HUNTERS and the Hunted

Article first published as TV Review: HUNTERS on Seat42F.

Amazon recently released HUNTERS, a ten-episode drama about a group of Jewish people in the late 1970s hunting down Nazis hiding in America to take revenge for their wartime atrocities. From the mind of David Weil, this hyper-reality series picks a handful of things from history, and amps them up a la Inglourious Basterds, with plenty of shocking deaths in this cat-and-mouse spy game. It’s like The Americans, but way more fun (which is not a knock against that excellent series) because it’s a lot less concerned with accuracy.

The cast is very capably led by Logan Lerman (The Perks of Being a Wallflower) as Jonah Heidelbaum. Jonah lives with his grandmother, a survivor of the concentration camps, and his only remaining relative. But when she is mysteriously murdered in her home and Jonah doesn’t stop it, his mission to make up for his inaction leads him to a larger conspiracy. Jonah meets Meyer Offerman (Al Pacino, The Irishman, The Godfather) and his band of Nazi hunters. Despite Meyer’s best efforts, Jonah joins them in their quest, taking his grandmother’s place.

The supporting cast is wonderfully assembled. Jerrika Hinton (Grey’s Anatomy) is Millie Morris, an earnest federal agent investigating suspicious murders. Dylan Baker (The Good Wife) is so, so, so creepy as Biff Simpson, a former Nazi. Greg Austin (Mr Selfridge) is chilling in his cleanup. Lena Olin (Alias) is the cartoonishly evil German who wants to establish a Fourth Reich. Saul Rubinek (Warehouse 13), Carol Kane (Unbreakable Kimmy Schmidt), Josh Radnor (How I Met Your Mother), Tiffany Boone (The Following), Louis Ozawa (Bosch), and Kate Mulvany (Fighting Season) make up the members of Meyer’s team.

From the first scene, HUNTERS is gripping. A friendly cookout among co-workers goes wrong, and the result is something that very nearly crosses a line. From there, things only ramp up, as in the pilot alone, there are something like ten murders (most in a single scene). Each tends to be done with flair and dramatics, keeping one’s attention, even as it’s hard to know exactly when the next one is coming up. The pacing is quick, and the story flows smoothly.

There is a line one wouldn’t want to cross, and HUNTERS comes right up to it. The line I refer to is showing brutality towards children, which the show manages without being graphic the way it is in its treatment of adults. That restraint is appreciated, even if it’s clearly just for viewer sensibilities; the world isn’t any less realistic in the outcomes towards the youths.

Still, there’s a lot of violence, and without stating that it’s glorification, it is stylized entertainment. Much as the way the rest of the show is. As I said in the opening, HUNTERS operates on a hyper-reality, and from Florida wallpaper choices, to sitting positions in an alley, to a secret lair, much care has been taken to build something that feels just not-grounded enough to fully enjoy, without worrying about what might have really happened. There’s an air of fairy tale to it that keeps you from being bummed out by all the death, even as the frequent references to the Holocaust lend a sad undertone. The overall satisfaction is joyous, with those who have been wronged balancing the scales in their own ways, extralegal or not.

I love what I’ve seen of HUNTERS. It’s got some absolutely terrific performance moments in a pleasing package. I wouldn’t call it light entertainment; it threads a careful balance between fun and depth. Yes, it is prestige programming, and uses its period concept delightfully. But it also says something, and the specific point of view behind it makes it well worth the watch.

You can stream the entire first season now on Amazon Prime.

CONFIRMATION Of Belief

Article first published as Blu-ray Review: 'Confirmation' on Blogcritics.

HBO’s recent television movie, Confirmation, will be available on Blu-ray and DVD August 2nd, and has already been released for digital download and streaming. It’s the story of Anita Hill accusing Clarence Thomas of sexual harassment during his Supreme Court nomination hearing in 1991. Or, it tells a relatively one-sided, focused version of a small part of the story with a clear message and point that the film’s producers are trying to get across.

That may sound like a condemnation of the movie, but it is not. I merely want to state what this is before moving forward to talk about it. It is completely fair for someone to make a movie with a specific purpose in mind; many movies fall into that category. What is unusual is for a piece like this to come out when public opinion is still divided, at a time when our country has rarely been more partisan, with racism having been brought back to the forefront yet again, and many of the players involved are still in positions of power. Confirmation itself is a narrow story, but the issues it brings up are many, varied, and still very relevant.

Played by Scandal‘s Kerry Washington, Anita Hill is a sympathetic woman who did what she had to do in order to pursue a career in her chosen field, but who also has strong principles she cannot ignore when this man she was harassed by is given the chance to join the highest court in the land. She takes a little urging to come forward, but she refuses to lie even before that, and she does believe Clarence Thomas (Wendell Pierce, Treme, The Odd Couple) doesn’t deserve a job on the Supreme Court and should be stopped.

Despite it being clear where the writers think the truth lies, Confirmation does a pretty decent job of showing the different viewpoints various individuals involved have, providing a more complex story than the above description indicates. There are the female staffers like Ricki Seidman (Grace Gummer, Mr. Robot, The Newsroom) and Carolyn Hart (Zoe Lister-Jones, Life in Pieces) who are frustrated at the limitations their bosses follow. There are the white men on the judiciary committee like Joe Biden (Greg Kinnear, Little Miss Sunshine), Ted Kennedy (Treat Williams, Chicago Fire), Jack Danforth (Bill Irwin,Interstellar), Orrin Hatch (Dylan Baker, The Good Wife), and Alan Simpson (Peter McRobbie, Lincoln) whose own actions and political positions color how they see the situation, and whose race and class makes it hard for them to fully understand all sides. We see Thomas’ wife, Ginni (Alison Wright, The Americans), and how she believes what she has to. And there are others, played by the likes of Eric Stonestreet (Modern Family), Jeffrey Wright (Boardwalk Empire), Malcolm Gets (Caroline in the City), Erika Christensen (Parenthood), Kimberly Elise (Close to Home), and Jennifer Hudson (Dreamgirls) that each bring a little something to add to the overall picture, too.

So while the movie itself is, at its core, quite biased, because of a very strong cast and good writing, the characters make the world seem more complex. It isn’t quite as straight forward as it might be. Add to that a very strong message of gender equality, how the race card can be misused, good historical context, and an empowered hero, and the result is something that, while not the most entertaining film made by this network, feels important and engaging. Because of what this movie says about our society, past and present, it is worthy of our attention.

The extras are sadly few and shallow. There are one-minute interviews with Kerry Washington and Wendell Pierce, and a thirteen-minute series of quick bios about each of the major players. That’s it. I really wish some documentary-style featurette were present to talk about the real events and the consequences of them, but that is left to a sequence in the end credits that, while satisfying for the viewing of the feature, is disappointing in fully fleshing out what Confirmation is. What’s missing most is a discussion about the angle that the movie takes and why that choice was made, as well as why other directions were not gone in.

Still, it’s a good film, so check it out. Confirmation can be bought digitally now, and will be out on disc on August 2nd.

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.

The Good Wife Finds Out "What's in the Box?"

Article first published as The Good Wife Finds Out "What's in the Box?" on TheTVKing.

So much is happening in The Good Wife's season four finale, "What's in the Box?" which aired on CBS this week. Zach (Graham Phillips) thinks he spots voter fraud, sending Lockhardt Garner scrambling into multiple court battles to try to save the election for Peter (Chris Noth). Meanwhile, who will be splitting off to form a new firm is revealed, personal relationships are rocked, and the election results come in.

One of the things The Good Wife does well is build a stable of reliable, fantastic recurring players. Lots of them appear in "What's in the Box?" lending a bit of extra excitement and tension to the proceedings. Among those returning favorites in this episode are Patti Nyholm (Martha Plimpton), Colin Sweeney (Dylan Baker), Judge Arbernathy (Denis O'Hare), Judge Lessner (Ana Gasteyer), and Jordan Karahalios (T.R. Knight).

But while all of these familiar faces are wonderful to see, none are the focus of the episode, as The Good Wife does know how that their bread and butter is the core cast, nearly all of whom get development and plot in this finale.

Zach doesn't always have a lot to do, but he is instrumental in the various legal battles that play out throughout the installment. It's nice to see him have such a vital part, not only starting the trouble, unintentionally, but also getting to share credit for his dad's victory, sort of. It's a good use for the teen, who looks to possibly have an increased role moving forward if he stays involved, maybe working for his dad?

The brilliant maneuvering, as the characters zip from courtroom to courtroom, is highly entertaining and sharpy crafted. The Good Wife has presented many interesting cases in its day, but the ones in this episode are some of the most enjoyable, especially after the flip, when our heroes must argue the opposite side of the previous debate.

I'm not so thrilled with the election outcome. Yes, I'm happy that Peter wins, but at what cost? It seems pretty obvious that his team cheats, whether Eli (Alan Cumming) is involved or not, and he very well may be. It makes the win hollow. If only the 30,000 votes are rigged, it won't change the results, but since we know that some false counts got in there, it opens up the possibility for others. Is this the arc for next year, with the mystery slowly uncovered?

Despite this scandal, Peter's reputation is not damaged in my eyes. He may not tell Will to reveal the secret (who would?), but he doesn't ask him not to, either. It seems obvious that Peter has no knowledge of the rigging, so his hands are clean there.

Of course, that means Will (Josh Charles) does something shady, again. He's been a murky character at times, and the choice to tell the court about the false votes fall to him. I feel like his decision is not an easy one, as Alicia (Julianna Margulies) could be upset at him for exposing Peter, rather than running to him for comfort, so that would shoot himself in the foot with her. Yet, by protecting Peter, Will keeps Alicia's husband looking good to her. Neither choice will get him what he wants, so should he keep Alicia happy, or do what's right? He chooses Alicia's happiness, proving his feelings for her are real, even if he doesn't get her at this juncture.

Peter's other misstep, trying to intimidate and pay off Cristian (Yul Vazquez) to leave Jackie (Mary Beth Peil) alone, can be chalked up to a son protecting his mother. What's more, as funny as Cristian's handling of Peter is, it also hints that Peter's instincts about him could very well be correct.

Alicia is the titular character for good reason, and she has a couple of decisions to make in "What's in the Box?" First, should she renew her wedding vows to Peter, or try again with Will, who shows his continuing interest with a second kiss? Peter promises not to cheat on her again, and he seems sincere. They've spent a lot of time working on their marriage, and I don't think Alicia should throw that away for a guy she hasn't been able to make it work with twice in the past. Which is why I'm glad we don't see her go for Will this hour.

Second, should she stay at Lockhardt Gardner, or split off with Cary (Matt Czuchry) to form Florrick, Agos, and Associates? I think the episode does a great job with the fake out, making us think Alicia might be calling Will in the end, when really, she is telling Cary she is in. I'm glad that is revealed, rather than just showing the cryptic phone call. Alicia needs to do what's best, and that's get away from Will. I figure that's her deciding factor, though there's also the opportunity to begin something new here. I doubt Sweeney's opinion has much weight, even though we see him encourage the move.

With two firms next season, and Diane (Christine Baranski) presumably heading for the bench, the cast is likely to be split. For this reason, I'm glad that new investigator Robin (Jess Weixler) goes with Cary and Alicia, and Kalinda (Archie Panjabi) stay. I hate to see Will left by himself, and we're surely not done with stories set within Lockhardt Gardner. When Cary was by himself, he got far less screen time. I hope to not see that happen to a lead again.

The regrettable thing, though, is that Kalinda feels betrayed by Cary. Say what you want about Cary Agos, but he has handled this whole rebellion with grace and politeness, juggling others' various interests. He doesn't stab Alicia or Kalinda in the back. He does what he can to make everyone happy, while not allowing himself to be pushed around by a firm that hasn't been fair to him. I really hope Kalinda can be made to realize this, and since he won't be her boss, maybe they can even have a romantic relationship. That would be the best case scenario.

I can't help but anticipate next year, the momentum already set for a new and different season, full of surprises and ups and downs. The Good Wife will return to CBS next fall.

Political Animals need not be caged

The season finale of USA's limited series event, Political Animals, aired this week. The title of the episode is "Resignation Day." But to whom does this refer? Is it Elaine's (Sigourney Weaver) last day as Secretary of State, having promised President Garcetti (Adrian Pasdar) that she would step down? Or will Douglas (James Wolk) be the one quitting, having leaked sensitive information that will make him untrustworthy, and thus unemployable, in his chosen field? Or perhaps Susan (Carla Gugino) will be forced to leave the paper, having crossed more than one line in the pursuit of a story?

Thankfully, although a second season had yet to be ordered, none of these come to pass, so all of the characters can stay around and relevant. A shocking tragedy resets everyone's priorities, ending several arcs succinctly, and kicking off a couple of new possibilities for the future. Should another go-round be ordered, there is plenty more story to ell, and given the tease at the end, with Elaine smiling at Bud's (Ciarán Hinds) insistence she run for president herself, the writers already have some ideas mapped out.

Let's back up a second. As Political Animals' freshman run plays out, Elaine considers taking on Garcetti, worried he isn't sticking to his guns the way he should be. But Garcetti comes 'round when Elaine calls him on the carpet, and ends up offering her the Vice President position in his challenge for a second term. However, before she can make the decision about whether to accept, Garcetti is seemingly killed in a plane crash, and sleazy V.P. Fred Collier (Dylan Baker) is put in charge instead, necessitating Elaine's own run, rather than leave a cad like Collier in power.

Had Garcetti survived, and as his body had not been found yet, he still could be alive, Elaine would surely have stood by him. Political Animals has done a good job making politics neither black nor white, and at the end of the day, Garcetti was the man Elaine hoped he would be. Yet, Collier is much more a villain, providing a delicious antagonist for season two, which points to Garcetti most likely being deceased. After all, the more drama a series can muster up, the better, right? Though a last minute reveal of finding Garcetti alive after Elaine and Collier battle it out, while stretching reality to the breaking point, could be even juicier.

Thankfully, Political Animals does not thrive on unnecessary drama, delivering a good story without venturing too far into that television trope of forcing antagonism. Yes, Douglas does cheat on Anne (Brittany Ishibashi) with Susan, but that's the only real misstep I can find in this first batch of episodes. There is upheaval and scandal, to be sure, but it almost always stops before going too far, keeping true to the characters, as they have been established.

One moment from "Resignation Day" really stands out, and crystallizes something this show does very well. Susan tells Douglas that, despite cheating on his fiance and betraying his mother, he is still a good guy. And somehow, as hard as it is to accept on paper, she's right! Not only that, but after writing Bud off as a womanizer who can't keep his mouth shut, Political Animals goes out of its way to prove he also loves his (ex-, for now) wife, and has willingly sacrificed himself for her career. This is the mark of a compelling character, who, likes the others on this show, lives in the fuzzy gray world of reality, rather than being shelved as either hero or villain. Very cool.

Another sweet point in "Resignation Day" is when Elaine tells Susan the truth of the whole power struggle. The friendship between these women is a real highlight of Political Animals, and what keeps the political world from coming across as too slimy. Providing a relationship both hang on tight to amidst the turmoil givens each a strong foundation they can stand on, and provides viewers with ways to root for them. Who needs mean girls when nice works so much better?

I would be remiss if I didn't praise the fantastic Ellen Burstyn, who plays Elaine's mother, Margaret. Whether making her daughter consider what her decisions do to the family, or confronting Anne and T.J. (Sebastian Stan) about their demons without judgment while struggling with her own, she is a powerful force on the series, and one that drives along a number of stories that could stall out without her assistance. She is doing some seriously brilliant work here.

Then there's the scene where Barry (Roger Bart) comes to make up with Elaine, his priorities put in order by what happens to Garcetti. These kind of pathos help the show thrive, and thrive it does. The cast has been signed for multiple seasons. Let's hope Political Animals gets that chance.

First posted on TheTVKing

You can't cage these Political Animals

Grade: 86%

USA decided to take a risk with its new show, POLITICAL ANIMALS. The network has actually taken several risks in the last few years, each progressively braver than the one before it. There’s nothing wrong with how the network made its name, with a number of similar shows, each using the trademark formula. Still, it’s nice to see something new, and this show resembles its peers not at all.

POLITICAL ANIMALS is easily the biggest departure from USA’s tried and true formula yet, and it’s a big success, at least creatively. The writing is very smart, the acting is fantastic, and the scope is much broader than the average basic cable drama. The “Pilot,” which aired last night, is a superb story, wonderfully setting up each character, as well as telling a tale or two or three.

Created by Greg Berlanti (Brothers & Sisters, Everwood), many will immediately assume he is a fan of Hilary Clinton. That’s because the central character of POLITICAL ANIMALS, Elaine Barrish (Sigourney Weaver, Alien, Avatar), is a former first lady of the popular, two-term 42nd president, who, after losing a presidential race to a charismatic newcomer (Adrian Pasdar, Heroes, The Lying Game), accepts the position of Secretary of State. Elaine is bold, principled, and suddenly more popular than ever, hugely successful as the nation’s top diplomat.

But as the “Pilot” unfolds, it is clear that Hilary may just have been a starting point. There are definite differences. Some are cosmetic, such as the fact that Elaine has twin sons instead of a daughter, while others, including divorcing her husband, Bud (Ciaran Hinds, Rome, Munich), are perhaps wishful thinking. But what it really boils down to is that Hilary is a public figure, and none of us will ever know what goes inside of her head. Ellen is a television character, who will do things to keep the show interesting, such as sleeping with her ex-spouse. Not only that, but Elaine must be fully fleshed out, filling in those details missing from the general consciousness about Hilary. As such, a lot of creative license is taken, and the character will quickly stand apart from her inspiration.

A number of things happen in the “Pilot.” Firstly, the family celebrates the engagement of Elaine’s son, who happens to also be her chief of staff, Douglas (James Wolk, Happy Endings, You Again), to Anne Ogami (Brittany Ishibashi, Ghostfacers, Eagle Eye). It looks like the perfect pairing, and they do seem to get along pretty well, despite the family tensions. But Anne is secretly bulimic. Is this condition a result of the pressures of marrying into such a powerful family? What kind of girl chooses this kind of life? These are questions only barely begun to be explored.

Other son, Thomas James, or TJ (Sebastian Stan, Gossip Girl, Kings), is a homosexual with a drug problem. Having previously attempted suicide, he is not well suited to this particular family, finding the spotlight painful and grating. He is still loved, at least by his mother, but that isn’t enough to keep him in line. What kind of trouble will he cause her and the others?

In fact, TJ sets up the other major thread of POLITICAL ANIMALS. In the “Pilot,” Elaine is being followed around by a reporter named Susan Berg (Carla Gugino, Watchmen, Californication, Entourage) who made her name by exposing Bud’s cheating ways, and is now using the story of TJ’s screw up to blackmail her way into an interview. Of course, this being TV, Susan’s life is just as messed up, as her boyfriend / boss betrays her in more ways than one, and she begins to feel Elaine’s pain.

There is a very nice parallel between Elaine and Susan. They are similar types of women, to paraphrase the episodes, bitches who don’t like being called bitches. They are driven, intelligent, sexy, and get what they want through hard work and tenacity. Sometimes they may be shamed by others, but there is a lot to be admired in both women. And by the end of the “Pilot,” they begin to see that in each other, too.

In the first episode, amid all of this other stuff, there is also a hostage crisis in Iran, a great example of how POLITICAL ANIMALS mixes the big picture and the intimate family moments. This is a winning formula, showing how the people in charge cope with everything thrust upon them, a look that most people don’t generally get into their lives. Sure, the episodes will be trumped up for dramatic effect, but they also feel fairly real because the series gets the details right.

There are lots of things going on, but none of it feels rushed, especially in the hands of a terrific cast. These include supporting actors like Ellen Burstyn (Big Love, The Exorcist) as Elaine’s drunken mother, Dylan Baker (Damages, The Good Wife) as the Vice President, and Roger Bart (Desperate Housewives, The Producers) as the president’s chief of staff. All of this combines to make a fantastic show.

This is definitely a can’t-miss series of the summer, and presented as a limited run, it won’t be a major time commitment to check it out. POLITICAL ANIMALS airs Sundays at 10 p.m. ET on USA.

The Good Wife takes the 'Long Way Home'

In last night's installment of CBS's The Good Wife, "Long Way Home," Alicia (Julianna Margulies) must once again represent Colin Sweeney (Dylan Baker), this time as he faces the outcome of a sexual harassment suit. Unfortunately, Colin is keeping her guessing as to whether he is committing perjury or not, making her job more difficult. And, of course, she has plenty else going on, too, learning that she will soon need to find a new place to live, and also having difficulty with her mentee, Caitlin (Anna Camp).

Baker's Sweeney is always a pleasure. He's a manipulative, borderline psychotic troublemaker, so it's not like he's a nice character. But Baker plays hm with such talent and grace, constantly keeping viewers guessing what Sweeney's real motivations are. It's a prime part for the actor, and one that he excels at. "Long Way Home" is no exception to that recurring performance.

In "Long Way Home," Sweeney is trying to wrest control of his company back from his rival. This power play is interrupted when a young woman named Isobel (Morena Baccarin, V, Homeland, Firefly) steps forward with a child that she says is Sweeney's, and accuses him of improper conduct. He denies it all. The rush for Alicia, Caitlin, and the firm is on to prove that Sweeney's competition is behind the stunt. Except, Sweeney begins lying under oath. Then so does Isobel, to the dismay of her own attorney, Victoria Adler (Kate Burton). And then Sweeney and Isobel come to an amiable agreement, raising the child, who is, indeed, his, together. What's going on?

Well, it's pretty clear that Sweeney has once more gamed the system. If a connection between Isobel and Sweeney's foe can be established, which is what appears to happen during the machinations, then Judge Friend (Bebe Neuwirth, Cheers) must rule in Sweeney's favor, removing the competition from the game. So there is plenty of motivation for Sweeney here to stage such a connection for his own benefit. Add to that, Isobel is a softcore porn actress, meaning, she can fake things decently, and how comfortable Sweeney is with his son, it looks like Sweeney used Lockhart / Gardner all over again.

Which is fine. After all, Lockhart / Gardner gets a big payday. Being oblivious to Sweeney's plans, they are not culpable in the illegal activities. And other than a suspicion, the lawyers can prove nothing. Nor do they have any desire to do so, as it would simply lose them money and get them into trouble. Not to mention, if they turn on him, Sweeney would go to someone else next time, costing them even more. And with a devious, intelligent mind like his, there is sure to be a next time.

All told, "Long Way Home" is a fantastic return for one of The Good Wife's best recurring characters.

Too bad Caitlin won't stick around to enjoy the spoils of the victory. She chooses to give up the legal life to be a stay-at-home mom, a decision that baffles Alicia, perhaps because Alicia sort of regrets having done so herself. Alicia tries to convince Caitlin to stay, to no avail. It might be a good thing for Alicia that Caitlin is leaving, considering a rivalry seems to be building between them. But The Good Wife fans will definitely miss Camp's terrific presence.

Hopefully Caitlin's uncle, David Lee (Zach Grenier), won't continue to blame Alicia for running Caitlin off, as he begins to this week, as it is very clear that Alicia has nothing to do with the resignation.

Adding to the office chaos, Will (Josh Charles) is treading carefully, now that he's back at work. He still cannot have any involvement in the legal proceedings of the firm, and Lionel Deerfield (Edward Herrmann, Gilmore Girls, The Practice) is on hand to make sure that Will doesn't cross a line. Will's return calms the power vacuum, but will he be able to keep his nose clean for six whole months, resisting the career that is his calling?

In "Long Way Home," Alicia learns that she must find somewhere else to live, as her rental unit will soon be sold. She can't really afford to buy the place herself. Peter (Chris Noth) suggests impropriety is afoot, in that they are not giving her enough notice. This is something Alicia may end up fighting in court, but she is still likely to have to move eventually, and so, not wasting any time, she begins looking.

One possibility is buying back her old house. Grace (Makenzie Vega) and Zach (Graham Phillips) are all for this plan, as it is back on the market, but Alicia isn't so enthusiastic. She claims it would be a financial hardship for her, which may be partially true. But then Alicia asks Diane (Christine Baranski) for a raise, so the money thing might not be an issue, long-term. No, there's more to it than that.

Alicia' visit to the house reveals a vulnerability, as she is overcome emotionally with memories of her time there. At first, those memories are happy, as she recalls her children. But when Peter's image is evoked, they turn upsetting. It may very well be that Alicia doesn't want to remember her marriage any more than she has to, now that it has fallen apart. This is reason enough not to return to the home. Alicia has moved on and built a new life for herself, and getting back her old dwelling is a step backwards, not forwards.

While no reconciliation seems imminent, Peter has his own troubles in "Long Way Home." He orders Cary (Matt Czuchry) to investigate reports that two co-workers had relations on Peter's office couch. When Cary comes forward with the guilty party, Peter fires them. But then Cary confesses his own indiscretion. Peter wants to slip it under the rug, but Cary tells him this is not possible, especially because others in the office know. What to do now?

Would Cary have come forward if Geneva (Renee Goldsberry, One Life to Live) hadn't pressured him to? It's hard to know. Geneva wasn't going to turn him in, so Cary could have escaped consequences, other than the damage to his reputation. But Cary is a stand up guy, and so one would like to think that he eventually would have confessed anyway. Cary understands that one must admit their mistakes and suffer the consequences, and that's what he does. Now he can move forward proudly, rather than hide this shame.

Peter has the tougher choice, and that's deciding what to do with Cary. Peter can't stand to loose his right-hand man, but neither can he let Cary continue on, unpunished. How much discipline is needed to satisfy the rest of the staff, but not damage Cary's standing too much? It's a fine balance, to be sure.


Next week's episode features the return of Tammy (Elizabeth Reaser), and so , like most installments, it's one not to miss! Catch The Good Wife Sundays at 9 p.m. ET on CBS.

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 - "Long Way Home" on Blogcritics.