas Roberts), keeps trying to get Alicia to talk about her new lover, but she refuses. This leads Owen to figure out that Alicia is just using Will as a fun release, not because of a deep emotional connection. Sure, Alicia and Will are old friends, but she isn't fancying him for the role of husband number two. instead, he's a secret that she keeps just for herself, and that makes it even more tantalizing, but not so important.

     Might Alicia be, at least in part, trying to figure out what causes Peter to stray? Knowing all the things he did, maybe her affair with Will is her way of living out some of that fantasy life and better understanding her husband. Or, maybe she just wants to get even. They are separated for now, but the circumstances of Will and Alicia's current arrangement open the door for a possible reconciliation later on. Both Alicia and Peter will have to find a way to forgive and move on, making the split two-sided instead of one.

     The problem with that scenario is that Alicia may choose to work with Peter against the firm, intentionally or not, as she eventually tries to repair her marriage. Diane (Christine Baranski) is already worried about such a conflict, and has secured Will's blessing to sack Alicia should that occur. This is a very real possibility with the path Alicia is currently walking.

     The major B plot in "Get a Room" involves a bunch of school kids puking their guts up, possibly because of the cheese that they eat. The cheese people come to Eli (Alan Cumming) for assistance with their image, and he convinces them to retain Lockhart / Gardner as counsel. This leads to a major conflict, as what is in Eli's clients' best interests for public image does not necessarily gel with what is in their legal interest. Diane and Eli fight for control of the situation, even in front of the client.

     It's a very exciting battle of wits between Eli and Diane. Both are very strong characters who are not often challenged by equals. That's because they have few equals. Yet, in this case, both are extremely intelligent and well matched; and both are completely correct in their respective approach, as per their business. This makes the struggle for power between the two of them not only entertaining, but complicated and intense. Pitting the two against each other is a stroke of genius for The Good Wife, and one that will hopefully crop up again.

     Eli is involved in another struggle at Lockhart / Gardner, this one more of a longer arc. He discovered Kalinda's (Archie Panjabi) skills last week, and continues to make good use of her in "Get a Room." While it's cool to see the two interact, and for the audience to experience yet another character impressed by Kalinda's mad skills, this presents a problem. After all, the rest of the firm already relies pretty heavily on their sexy investigator. With Eli pulling her time and attention, she's spread pretty thin — Will and Alicia have to wait for evidence for their mediation while Kalinda looks into the cheese situation. This balance cannot last long, and will soon erupt into another (probably juicy) showdown.

     The Good Wife thrives in subtlety, as well as conflict. Kalinda and Cary (Matt Czuchry) make or may not have had a relationship, but he'd certainly like to. That's obvious because of Czuchry's wonderful acting, and the tension the two build in multiple scenes and a passionate kiss. In "Get a Room," Cary actually calls out Kalinda on said tension in a mostly unsatisfying way. Was there once a relationship there? Might there be in the future? Did she break his heart, or lead him on? Surely Kalinda didn't mean to hurt one of the few people she is close with, but apparently nothing serious ever blossoms between them. Shame, that.

     A couple of final random tidbits... Now that Zach (Graham Phillips) knows that it's Peter's fault that Alicia kicks him out, how might Zach's relationship with his parents change? At minimum, he will no longer treat Alicia as the bad guy. Also, will Grace (Makenzie Vega) ever stop being so easily influenced by others? Might Jackie (Mary Beth Peil) begin to better tolerate Owen, and vice versa?

     And, how will Celeste working at Lockhart / Gardner affect Will and Alicia's relationship? Might Will be inclined to go back to someone else when he learns that Alicia isn't ready for something meaningful with him? Celeste could at least be a good rebound/comfort for him.


     Watch The Good Wife, as outstanding as ever, Sundays at 9 p.m. ET on CBS. If you DVR it, be sure to check and make sure it starts on time, as CBS's NFL runover can push the show back, an inexcusable offense, in this reviewer's opinion.

     If you like my reviews, please follow me on Twitter!

     To buy The Good Wife DVDs, please click here.

Article first published as TV Review: The Good Wife - "Get a Room" on Blogcritics.

The Good Wife makes "Closing Arguments"

     For the second season finale of CBS's The Good Wife, the series combines an important case with a number of personal developments. Will (Josh Charles) works to clear a man of murder. The odds are against him, even though the prosecution has a shaky case. Alicia (Julianna Margulies) is forced to work with Kalinda (Archie Panjabi) to assisst Will, even though Alicia still isn't speaking with her on a personal level. Meanwhile, Eli (Alan Cumming) wants to move his consulting business into Lockhart / Gardner, a development that could mean a big promotion for Alicia. Cary feels frozen out by Kalinda, who has taken up with Sophia (Kelli Giddish), a married woman. And Owen's (Dallas Roberts) dinner out with the kids is interrupted by Jackie (Mary Beth Peil).


     The case of the week is more than a simple affair, as the life of an innocent man hangs in the balance. Stakes are raised for the season finale. What is interesting, and is a common occurence on The Good Wife, is that the facts of the case aren't necessarily the most important element in the jury's decision. New evidence that could exonerate L/G's client surfaces, but instead of immediately halting proceedings until it is examined, the judge tells Will he needs to get his findings in before the verdict is delivered, or he's out of luck. Bureaucracy is clearly not beloved by the writers of the series.

     The defense team are the heroes here, as they valiantly try to get DNA samples and tests done as time ticks down. The District Attorney, Glenn Childs (Titus Welliver), is a lame duck and cares more for his reputation than the truth. This is completely in character for Childs, but disappointing to anyone who believes in the American justice system. Luckily, the new DA, Peter (Chris Noth), is a bit more honest, and his new right hand man, Cary (Matt Czuchry), has also shown a willingness to let justice prevail, even when it doesn't suit them. While neither Cary nor Peter are completely noble, neither are the attorneys of L/G, so what results is a murky, yet realistic, system, that gets it right as often as it can.

     Complicating matters further is the most obtuse character, Kalinda, who has friends on each side, and who can be a wild card. In "Closing Arguments," Kalinda calls upon an old friend to assist L/G with the tests that need to be done. Sophia helps, but more out of an interest in getting Kalinda into bed than helping the client. Once Sophia accomplishes this goal, Kalinda realizes Sophia is married, something that doesn't cross her mind earlier, and she feels a profound sense of guilt. Kalinda isn't good at vocalizing these things, but Panjabi is an expert physical actor, able to show a lot with just a facial expression.

     Guilt is not an emotion often associated with Kalinda, and it seems to have come about only after Kalinda betrays her best friend, Alicia. It doesn't matter that Kalinda didn't know Alizia when she slept with Alicia's husband, Peter, because Kalinda keeps the secret these several years until it comes out on its own. Clearly, the nearly unflappable Kalinda has been deeply shaken by losing her friendship with Alicia, and an act that she once may not have thought twice about suddenly takes on whole new meaning. With Kalinda's judgment and moral compass changing, it's hard to tell how that will impact her future work, which frequently crosses a line into illegal territory.

     The love triangle between Alicia, Will, and Peter has only been danced around until "Closing Arguments," but is now erupting into full blown drama. With the Kalinda revelation, Alicia kicks Peter out. When Will wins the trial, Alicia goes with him to celebrate. Old feelings from their involvement in college resurface, mixing with alcohol consumption, and the pair decide to act on them, seeking out a hotel room. While timing has never been their strong suit, they decide that now is the right moment, and go for it with gusto.

     Some people listen to signs from the universe, and some do not. Will and Alicia fall firmly in the "not" category, at least in this episode. Everything that can delay them in getting upstairs and stripping their clothes off does occur. From a lack of rooms, to a full elevator, to all the buttons being pushed so their elevator makes frequent stops, to trouble with a door key, everything seems to point to their hookup being a bad idea. But hormones do not listen to such things, and they keep perservering until they make it into the room. The two want it to happen so badly, it must happen.

     Poor Peter, though. Sure, he has done some horrible things, and deeply hurt his marriage to Alicia. But he has also been working very hard to repair their relationship, and has shown no signs of straying recently. His help with the case, sending L/G much needed evidence, happens anonymously, and Alicia doesn't realize what Peter has done for her. Just when Peter starts to be worthy of Alicia, she moves on. His timing is terrible. However, the fact that Peter is trying so hard signals that Peter and Alicia's story as a couple may not yet be over.

     Is Will really any more worthy for Alicia's affection? After all, he is involved with Tammy (Elizabeth Reaser), and they have gotten quite serious. Will assumes Tammy has left him for a job in London because he has been too wrapped up in his case to stop her, but that is an unconfirmed theory. Will should check with Tammy before acting on anything with Alicia. Chances are, Tammy could have chosen Will over her career, and may be wondering where he is as he has sex with another woman. In this scenario, Alicia suddenly is the interloper.

     Should The Good Wife pursue this line, it may be enough for Alicia to begin to forgive Kalinda. After all, when faced with a situation of infidelity, Alicia is choosing wrong. Perhaps she can start to see things from Kalinda's point of view, instead of judging her so harshly.

     For awhile, it looks like Cary might return to the Lockhart / Gardner fold, but that is not how this season ends. Instead, Cary cannot bring himself to work with Alicia instead of having her work for him, a bit of personal bitterness that is now hurting his career, and Cary makes himself invaluable to Peter instead. This may be a sign that the DA stories are not going anywhere, since Cary remains a main character, the only one outside of L/G. Cary's continued stay with the DA office also opens up the door for more scenes for Peter, keeping him firmly in the series, even if his name remains out of the opening credits. The Good Wife likes to shake up who interacts with who from time to time, and Cary staying put introduces a new relationship that might prove quite interesting. Either Peter and Cary will bond over an anger towards Alicia, or Cary's feelings could stunt his job goals even beyond L/G.

     Eli, on the other hand, is going deeper into L/G, moving his main occupation to their offices. This is a welcome development, especially if Alicia accepts the liason position, because Margulies and Cumming have impecable chemistry. She brings out the best in him, and their interplay during Peter's campaign provides some of the best moments of the series. Alicia resists Eli and what he represents over and over, but that only makes him more determined to prove himself worthy in her eyes. Long term, might Eli be a serious love interest for Alicia? It would certainly be a development worth pursuing.

     Most confusing is Jackie's continued presence on the show. She seems to be at an end to any real arcs when Alicia asks her not to be Grace (Makenzie Vega) and Zach's (Graham Phillips) primary caregiver any more. Alicia doesn't cut Jackie off from her grandchildren, but does reduce her role in their lives. Jackie's determination to stay involved comes with a ferocity that is surprising. Inviting herself along to their dinner out, one which Alicia misses so she can get it on with Will, only further strengthens Jackie's ties to the kids, while weakening Alicia's. What is shaping up is a very interesting battle for hearts, if not custody. Jackie is poised to create some major waves in Alicia's home life.

     It is disappointing there is no big reason to talk about Diane (Christine Baranski) in a review of "Closing Arguments." Diane is one of the best written characters on the show, but rarely gets strong, independent stories. She has had one love interest, but her firm political games involve Will and others, and she argues fewer cases than the other primary attorneys. Hopefully, going forward, The Good Wife will find more reasons to feature Diane. Baranski is proving formidable all over again, a career renaissance, and deserves good material.


     The Good Wife will get a third season, returning to CBS this coming fall.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To buy The Good Wife DVDs, please click here.

Article first published as TV Review: The Good Wife - "Closing Arguments" on Blogcritics.

TV Review: The Good Wife

    CBS had a hit last year with The Good Wife. A smart new legal drama, the story centered around Alicia Florrick (Julianna Margulies in a Golden Globe winning turn), the wife of a disgraced state's attorney. She took a job with a law firm, and had to compete with another junior associate for one open slot. The first season dealt with her adjustment to the work force, and reluctance to do everything that it took to do well. We also saw her husband, Peter (Chris Noth), beat his charges and get out of jail, although the reality was that the he did cheat on her. However, the main focus of most of the episodes of the first season was the case of the week that Alicia worked on.

     I'm not a big fan of procedural shows. There are plenty of them on television, and while they can be entertaining, they don't seem to add a lot to our country's storytelling lore. And before you protest, yes, I believe there are plenty of excellent writers out there contributing to this new medium, rather than books, at this time. There are some really awesome stories being told on television, and that's what eventually drew my interest, as I was an avid reader all my life, but only an avid television watcher for the last five years or so. Happily, so far the second season of The Good Wife spends much less time in the courtroom and much more time on the characters.

     Even when the show was delivering a similar story every week, a great cast played some really interesting, layered characters. These people have only deepened in season two. Alicia and Peter are living together, but it's far from a storybook happy ending. Peter is running for office again, but sleeps in the maid's quarters. Some fans of the show wonder why they even remain married at all. Alicia has choices; she could easily be dating her boss, Will Gardner (Josh Charles), whom she was close with in college. This past week gave us a little more insight into that situation.

     In last Monday's "Breaking Fast", Alicia's brother, Owen (Dallas Roberts, Rubicon, The L Word) came to town. Not at all shy about speaking his mind, he was the first member of Alicia's family that we've seen, other than her husband and children. He talked to her about their parents' screwed up marriage, and how their mother had just broke it off with husband #3. He speculated that perhaps Alicia just didn't want to be her mother, and that's why she refused to consider divorce as an option. Although Alicia denied the charge, learning that about her background, combined with what we'd already seen of Alicia's character, seemed to connect a few dots for me. It just made sense that she wouldn't want to end up like someone she had little respect for, as she clearly does her mother.

     Another great character is Cary Agos (Matt Czuchry). He was Alicia's competition in season one, and now works for the State's Attorney's office, often squaring off against his former bosses and co-workers. He is bent on revenge this season, although he likes to claim a moral clarity. Cary had a touching moment with Kalinda (Archie Panjabi, who won an Emmy for this role) recently, where she admitted that she missed having him around. Although Cary was originally suspicious and competitive against Alicia, they seemed to form quite the friendship over last year. To see the anger radiating off of him whenever they now encounter each other (which is often, as he remains a main character) is a bit heart breaking. It's fully realistic, but I yearn for the day where he can go back to his old firm. If he'd even want to, as their relationship continues to be poisoned the longer he is away.

     Alicia's bosses, Will and Diane (Christine Baranski), are also an interesting pair. So far Will's plot has mostly involved his feelings from Alicia, but his interactions with Diane are fascinating. There is some camaraderie between them, but it is often tossed out as they pursue their own interests. I'm not really sure how they ended up as partners. I know that's been covered in the show, but they are just so different, and they don't get along all that well. Things came to a head when Diane asked Will to vote with her against their new partner, Derrick Bond (Michael Ealy, Flash Forward), but Will was persuaded to side with Bond. It's hard to see how Bond will ultimately affect the leadership, but as he did bring Lou Dobbs (who guest starred as himself) along as a client, someone on the opposite end of the political spectrum as Diane, surely there will be change.

     Diane has been fascinating all on her own. Besides adopting Dobbs as her own client... well, I assume, although the last we saw on screen, she said she'd think about it. The fact that she'd even consider it says something about her. Also, she dated a ballistics expert last year who was an avid Sarah Palin fan. Diane is an avowed liberal, but she is sanely open to the other side when the person representing it is reasonable. I'm not saying Lou Dobbs is reasonable, but his discussion with her about representing him surely was. I just can't predict what Diane will do, and that, along with a long-time adoration for Baranski the actress, keeps me fully engaged with the character. 

     There are plenty of other people on The Good Wife I could talk about, but I'll end with just one more: Kalinda. The unflappable, possibly bisexual, always daring investigator has been thrown for a loop with the introduction of someone else who also does her job at the same firm. Bond brought along his own man, Blake Calamar (Scott Porter, Friday Night Lights, Caprica). I would have never suspected Kalinda could be shaken, but for some reason, Blake has that affect on her. She still does her job with excellence, but her anxiety in his presence is palpable. It's something I'm still trying to figure out, but is surely contributing to the renewed vigor the show has brought to season two.

     Bottom line, if you stayed away from this show last year because you were tired of legal dramas, it's time to jump on board. This series presents character studies as often as it does lawsuits, and there is plenty of meat on the bones. I myself did not watch it last year, but devoured the DVD in the past month. It's definitely worth watching. The Good Wife airs Monday nights at 10pm on CBS.

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Article first published as TV Review: The Good Wife on Blogcritics.