THE GOOD WIFE Has "Meat"

Article originally published as THE GOOD WIFE Review Season 6 Episode 16 Red Meat on Seat42F.

THE GOOD WIFE gets into some “Red Meat” in this week’s installment on CBS. You may take that title literally, as Diane (Christine Baranski) goes hunting with her husband and his rich, conservative buddies. But there is also ample opportunity to take it figuratively. The Good Wife is always juicy and filling, and “Red Meat” is no exception.

The main plot revolves around Election Day for Alicia (Julianna Margulies). Things are looking good for her, so Marissa (Sarah Steele) and Finn (Matthew Goode) try to distract her with video games so she doesn’t worry too much. Unfortunately, a little worry is necessary when Peter (Chris Noth) blows up Alicia’s chances, sending Josh (David Krumholtz) and Johnny (Steven Pasquale) scrambling. They even considering having The West Wing’s Melissa Fitzgerald (herself) do a robo-call, though they don’t know who she is. Thankfully, Eli (Alan Cumming), almost always a fan of Alicia’s these days, and relatively honorable where she is concerned, convinces Peter to help fix his mistake, and Alicia wins.

Peter and Alicia’s marriage is over. This has never been more clear than in “Red Meat.” When Eli has to convince Peter to help his wife after Peter is the one that screws things up, that’s a sure sign there’s nothing left there. He has little respect or love for her, using her merely as a political tool. She has seemingly shut down most of her emotion towards him as well, and hopefully now that the election is over, they can get a divorce. It might not be what Eli wants, or the most helpful thing for their public image, but it’s time for them to move on.

Alicia has two romantic options going into “Red Meat,” but both seem to be gone by the end of the hour. Although Finn offers to cancel a date to go out with her, Alicia doesn’t let him. And while I think she would take up with Johnny, Johnny sees Alicia and Peter together and wrongly assumes their marriage is still viable, so he leaves town. Either would be good matches for Alicia, but I have to admit, I’m sad that Johnny seems less likely at this point because they were very good together. Thank god Marissa is sticking around to help Alicia, even if she only provides for less physical urges.

Alicia offers Prady (David Hyde Pierce) her number two spot and he declines. This is disappointing, but understandable. He doesn’t believe in Alicia’s approach, and how can he serve an office he doesn’t respect? A friendship of a sort may have formed between the two, and I do hope they come back into one another’s circles in the future. But they are just too far apart in outlook for the District Attorney’s office to be place for it.

While this is going on, Diane is off hunting with Kurt (Gary Cole). She can’t resist turning it into a work trip when she finds out a big name in the tech industry, Gil Berridge (James Snyder, Adonis), is present, but that’s still relaxing for her, as she enjoys her career immensely. Despite screwing things up with Gil, she does find herself in an engaging political debate with R.D. (Oliver Platt, The Big C), who turns out to be even richer and much more open to her pitch, providing her firm stays out of abortion issues.

“Red Meat” is pure fun for Diane. We get to see her out of her element, but also somehow in her element at the same time. She’s surrounded by those she has fundamental disagreements with, but as in her marriage, she makes it work, and she ends up having fun. Diane is a complex, wonderful character, and I’m glad that THE GOOD WIFE gives her this focus, away from cases, to explore her personality.

Back at the firm, that leaves Cary (Matt Czuchry) and David Lee (Zach Grenier) as unlikely partners. Thank goodness Diane will soon be back, as I can’t imagine David Lee getting a position of too much power again, given his recent bad behavior. Still, Alicia leaving the firm will shake things up, especially for her co-founder, Cary, and I look forward to The Good Wife milking the dramatic possibilities.

Finally, Kalinda (Archie Panjabi) continues to work for Lemond (Mike Colter) in a situation she should absolutely not be in. That Lemond has decided to get out of the drug business after his son is kicked out of yet another school doesn’t improve Kalinda’s position any. Now Lemond wants Kalinda and Alicia to protect him for jail, which will not be easy. I don’t think Lemond will find Alicia all that cooperative, no matter what he did for her campaign, and Kalinda is the easiest one to take his frustration out on. Even if Alicia doesn’t like Kalinda any more, I’m sure she’ll try to protect the investigator from harm. Will she be able to?

We still have half a dozen episodes in this season of THE GOOD WIFE, but “Red Meat’ is starting to build towards the finale, as have other episodes that have come before it. The story is extremely serial at this point, and it’s enjoyable to watch each unexpected new twist.

The only complaint I have about “Red Meat” is, where are Alicia’s children? Shouldn’t they be around while she’s waiting for the results, and certainly at the celebration after?

THE GOOD WIFE airs Sundays around 9 p.m. ET (depending on inexcusable sports overruns) on CBS.

THE GOOD WIFE Good "Source" For Drama

Article originally written for Seat42F.

This week’s episode of THE GOOD WIFE on CBS, “Open Source,” raises a timely debate in a very intriguing case-of-the-week, reminding us why this show alone has the talent to make formulaic stories feel like they’re not so. It also has one of the worst things a person has ever done on the series, and a rocky go for two couples. Needless to say, it is immensely enjoyable.

Let’s start with the case. Diane (Christine Baranski) and Finn (Matthew Goode) take on Nancy (Mamie Gummer) in a battle of wits over a tragic accident that occurred because of a 3-D printed gun. The courtroom battle in front of liberal Judge Abernathy (Denis O’Hare) goes back and forth, with the first and second amendment rights debated. THE GOOD WIFE doesn’t seek to answer whether such a gun’s designs should be freely available online, even though I believe it leans towards no, but instead lets both sides play out in an intriguing manner. When this show is at its best, it makes the audience think, and I hope last night’s episode did that for more viewers than just me.

Because this is about guns, Diane’s seldom-seen husband, McVeigh (Gary Cole), enters the picture. The two disagree vehemently on the politics of the issue, and there’s also the ghost of Will, who saved Finn’s life from a courtroom shooter, hanging over “Open Source.” Diane and McVeigh’s marriage is tense as she oversteps her role as a wife in order to do her job as an attorney and honor a friend’s memory. But again, rather than tell us exactly what each character is motivated by, the writers let the show speak for itself, presenting issues, then stepping back.

Diane and McVeigh are a terrifically delicious pairing. Their spark is strong, and even when Diane wrongs McVeigh, he understands why. As long as she is willing to apologize and promise not to do it again, which she does without prompting, he is willing to forgive and forget. Besides making for good drama, this is an inspirational look at how to make an on-paper mistake of a marriage work beautifully, both expanding their worldview for the other.

Alicia (Julianna Margulies) also has a romance with a man that is threatened by a tough decision. When Johnny (Steven Pasquale) urges Alicia to attack Peter (Chris Noth) alongside Prady (David Hyde Pierce), Eli (Alan Cumming) threatens to take away a promising next campaign from Johnny. At first, he caves, but once Alicia brings up their personal connection and Marissa (Sarah Steele – promote her to the main cast already!) scolds him, he rallies, sacrificing possible professional advancement for the woman he has feelings for. He is rewarded at her apartment later, so I guess his actions pay off, but it will be anything but smooth sailing for them. Though, this might open the door for Alicia to finally leave Peter, especially if she wins the election and they are both in the offices they want.

Sadly, on the other end of the spectrum, Louis Canning (Michael J. Fox) acts in the most despicable of manners. On his possible death bed, which ends up not being so, he plays on Alicia’s sympathies to hurt her reputation. That David Lee (Zach Grenier) is complicit is even worse, making me think this wolf in the firm will have to be dealt with sooner, rather than later. Still, Canning is the main instigator, and after Alicia rushes to his bedside, I can’t believe he’d be so callous as to do this to her. Hopefully, the results won’t be too big a deal.

“Open Source” is yet another example of an excellent episode of THE GOOD WIFE, of which there are many. Most of its arcs are fairly self-contained, other than some relationship stuff, and yet it never feels that way. The show has done such a great job of building this world that even stand-alone cases seem like part of a larger fabric, rather than procedural. If the show relied too much on them, it would suffer, but the writers never do, making it much more about the characters than any short-sighted stories. THE GOOD WIFE deserves its high esteem as the best regular-season show currently airing on the broadcast networks (Hannibal may arguably beat it, but it’s a summer series).

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

Brilliant "Mind's" Behind THE GOOD WIFE

Article first published as THE GOOD WIFE Review Season 6 Episode 14 Mind's Eye on Seat42F.

This week’s episode of THE GOOD WIFE on CBS, entitled “Mind’s Eye,” is really great, and also very different than any other episode of the series, if not of television in general. A large portion of the hour plays out in Alicia’s (Julianna Margulies) imagination, rather than in reality. This is not a fantasy in the traditional sense, though, nor a musical extravaganza. Instead, the series takes us through her thought process on several issues, sometimes interconnecting, showing possibilities play out and how she comes to the conclusions and decisions that she comes to.

First off, Alicia is preparing for an interview to secure a major endorsement that could win her the State’s Attorney election. Prady (David Hyde Pierce) does very well with his own attempt, making her nervous. She has reason to be concerned. What if they ask about her son, Zach’s (Graham Phillips), abortion? What is they ask her is she’s aware her PAC is being funded by drug kingpin Lemond Bishop (Mike Colter)? Should Alicia tell the truth, or play the politician?

Secondly, Louis Canning (Michael J. Fox) is still suing the firm and threatening to publicly smear Alicia just before the election. Canning is smart, likely having his former partner, David Lee (Zach Grenier), in his pocket. He also milks his health issues for all they’re worth. But when he does turn out to be very sick, Alicia rushes to the hospital, putting her compassion for a human being ahead of her rocky relationship with the jerk of a man.

Both of these intersect, giving her ideas for the other. They are not obviously related, but the mind is good at making connections. People are hard wired to find patterns, and the smartest ones, like Alicia, use that to their advantage. Her jumping back and forth from one notepad to the next, scribbling ideas as they come, is impressive to watch and inspiring. This isn’t just an experimental, cool look into human psychology, but also gives us a deeper insight into a particular beloved character.

This being The Good Wife, romance does come into play in “Mind’s Eye.” Alicia has been unable to move on from Will (Josh Charles), although she has two possible suitors at present, Finn Palmer (Matthew Goode) and Johnny Elfman (Steven Pasquale). This episode has her find a way to let go of Will, finally opening herself up to new possibilities. It’s time, and I’m glad to see Alicia hasn’t given up on finding love.

Charles doesn’t actually appear as Will in the episode, his appearances shrouded in shadow, though the actor’s voice is clear. This might be because of a scheduling conflict, but I think it works out rather well as it’s done. Will is fading, becoming an indistinct memory, and she doesn’t need to have him firmly locked in her mind.

There are also a ton of little, juicy tidbits tossed into “Mind’s Eye.” Alicia imagines Kalinda (Archie Panjabi) and Peter (Chris Noth) together, proving she’s never forgiven her former friend and husband. She sees Richard Dawkins (Michael Siberry) and Pastor Easton (Gbenga Akinnagbe) as she struggles with religion and morality. Sometimes the people in her head turn and talk to her. And, as has become frequent, Marissa (Sarah Steele) pops in to give terrific one-liners and insights. She should be locked into the cast full-time immediately.

Throughout “Mind’s Eye,” Alicia is having trouble finding her voice, both figuratively and literally. She doesn’t know what she wants to do. But at the conclusion, when she makes up her mind, her voice comes back. She compromises with herself and decides what she thinks is best, which often isn’t clear-cut in complex, adult decisions. It’s quite a clever little metaphor that adds to the enjoyment of the immensely enjoyable piece.

Not a lot happens in “Mind’s Eye,” yet it’s one of my favorite episodes of THE GOOD WIFE this season. It shows once again how the series is willing to take chances and make bold choices. This series is on the bubble this year, but I desperately hope it is renewed because it is probably the best show on the broadcast networks, certainly one of the most original, and every week I anticipate it greatly.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

THE GOOD WIFE Goes "Dark"

Article first published as THE GOOD WIFE Review Season 6 Episode 13 Dark Money on Seat42F.

CBS’s THE GOOD WIFE returned from hiatus this week with “Dark Money.” Alicia (Julianna Margulies) faces the bad side of her campaign as she and Prady (David Hyde Pierce) compete for a big money donor. Meanwhile, Lemond Bishop (Mike Colter) cashes in his favor with Kalinda (Archie Panjabi), and Diane (Christine Baranski) and Cary (Matt Czuchry) defend Colin Sweeney (Dylan Baker) in a defamation lawsuit. Nothing huge happens in the mythology of the show, but it is another excellent installment.

Any episode with Colin Sweeney in it is most welcome, and when Baker gets to play dual roles, also portraying an actor hired to play a version of him in a TV show, well, that’s just icing on the cake. He is a supreme creep, the type of person one never wants to meet in real life, but the same eccentricities that make him a scary psychopath also help paint him as a fascinating television character.

This go ‘round, things start off with a prosecutor, Selma Krause (Julie White), trying to prove a show didn’t use Sweeney’s likeness, then morphs into yet another case of someone trying to show Sweeney killed his wife. With Sweeney’s current spouse, Renata (Laura Benanti), a woman as unpredictable and self-absorbed as her husband, tossed in as a wild card, there are many interesting back and forths as the case shakes out, each side taking a turn in the lead.

I don’t know if The Good Wife will ever see Sweeney convicted, but “Dark Money” is as close as the show has ever gone to saying he did it. Part of me wants Sweeney to get his just desserts, but part of me is glad he gets away with things because it’s our heroes who represent him.

Alicia has been getting in touch with her dark side, too, even as she tries to stay out of Sweeney’s business, a position he isn’t happy about. Instead, she meets with a Koch-brother-type, Guy Redmayne (Edward Asner), who wants to support her because he thinks Prady is gay and he doesn’t like “faggots.” In his own way, Redmayne is just as despicable as Sweeney, even if Redmayne has never killed anyone. Because Alicia has to deal with him, she is torn up inside, realizing the high cost she’s paying by going into politics.

I think Alicia will be able to live with herself, though. It’s true that she doesn’t like doing what she’s doing and she has a good cry afterwards, especially after Prady makes her sympathize with him again. However, this is all for a reason, and Alicia wants to win. Having come this far and knowing everyone else is just as deep in the mud, she feels this is the game she has signed on to play. Similar to being a lawyer, entering politics is impossible to do over any period of time with a clean soul.

Can she still be a good person, though, if she does bad things? Her daughter, Grace (Makenzie Vega), seems to think so, and I’m inclined to agree. People can’t be judged by every single action they take; they have to be considered as a whole person. Overall, Alicia does far more good than bad in this world.

The final of the trio of stories finds Kalinda tasked with playing chauffer to Bishop’s son, Dylan (Eric Ruffin). Bishop has his reasons for enlisting Kalinda and those play out, but that’s not nearly as interesting as the accidental circumstance Kalinda finds herself in when she sees a bully being mean to Dylan. Kalinda handles it, but Bishop finds out anyway.

Bishop is a scary dude, which is why Dylan doesn’t want Kalinda to tell his dad what happened. When faced with the situation, though, Bishop calmly calls the bully’s father and asks him to talk to his son. There are no threats, veiled or otherwise, and no physical punishment is dealt out. It’s frustrating to Bishop not to use every tool in his arsenal to protect his loved one, but he knows it’s better for his son if he shows restraint. He is many things, including a good father.

This doesn’t make Bishop a likeable character by any means. Like Redmayne and Sweeney, he isn’t someone you’d want to be friends with. Also like them, he’s rich. I think there’s a commentary to be noticed here about the trio of villains in “Dark Money” and how they tie into the stories of our main characters, who are not bad people.

“Dark Money” leaves the viewer with much to ponder, and in between serious moments, Marissa (Sarah Steele) drops in to lighten the mood. Plus, there’s a terrific West Wing reference. This is a recipe for a great television show, and I’m constantly amazed at how THE GOOD WIFE thrives on a boring network like CBS. Thankfully, the channel seems to let them do their thing their way.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

No "Debate" About THE GOOD WIFE

Article first published as THE GOOD WIFE Review Season 6 Episode 12 The Debate on Seat42F.

The latest episode of CBS’s THE GOOD WIFE, which aired an hour later than usual last night for some reason, is “The Debate.” Alicia (Julianna Margulies) faces Frank Prady (David Hyde Pierce) in a televised debate, while at the same time, Diane (Christine Baranski) and Cary (Matt Czuchry) square off with David Lee (Zach Grenier) in Neil Gross’s (John Benjamin Hickey) divorce, and Peter (Chris Noth) tries to keep race riots from erupting in Chicago.

Alicia’s evolution to politician has been interesting to watch. She is so completely anti-politic at the start, and slowly finds her footing in a thing that she begins to care about. She gets into the State’s Attorney’s race to fight a corrupt incumbent, but in order to do a decent job at running, she has to convince herself she deserves to be there. Thus, even when that opponent drops out and she likes her new antagonist, somewhat anyway, she stays in because she now wants to do this thing she talked herself into. It’s a pretty cool example of character development.

During “The Debate” itself, Alicia starts off rocky, then gets on track just before the proceedings are put on hold, wherein she and Frank continue their talk, sans moderator, for the kitchen staff, much to the chagrin of their campaign managers. This may be slightly silly, but THE GOOD WIFE is just so good at writing these moments of high drama. Were Alicia and Frank not totally believable, a credit to both performers and the writers, none of this would work. Instead, it’s a gripping narrative for those who love good political stuff.

I actually hope Alicia wins. It would suck to see her taken away from Cary and Diane, but the firm has plenty of people to go on without her. The State’s Attorney’s office has long been a part of the show, too, and seeing Alicia there would shed even more light on the job. Plus, the prosecutor / defense chemistry is almost always one of friction. It would be interesting to see Alicia, who has respect for defense attorneys, take over in that role, changing the dynamic of the justice system in fictional Chicago.

Alicia’s current problems are not so much in the race itself, but in the parts of her life affected by her new position. Cary and Diane make decisions without consulting her, such as hiring back David Lee, which somewhat justifiably upsets Alicia, though the pair can be forgiven for taking that step. They support Alicia’s candidacy, but they have a job to do, too. She did the exact same thing while Cary was embroiled in legal troubles. Her marriage with Peter is suffering again because once more he’s been caught with another woman, even though their union is merely for show at this point and Peter quickly ends things. Not to mention, Alicia accidentally discovers her own campaign manager, Johnny (Steven Pasquale), may have feelings for her.

I didn’t see the Alicia / Johnny thing coming. If Alicia were to be with anyone other than Peter, Finn (Matthew Goode) seems the natural choice. But there’s something kind of cool about the two of them together, so I’m kind of hoping that THE GOOD WIFE does go there. After the election, of course, as she won’t win if her marriage is known to be falling apart.

Alicia is asked about the state of her marriage during “The Debate,” and she responds quite aggressively that it’s none of the press’s business. I feel like this is a tough topic. On one hand, if you put yourself in a position where you’re asking the public to trust you, what kind of person you are is their business. On the other, those kinds of questions can’t be asked in an interview for virtually any other job, so why should they be brought up here? It’s a complex issue, but for Alicia’s personal situation, she handles it beautifully.

Another, even more complicated matter unfolds on the streets of Chicago, eerily bringing to mind the recent events in Ferguson, Missouri, which THE GOOD WIFE references in text on screen at the start of the hour. We’re at a crucial moment for race relations and police power in the United States. The system is obviously broken, but an easy fix is hard to find, as Alicia and Frank argue in their kitchen debate. And as one staff member asks them, why do these white people think they can or should solve it for everyone else? There’s no really good way to broach things, but Peter does the best he can while stepping up with the local religious leaders.

Is Peter acting out of personal self-interest or because he wants to help? Probably a bit of both, but that doesn’t make him wrong or bad. He advocates peace, and gets others to do the same. He doesn’t have a solution yet, but he’s right to try to keep violence from erupting, as that doesn’t solve anything. Peaceful protests are completely justified, and it’s easy to see how some may take it a step further out of frustration. It just doesn’t help their cause in the eyes of the larger society if they hurt anyone. Nor does letting police who have acted wrongly get away scot free, of course. I applaud THE GOOD WIFE for tackling a divisive, important issue before there is a clear path through it, sparking conversation without being teach-y or preachy.

In all, “The Debate” is yet another example of great television from the best drama series on the broadcast networks. As usual, I cannot wait for next week, nor can I predict with any degree of certainty what will happen.

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

THE GOOD WIFE Goes to "Trial"

Article first published as THE GOOD WIFE Review Season 6 Episode 10 The Trial on Seat42F.

It’s finally the day of “The Trial” for Cary (Matt Czuchry) on CBS’s THE GOOD WIFE. Unfortunately for him, trials do not happen in a vacuum, and there are a number of exterior factors that affect various parties involved. Meanwhile, a joke note that Alicia (Julianna Margulies) writes ends up in the wrong hands, becoming a problem for her campaign. Will she compromise her morals to save it?

We all realize that judge, juries, and lawyers have lives outside of court, but rarely does a television show ever present those stories. THE GOOD WIFE chooses to do so here when the stakes are high. Judge Richard Cuesta (David Paymer) is trying to score Neil Diamond tickets for his anniversary. One juror (Zak Orth, Revolution), perhaps the one most sympathetic to Cary, has to read lips to understand what is being said. The prosecutor, Geneva Pine (Renee Elise Goldsberry), is watching her marriage fall apart because of an affair. None of these things should influence the trial, but they do.

It’s this level of authenticity and whole-world outlook that sets THE GOOD WIFE apart. Sure, Cary’s trial may not be the most convenient time for this to happen, but the truth is, it’s a factor in every single case. People are only human, and humans have messy lives with separate areas that bleed into one another. That’s no stopping that, so it’s nice to see it illustrated so nicely.

Interestingly, though, none of the elements mentioned above actually affect the outcome of the case. They all have the potential to do so, but they don’t, at least not in any meaningful way. The trial stands on the evidence presented, some factual, much circumstantial. But it’s what’s laid out for the jury to consider that matters most. So maybe THE GOOD WIFE is trying to show us that, even in a distracting world, justice can still be served.

Of course, Cary going back to jail is not justice. Viewers know this, Cary knows this, Cary’s friends know this. The judge and jury do not. The case against Cary is awful, and even when Kalinda (Archie Panjabi) finds a way to force the one witness who can help Cary, Dante (Mark Green), onto the stand, said witness is intimidated to lie, torpedoing Cary’s chances of being acquitted. It’s frustrating, but the jury could be completely forgiven for finding Cary guilty based solely on what is presented to them in court.

At the end of “The Trial,” Cary pleads guilty. We don’t see any further than that, and we’re left to assume Cary is going to prison for at least two years. I don’t think that’s what is happening, though, because THE GOOD WIFE can’t send away one of its best characters for such an extended period of time. What I am hoping is that Cary is taking the other deal, pleading guilty with time served in exchange for testifying against Lemond Bishop (Mike Colter). Cary is terrified of Bishop, and turning against him would not only endanger Cary’s life, but go against his ethical code as a lawyer.

The reason Cary might take the deal is for Kalinda. If no one stops Bishop, she is dead. Kalinda goes into Bishop’s home and threatens to have his son taken away. Kalinda is still alive because she took steps to protect herself in that moment. But Bishop didn’t give in to the blackmail and will come after her. Jailing Bishop is the only way to save Kalinda, and even that might not work because his reach is long.

It’s time for THE GOOD WIFE to have all of its characters turn against Bishop. Kalinda and Alicia need to step up and testify, too, supporting Cary. They need a strong enough case to put Bishop away for a long time. These characters uniting would be a grand, triumphant moment, reaffirming how much they care about each other, which we do see in several excellent moments in “The Trial,” and stopping a very bad man once and for all. It has to happen. Doesn’t it?

Alicia’s subplot is another example of the ridiculousness of politics. Alicia’s quote from a TV show, written down to make her daughter, Grace (Makenzie Vega), laugh, is accidentally shown to the wrong person and taken out of context. Then, a conniving teacher and principal leverage it to gain political favor. When they can’t get that from Alicia, they get it from Peter instead, which Alicia doesn’t like any better. This is a dirty, ugly business, and like the trial, it is just not fair.

The benefit of this plot, though, is that it gives us more wonderful scenes with Eli (Alan Cumming) and Johnny (Steven Pasquale), who make a terrific combo. From the moment they find out this is a real crisis, through how they handle it, they deliver the humor that THE GOOD WIFE wisely uses in combination with its dark drama, making for a very well-put-together episode overall.

It also provides yet another scene in which we can’t tell if Prady (David Hyde Pierce) is a jerk or not. He may not have intentionally attacked Alicia, but he refuses to walk comments back, which says something. He could offer to negate his words about school violence as they pertain to Alicia if Alicia denounces the homosexual rumors surrounding him. He doesn’t. I still don’t know if he genuinely wants the campaign to be clean, but he’s not giving it his all to keep it that way.

“The Trial” also has some good Alicia / Finn (Matthew Goode) stuff as they try to avoid getting romantic, and end up in a romantic cliché. Their being a couple is another thing that “has to happen,” and while the writers are finding authentic ways to delay the inevitable, fate seems determined to see them together.

This week’s installment is yet another example of how excellent THE GOOD WIFE can be, combining a plethora of great characters with brilliantly interweaving story. The plot is carefully constructed to keep things tense and allow surprises, and the story is very engaging. Well done.

THE GOOD WIFE airs Sundays at 9 p.m.-ish ET on CBS.

TV Review: THE GOOD WIFE "Sticky Content"

Article first published as THE GOOD WIFE Review Season 6 Episode 9 Sticky Content at Seat42F.

Despite the easy dirty jokes that can be made at the title of this week’s installment of CBS’s THE GOOD WIFE, “Sticky Content,” which just happens to be the ninth episode of season six, the hour is, in fact, quite serious. The FBI plays Cary (Matt Czuchry) a tape of Lemond Bishop (Mike Colter) ordering his execution. Kalinda (Archie Panjabi) works to verify the authenticity of the recording. Meanwhile, Alicia (Julianna Margulies) considers what type of campaign ads to run.

I am terrified that THE GOOD WIFE might kill Cary. On one hand, he seems far too vital to the story to do away with. Just last year, the show killed off someone just as important, which does set precedent, but it seems too early to repeat the stunt. But Cary is a rich character who the writers have dumped on in the past for good drama, and there’s always a chance the show will go there.

Cary thinks the tape is fake, and I’m inclined to agree with him, given all the static on the tape and the untrustworthy way law enforcement has been portrayed this season. But, after Lemond sees Carter Greyson (Victor Williams, The King of Queens), the body guard the firm hires for Cary, the threat becomes quite real, if it wasn’t already. Why else would Cary have a bodyguard for than if he is turning on Lemond and needs protection from the drug dealer?

Cary stupidly goes to confront Lemond one-on-one, just as Kalinda confirms that the tape is real. It may not be the wisest decision Cary can make, but at least he has guts to directly confront Lemond. Cary’s frankness may rise from desperation, which makes him no less brave for laying his cards on the table. It’s one of the best scenes in recent memory from THE GOOD WIFE, which has plenty of excellent contenders for this category, a moment full of tension and pregnant pauses, with both actors involved doing brilliant work.

Cary leaves this meeting apparently feeling reassured, but I’m not sure why. Surely he knows he can’t trust what Lemond says in “Sticky Content.” Lemond doesn’t have the same moral code most of us do, and I would not put lying past him in the slightest. Even when he admits the truth, or part of the truth, to Cary, there is a nagging suspicion he plans on going through with the execution order, maybe even more so than before. If I were Cary, I would not sleep soundly any time soon, even if Lemond should be put behind bars.

I do think it may be time for Cary to cooperate with investigators. Past time, in fact. Having Lana (Jill Flint), Kalinda’s girlfriend, present when Cary, Kalinda’s boyfriend, is played the tape is dumb and brings messy emotions into the mix, which at least contributes to Cary’s resistance. It could also hurt Cary’s legal career to flip on a client. But with a man as cold and dangerous as Lemond, getting him off the streets is necessary. Though the outcome here would have to be witness protection for Cary, which would remove him from the show as surely as killing him does.

The ending of “Sticky Content” shows Lana is likely in trouble for leaking the tape to Kalinda. I don’t care. Lana is whiny and needy and Kalinda belongs with Cary. Though a fired Lana could provide someone for Kalinda to run away with for a happy ending when she departs later this season, which would be acceptable.

In the B story, Frank Prady (David Hyde Pierce) asks Alicia to keep the campaign clean, much to chagrin of Alicia’s campaign manager, Johnny (Steven Pasquale), and advertising editor, Josh Mariner (David Krumholtz, Numb3rs). Can she take him at face value? I want to believe him, as he seems like a decent guy. Alicia’s distrust of him in a previous episode have biased me against him, though. Her wariness is based on circumstantial evidence, and THE GOOD WIFE has not revealed whether he is noble or not. But I have a hard time knowing if I should root for him.

Prady is just one of Alicia’s obstacles in “Sticky Content.” Seeing Peter (Chris Noth) with Ramona (Connie Nielsen) sparks some jealousy in Alicia, almost sending her into the arms of Finn (Matthew Goode). She stops herself, but not by much. Alicia’s later cold dismissal of Peter, telling him she’s annoyed that he threatens their political careers, is insincere, covering her pain. But might she finally be ready to move on from the dead marriage, getting over Peter once and for all? If so, Finn seems a good choice for moving on with.

It does certainly look like Alicia is slowly getting more comfortable with politics. She does have some trouble recreating a sincere moment, but the fact that she listens to her advice guys and lets them play on her sympathetic moments shows a change within Alicia. I don’t know if this is a good thing or a bad thing, politics being a dicey arena, but growth is always welcome, and it will probably make Alicia a tougher competitor in all areas of her life.

“Sticky Content” is another great episode of THE GOOD WIFE, providing engaging plot, intense drama, and enjoyable moments. I’m glad the show has continued to stay at the top of its game, still not having come down from last year’s high benchmark.

THE GOOD WIFE airs at 9 p.m.-ish (depending on football) Sundays on CBS.

THE GOOD WIFE Delivers a "Message" of Excellence

Article first published as THE GOOD WIFE Review Season 6 Episode 7 Message Discipline on Seat42F.

“Message Discipline” is yet another fine installment of CBS’s THE GOOD WIFE. Alicia (Julianna Margulies) struggles to be a politician, something she is not accustomed to and maybe not suited for, in order to keep a new opponent out of the race. Meanwhile, Cary’s (Matt Czuchry) legal woes face several ups and downs.

First, Alicia. Told that a popular commentator, Frank Prady (David Hyde Pierce, Frasier) is thinking about running against her and Castro (Michael Cerveris), Elfman (Steven Pasquale) encourages Alicia to get out in front of this and stop it. Alicia tries, awkwardly asking for Prady’s endorsement and screwing up a softball interview. In the end, she fails in every encounter with Prady, other than the final one, and he is now a very real threat to her candidacy.

Prady is an interesting character because he is introduced as so nice and likeable, but is actually a sleazy politician. The kind face is just a public image he puts up, and while it may not be obvious to the viewer what Prady is doing, Alicia figures it out, calling him on his crap late in “Message Discipline.” Someone who can rally legions of fans behind him but also plays the game makes for an excellent politician, at least so far as running for and winning office goes. It also makes for a dangerous foe for Alicia, though, who has so far only had to deal with the openly-despicable Castro.

Castro exposes himself for the villain he is this week. Finn (Matthew Goode) goes after Cary on behalf of Castro and the DA’s office, introducing new evidence that makes Cary look hella guilty. However, when it becomes clear in the course of the investigation that Cary is innocent, Finn wants to switch gears. Castro refuses to do so, indicating he really is after smearing Cary, and by extension, Cary’s partner Alicia, rather than fighting for justice. Castro is a weasel of the worst kind, and when confronted with undeniable proof of this, Finn quits. He has to.

Finn has been a wonderful addition to the cast of THE GOOD WIFE and his sudden unemployment frees him up to take a bigger role. He talks of opening his own firm, possibly in Alicia’s building, and that is one way to go. A better way might be to somehow get him hired on. He and Alicia have a flirtation, and if he is hired, she would be his boss, basically putting Alicia in the opposite position from where she was with Will. That, and the pathos that goes with that, I’d like to see.

Speaking of the offices, it is extremely weird to be back in the Lockhart/Gardner space. I understand the reasons for it, but as I mentioned in past reviews, it feels like a rare step backward for the series. The setting needs to undergo a major redesign quickly to avoid this.

Back to Cary, I’m gratified to see that the case against him falls apart, thanks in large part to Kalinda (Archie Panjabi). Unfortunately, the witnesses who can clear Cary’s name are murdered, not an unexpected happenstance, and Cary goes right back to square one. Now, he doesn’t have Finn, a righteous man, on the other side, though, and so Castro will likely come at Cary ever harder, completely undeserved. This is depressing because one wants to believe that our legal system works and truth will win. But it does make for some excellent drama television, constantly keeping the audience guessing what will happen as fortune shifts back and forth rapidly.

I’m not sure I completely buy the strong pull between Kalinda and Cary in “Message Discipline,” the one weakness in the hour. Last time they are dealt with as a couple, Kalinda hooks back up with an old girlfriend to help Cary. Isn’t he still mad or jealous? Has he forgiven her so easily? They do make a hot pairing so it’s something I’d like to see again. Except that would lead to Cary breaking his parole again and landing in very hot water, which he doesn’t need.

Things are chaotic in Peter’s (Chris Noth) office, too. He hires Ramona (Connie Nielsen, The Following, Boss), who quickly establishes herself as a voice opposite Eli’s (Alan Cumming). Unfortunately for Eli, Ramona is smart, not like the bimbos Peter has gone for in the past, so she won’t be easy to get rid of, especially once Peter starts sleeping with her, which seems a foregone conclusion. Who will this dynamic shift hurt more in the long-run: Peter or Eli?

I may lament Cary’s troubles, but they don’t necessarily have to be over yet. The Cary / Kalinda / Diane (Christine Baranski) side of the episode pairs nicely with Alicia struggling to stay afloat and the chaos in the governor’s office. All together, they make “Message Discipline” another great episode in the larger arcs of the season, forgoing a case-of-the-week, as the series thankfully often does.

THE GOOD WIFE airs some time on Sunday nights, depending on when CBS finally stops worshipping football above all else for the day. Yes, I’m still angry about the network’s poor treatment of an outstanding program, even if stupid sports is how they make money, and football overruns actually raise THE GOOD WIFE’s ratings.