"The Deconstruction" of THE GOOD WIFE

Article originally written for Seat42F.

This week’s episode of THE GOOD WIFE, “The Deconstruction,” begins with a scene mirroring one from the pilot, this time with Alicia (Julianna Margulies) making an announcement in disgrace, Peter (Chris Noth) the supportive presence behind her. Remembering what a catalyst that event is for the entire series, it should come as no surprise that this hour marks another huge change for the show that refuses to stay stagnant, though somehow the ending still feels unexpected.

Much of “The Deconstruction” involves Alicia warring with Diane (Christine Baranski) and the firm, not because they actually have reason to go to war, but because David Lee (Zach Grenier) is playing them again, always the slimy one. It’s frustrating to watch two long-time friends who just want to be partners again furious with one another once more, and viewers will yearn for resolution. Thankfully, Kalinda (Archie Panjabi) ensures the errors are cleared up, just before R.D. (Oliver Platt) torpedoes resolution.

One cannot blame for Diane for choosing R.D. over Alicia, nor R.D. for not wanting the stink surrounding Alicia, justified or not. R.D. is making the firm huge amounts of money, and Alicia could drive away clients in her current state, not attract them. I’m just grateful Diane and Alicia can still be friends, not holding a grudge from an ugly death match. It’s too bad that David Lee gets away with his secrets intact, as he will probably cause more trouble in the firm, but the situation is wrapped up as satisfyingly as it can be with Alicia still on the outs.

Any other show would have returned the cast to status quo. THE GOOD WIFE makes the opposite choice, casting Alicia adrift with no idea as to what she wants to do next, and only two hours left in the season. One might assume she’ll be a public defender, given how she is attracted to the passion in the movie she is watching and how much she respects Prady (David Hyde Pierce), who will take the job she vacated. But Alicia is also a pragmatist, needing to make more money than that position offers, and while she offered Prady a job, there is no guarantee he will do the same. Since her exit package with the firm is void, though, she may be able to negotiate enough of a pay out to do what she wants, when she figures out what that is.

One person not around to help her any more is Kalinda. Kalinda tries to put Lemond (Mike Colter) away and pin it on Dexter (JD Williams). This seems neat in her mind, as even if Lemond kills Dexter, Dexter is a criminal who won’t be missed much. But Cary (Matt Czuchry), not realizing her plan and ever playing the noble knight, nixes that idea by telling Dexter he himself is the rat, which causes Kalinda to flee, presumably after letting Lemond know that she is responsible.

Kalinda’s goodbye in “The Deconstruction” is a sad, yet fitting, one. She gets to say her farewell to Cary, Diane, and, in a note, to Alicia, even as none of them realize what she’s doing. She’s always been a bit of a shady character, but her last act before exiting is to engage in self-sacrifice, giving up her life and her love to protect the people she cares about. Her lingering over Alicia’s photographs reveals the depths of her feeling, and Panjabi sells the moment. I hope one day we’ll see what happens to Kalinda, but I’m relieved she isn’t dead, at least not yet, and leaves on her own terms.

I don’t think Lemond will come through Cary to get to Kalinda. He should be smart enough to know that if Kalinda is going to disappear, she’s going to do it thoroughly and hurting Cary won’t bring her back. Besides, with the evidence that Kalinda gives Geneva Pine (Renee Elise Goldsberry), Lemond will be in jail. Who knows how much influence he’ll have left from behind bars?

As all this happens, THE GOOD WIFE makes time to have Diane help out a grandmother (The Big C’s Phyllis Somerville) caught with E, bringing back Joy (Linda Lavin) and introducing Reg E. Cathey (House of Cards) as a judge. This subplot is not huge, but it highlights how deep THE GOOD WIFE’s bench is and the supreme talents they can bring in, even for one-offs. Plus, the case is thoroughly engaging and exposes yet another part of the judicial system that is just not fair.

I can’t believe only two episodes remain in THE GOOD WIFE’s sixth season. It has not been renewed yet, but signs are positive that it will be. I can’t imagine the story stopping now, and would mourn it greatly if it did not come back. Every single installment, “The Deconstruction” included, is excellent and inspiring.

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

"Dear God," The GOOD WIFE is Good

Article first published as THE GOOD WIFE Review Season 6 Episode 3 Dear God on Seat42F.

On THE GOOD WIFE, all of Eli Gold’s (Alan Cumming) considerable political prowess and manipulation couldn’t get Alicia Florrick (Julianna Margulies) to run for State’s Attorney. Leaked news stories, NPR mentions, and Gloria Steinem (herself) couldn’t change Alicia’s mind. In the end, it’s James Castro (Michael Cerveris), the one currently holding the office, and who’d like to keep it, whom convinces Alicia to enter the race in last night’s episode, “Dear God.” What a tool!

Castro is his own worst enemy. He goes after Alicia’s partner, Cary (Matt Czuchry), and Alicia lets him slide. He bullies her and threatens the future of her firm, and she lets it slide. She even is clearly deciding to stay out of the race after knowing he will win it and how bad he is. Yet, he pushes just a little further, invoking Will’s name in a shameful fashion, and that’s the final straw. If he would just keep his big trap shut, he could retain his job. But because he is scared, he keeps acting out, and eventually, he causes exactly what he is trying to avoid.

I know it isn’t a foregone conclusion that Alicia will win the race, but it seems likely, barring a strong third party entry. She’s pulling way ahead of Castro, and he’s obviously a terrible choice for the job. THE GOOD WIFE is not afraid of shifting around its players, putting them in new positions, and the State’s Attorney’s office is a long-established set piece on the series. It is sad, though, that it could take Alicia out of her new firm right when it’s getting its legs.

The one who will lose the most by Alicia running is Cary. He and Alicia started Florrick, Agos, & Associates together. Lately, their power is eroding because Diane (Christine Baranaksi), Dean (Taye Diggs), and other former Lockhart / Gardner employees have come in and tried to grab power. We see this week that they are gaining ground and Alicia isn’t in any particular hurry to stop them. With her out of the game entirely, Cary stands no chance against the organized team of experienced lawyers.

“Dear God” has many brief cut-scenes showing what is going on at the firm. While Cary, Alicia, and Diane speak with Cary’s case worker, Joy Gubick (Linda Lavin, Alice), viewers are treated to glimpses of their workplace. It’s an interesting way to tell the story of Cary losing his own firm, and it certainly makes one sit up and pay attention as they occur.

Even better, THE GOOD WIFE makes Joy important. At first, she seems to be a clever story-telling device, something the show does from time to time. But late in the hour, Joy goes before a judge and has major sway over whether Cary will go back to jail or remain free. Up to this point, she isn’t portrayed very positively, and it’s no wonder Cary thinks he is screwed. Buy Joy is revealed to be a very fair judge of character, good at her job, and she ends up supporting Cary when no one else can. It’s a beautiful pay off for the character and the episode.

We find out in “Dear God” that Kalinda (Archie Panjabi) didn’t have Cary’s accuser killed after all! It appears in the previous installment that Kalinda gives up the witness to his kingpin boss, spelling certain death. Now, we learn Kalinda also warns the man so he can escape. This will certainly have implications, likely bad ones, for all involved, in both Cary’s case and Lemond’s business. But at least Kalinda isn’t as cold as she appears, and Cary may forgive her for this misstep, as he never would if Kalinda were responsible for a man’s death.

The B plot in “Dear God” is fun, too. Cary’s client, Ed Pratt (Richard Thomas, The Americans, The Waltons), gets tired of the vicious arguing of the courtroom and decides, through civil conversation with his opponent (Robert Joy, CSI: NY), to take the case to a Christian mediator (Robert Sean Leonard, House). This throws Cary, Alicia, Dean, and their opponent, Carter Schmidt (Christian Borle), off their games as they try to adapt to a system based on open honesty, rather than rules of law.

I love this plot for many reasons. One, it highlights how ridiculous the courtroom posturing often gets. Two, it boasts great guest stars. Three, it takes our characters to a new environment. Four, it gives Alicia a chance to bond with her religious daughter, Grace (Makenzie Vega). Five, it all comes together with a very nice ending. And six, it’s just plain fun.

THE GOOD WIFE continues to excel. Each episode, “Dear God” definitely included, presents a complex puzzle that brilliantly comes together seamlessly in the end. The acting is phenomenal, which is why the show can reliably, consistently attract such talented guests and recurring players. The drama is compelling. Each episode is highly entertaining and smart. I marvel at how in maintains this high quality week after week, but it currently shows no signs of slowing down. Great job.

THE GOOD WIFE airs Sunday nights on CBS. Air times vary based on stupid, ridiculous, frequent football run-overs.

SEAN Doesn't Quite SAVE THE WORLD

Review first published as SEAN SAVES THE WORLD Review on Seat42F.

In a slew of very familiar-seeming new sitcoms this year, lacking that fresh, creative approach that really set them apart from the herd, NBC’s SEAN SAVES THE WORLD is definitely one of them. What I mean is, while a gay dad balancing being a newly-single parent and the pressures of a demanding boss is not completely done-to-death, it also doesn’t feel that far apart from a dozen others shows. The good news is, this one is a fine example of such a program.

Sean (Sean Hayes, Will & Grace) is out of the closet and divorced. When his ex-wife decides to move far away, their teenage daughter, Ellie (Samantha Isler), demands to stay in the city, and so her father, whom she usually only sees on weekends, takes her in, suddenly having to learn how to provide discipline and structure. Unfortunately, it’s at this same time that the business Sean manages gets a new owner, Max (Thomas Lennon, Reno 911!), who is not at all sympathetic to his staff having a personal life. Thus, the conflict is born.

This is a very relatable concept. There are lots of single moms and dads in the world, and most of them have at least one job. Thus, it’s a good idea for a show if the only goal is to appeal to the masses.

I really like the relationship Hayes and Isler have right off the bat. Neither Sean nor Ellie knows what they are doing in this situation, something Sean is open about, but Ellie isn’t so much, tight-lipped as girls of a certain age often are. They do have a heartwarming conversation in the “Pilot” about their living arrangement, and that makes the episode. It will be fun to watch them together.

Max is a less likeable character. He is revealed to not be completely horrible at the end of the first episode, but he is unrealistically tough. Lennon is a great comedian, and is used to broad humor, which he uses here, but the show needs something more from him like Sean and Ellie have. Until Lennon can build some layers into Max and give him a dynamic personality, something Lennon is certainly capable of, he won’t quite fit in.

Sean’s other co-workers are pretty much just as goofy. Megan Hilty, whom Hayes had great chemistry with on Smash last season, is on board as Liz, and Echo Kellum has been rescued from Ben and Kate’s cancellation to play Hunter. Combined with Vik Sahay (Chuck) as Howard, a hopefully recurring part, these guys give the office scenes their laughs as Sean tries very hard to be the peacekeeper in a tough scenario. I think it works OK that Sean is still funny, even as he plays the put-upon straight man between the owner and the peons. The actors all have something amusing to offer, and SEAN SAVES THE WORLD lets them do so. It’s a nice ensemble.

The only character that I’m not sure about is Lorna (Linda Lavin, Alice), Sean’s mother. She is too heartless to have birthed such a compassionate, determined man, and while Ellie thinks she’s fun, I’m not sure viewers will. The mean old woman has become a sitcom staple (think Arrested Development), but Sean doesn’t act like he’s been raised by such a person, so it feels a little flat in this instance.

I don’t have too many particular complaints about SEAN SAVES THE WORLD. I enjoyed it, laughing several times while watching the “Pilot.” I really like the actors involved. I think the setup is a world that stories can be told in. I just wish that it didn’t seem Hayes played it safe with the express purpose of getting a show on the air. He has been thoroughly entertaining in more outlandish roles, and while he may be proving he can also do the more “normal” parts, it’s an unnecessary demonstration. Yes, he’s a good actor. So let’s stretch him more, taking full advantage of his skill set.

He’s not the only one not reaching far enough. Creator Victor Fresco’s credits boast he has produced some great stuff such as Go On, Man Up, and Better Off Ted. All three of those were short-lived, so perhaps he has been scared off from taking the big risks. But all three are also really good shows, so I hope he brings the best parts of those over to SEAN SAVES THE WORLD eventually, even if those elements aren’t obviously present in the “Pilot.” Maybe if viewers have patience, he’ll play the network’s game for awhile, attracting ratings to a comfortable series, and then he can then spin it into something better. This show as is is currently good, not great.

SEAN SAVES THE WORLD premieres Thursday, October 3^rd at 9 p.m. ET on NBC.