EVIL Stirrings

Article first published as TV Review: EVIL on Seat42F.

CBS has an EVIL new drama, which premiered last week. It’s about a team of investigators who try to determine if miracles and possessions are real. They are skeptics, not believers (for the most part), and the series is about them as people as much as it is about their cases, a departure from the network’s typical procedural formula (though there’s a bit of that in there, too). Will they prove a god and/or Satan exist? Or will their job be a series of debunks?

EVIL was created by Michelle King and Robert King, the minds behind The Good Wife and its spin-off, The Good Fight. Both of those shows, while legal in nature with specific trials and negotiations dealt with, were far from the basic procedural, and provided some wonderful characters over the years. Two episodes in, my impression of their new series is that it will be the same, a rare gem on a mostly has-been network.

The clear lead is Katja Herbers (Westworld, Divorce), who plays Kristen Bouchard. Fired from her job for not being willing to bend the truth on the witness stand while professionally testifying, Kristen is desperate. She’s at home with four daughters (Brooklyn Shuck, Rise; Skylar Gray, Married; Maddy Crocco; and Dalya Knapp) while her as-yet-unseen husband guides mountain climbing expeditions. Thankfully, her mom, Sheryl (Christine Lahti, Chicago Hope), lends a hand, but that’s not nearly enough.

A quick note about the kids: They seem pretty interchangeable and generic at the start, but I don’t believe they’re likely to stay that way. There are a lot of characters and a lot of story threads in EVIL, and for now, the girls are mostly a plot device to ratchet up the stress on Kristen, seen almost exclusively in a group. However, episode two started to distinguish one from the herd, and based on the creators’ past works, I find it probable that viewers will soon be able to distinguish them as individuals quite easily. It just may take a bit of time.

Back to Kristen, she is saved from unemployment by none other than the Catholic Church. Specifically, would-be-priest David Acosta (Mike Colter, Luke Cage), who asks for her help. The two, along with Ben Shakir (Aasif Mandvi, The Daily Show), make up the team that drives the A story of the initial offerings.

However, EVIL is more than one woman’s work and home life. We see her in therapy with Dr. Boggs (Kurt Fuller, Psych), which strangely ties into the first case. She is visited in her dreams by a demon named Georgie (Marti Matulis, Teen Wolf). And David is taunted by a man who might be supernatural, or at least have supernatural connections, named Leland Townsend (Michael Emerson, Lost).

That’s an ambitious workload for a broadcast network show, especially one on this particular channel. It’s a complex, well-developed world that presents a lot of questions without giving a lot of answers. I wouldn’t call EVIL particularly religious, but it’s not exactly not religious, either. It doesn’t have a point of view or agenda that it’s pushing, with various characters representing varied viewpoints, and none seeming to be more correct than any other. It’s a setting and premise to dwell in, showing us possibilities, rather than telling us what to think.

I like EVIL a lot. Already a fan of the Kings, I think this is every bit as intriguing as their previous shows, as well as being quite a bit weirder. The opening credits of EVIL are reminiscent of The Good Fight, while its lead has echoes of an in-over-her-head Alicia from the beginning of The Good Wife. It seems an evolution of their writing, and one that will probably be quite compelling.

EVIL airs Thursdays on CBS.

Defending THE DEFENDERS

Article first published as TV Review: THE DEFENDERS on Seat42F.

You may have been waiting impatiently for years now for Netflix’s Marvel’s THE DEFENDERS, the small screen version of the Avengers team-up. After all, the first series in the build-up, Daredevil, was released back in the spring of 2015. Through Jessica Jones, Luke Cage, a second season of Daredevil, and yes, even the less-lauded Iron Fist, fans of the Marvel Universe have been lapping up the installments, waiting eagerly for these D-list (see what I did there?) heroes to come together. But just because THE DEFENDERS finally went public today doesn’t mean the wait is entirely over.

THE DEFENDERS is an eight-episode miniseries, and thus takes its time getting to what the fans want: the four primary characters meeting one another. Instead, episode one is all about checking in with where our people are and meeting the villain. It isn’t until late in episode two that any of the quartet run into one another, and it’ll be later still before they get together as a group.

I like this waiting strategy more than I thought I would. Yes, I would rather THE DEFENDERS had arrived earlier. But now that I’ve begun watching, I want the story to progress naturally. It takes time for the story to weave each individual together, and that’s OK. That’s how it’s supposed to work.

Danny Rand, a.k.a. Iron Fist (Finn Jones) is seen first, kicking off the event with an action-packed battle in the sewers. Although we don’t see the face of his shadowy opponent, we do know who she is, which will become clear soon enough. He and Colleen Wing (Jessica Henwick) are still hunting The Hand, and their mission, while starting overseas, soon brings them back to New York.

Danny isn’t the only one on a mission. Luke Cage (Mike Colter), fresh out of prison, begins looking after a kid around his neighborhood that needs help. Meanwhile, Jessica Jones (Krysten Ritter) takes a case that leads her to encounter the same mysterious woman from the opening. This isn’t a surprise, because it shouldn’t take the audience long to figure out that all three investigations are leading to the same central baddie. They are well woven, and this is the primary reason I’m fine with THE DEFENDERS taking a while to bring its leads together.

In fact, even as other characters like Foggy Nelson (Elden Henson), Misty Knight (Simone Missick), and Hogarth (Carrie-Anne Moss) cross worlds, Matt Murdock (Charlie Cox) is the hold-out outsider. Having rejected the mantel of Daredevil and busy with pro bono legal cases, he’s the one remaining unaware of what’s happening. This will not last, as the end of the second hours reveals, but it’s cool to have someone not falling into the pattern that the others do.

I have to admit, upon realizing that The Hand would be the villains in THE DEFENDERS, I wasn’t very excited. After all, Iron Fist, though not as terrible as some have claimed, is the weakest link, and its recently-released season featured The Hand prominently. Yes, they also appeared in Daredevil, too. But why bring over the criminals from the series no one liked?

That feeling goes away the moment we meet Alexandra (the great Sigourney Weaver), a woman so formidable that even Madame Gao (Wai Ching Ho) cowers before her. Alexandra does much with few scenes and few lines, a great presence that instantly makes The Hand interesting again. She exudes danger as much as she does gravitas, and she is the perfect foe for this adventure.

Two hours in, I am hooked. While not as powerful in its messaging as Jessica Jones or Luke Cage, it is much more gripping than Iron First or Daredevil, and its fewer number of episodes makes for a carefully-plotted, well-paced miniseries. It balances the faces we want to see with the story that needs to be told, and somehow combines the tonality of all of the series it brings together. It even finds a way to make the unavoidable fight between heroes caused by a misunderstanding work. It’s been worth the wait, and I plan to savor the remaining installments. I recommend you do the same.

THE DEFENDERS is available today on Netflix.

Sweet Christmas, It's LUKE CAGE

Article first published as LUKE CAGE Review on Seat42F.

Highly anticipated, MARVEL’S LUKE CAGE hits the Netflix streaming service this week. The spin-off is fronted by the character introduced in last year’s Jessica Jones, and follows him as he hides out in Harlem, working cash jobs under the table, trying to stay off the radar. What will it take to pull Luke back into fighting criminals in the city he loves? You’ll have to watch to find out.

Mike Colter takes Luke, a supporting player in the previous series, and immediately proves why this guy deserves his own show. Bulletproof and nearly indestructible, Luke is essentially a gentle giant, avoiding violence as much as possible. He will stand up for those that need it when he sees injustice cross his path, but he’s certainly not seeking it out, preferring to live a quiet life of (mostly) solitude.

While that description in of itself is not unique, as it can be applied to Jessica Jones as well, the way Colter’s Cage is depicted is something different. You will very occasionally hear his signature phrase “Sweet Christmas!” but usually he glowers quietly. Colter can convey a lot with a glance, and he radiates a complex character with many layers. Cage is the most magnetic of the recent superhero batch, and every moment he is on screen is magical.

Thankfully, the rest of the ensemble matches Colter’s level of talent. Simone Missick (The Road to Sundance) takes on the iconic Misty Knight and makes it her own, stealing the scenes that she headlines sans Cage, and proving she is capable of driving a major plot arc, too. Frank Whaley (Ray Donovan) is terrific as Misty’s partner, Scarfe, and Theo Rossi (Sons of Anarchy) is an intriguing villain sidekick, Shades. Alfre Woodward is, as usual, amazing as Mariah Stokes, a politician who may or may not be shady (and a different character than her Captain America: Civil War role). And Mahershala Ali (House of Cards) is a compelling Big Bag as club owner Cornell “Cottonmouth” Stokes, my only complaint being he doesn’t seem nearly as old as his ‘contemporary cousin,’ Mariah.

But my favorite actor in this, aside from Colter, is Frankie Faison (Banshee, The Wire) as Pop, a de facto mentor to Luke and holder of his secret, as well as Luke’s boss. The scenes in Pop’s barber shop are among my favorite of what I’ve seen so far, providing Luke an opportunity to show other sides of himself, and also informing the neighborhood in which the show takes place. This wouldn’t work without Pop setting the tone of the place.

Speaking of setting, LUKE CAGE is undeniably Harlem. There is barely a white face on the street, with much dedicated to the soul of this area. While this is a black show, the only element it borrows from the Blaxploitation that the comic book version was born out of is the music, arguably the part that deserves to continue. Fans of the genre (or its parodies) will see the best of it in LUKE CAGE, but, soundtrack aside, it still feels like a modern show. This portrayal is very important in the current political climate, making the show timely.

My one complaint about LUKE CAGE is that it starts slow and gets boring at times. Never in Pop’s, of course, but as great as Ali and Woodard are, my mind sometimes drifts during their exposition. I assume it’s the writing, because I detect nothing wrong in their performances. But the same weakness aren’t present in the Luke and Misty scenes.

I also get why, Daredevil aside, Netflix has been skipping the traditional origin stories of its Marvel superheroes, picking up long after they got their powers. Yet, I wish we got a bit more than Luke quickly talking through his backstory, as I’d be interested in more of how he came to be the man he is.

Two episodes in, I’m not entirely sure where LUKE CAGE is going, and I do worry about the series sustaining constant energy over thirteen episodes. But I like it enough, and I am very curious as to whether Mariah will stick by cousin Cottonmouth, or if there is some idealism left in the politician. This is a fitting addition to the Netflix Marvel lineup.

MARVEL’S LUKE CAGE drops its entire first season on Friday to Netflix subscribers.

Marvel's JESSICA JONES

Article originally published as JESSICA JONES Review on Seat42F.

The following review is very light on spoilers, so please read on!

After the success of MARVEL’S DAREDEVIL last spring, many have waited with bated breath for the next installment in the studio’s Netflix universe. It arrives this Friday in the form of JESSICA JONES, a noir detective series that gets a lot darker and a lot scarier than anything Marvel has done before. And, as one might expect, it is excellent.

JESSICA JONES begins with the titular character (Krysten Ritter, Breaking Bad, Don’t Trust the B-) working as a private eye in Hell’s Kitchen. As is familiar to the archetype, Jessica is a hard-drinker, trying to escape demons from her past, while being excellent at her job. This feels a bit like Veronica Mars, a show Ritter did an arc in, and viewers think they know what they’re getting.

Not even a full hour in, though, JESSICA JONES takes a twist into new territory. It isn’t that the show abandons the early tone or style; it still infuses what comes after. But while the series begins rooted in a genre we’ve seen before, it expands the horizons of those bearing witness to the proceedings in short order.

Part of this is because JESSICA JONES is kind of a horror show. Kilgrave, a.k.a. The Purple Man (David Tennant, Doctor Who, Broadchurch), is the scariest villain I’ve ever seen in the superhero realm, and what he does is more disturbing than the fare fans are used to. This is not a Marvel series appropriate to watch with the kiddos. Instead, it features what appears to be an unstoppable bad guy who does things far worse than simple violence permits, making for a premise that will send chills up and down and back up your spine. He is terrifying.

Jessica also has a very rich backstory that is barely teased in the initial episode. We know she has undergone some trauma; that’s clear from the way she lives her life, trying to get past something that has scarred her soul. But the more we learn about her, the more it makes sense that she’s this screwed up. Some characters have reasons for doing destructive things and we forgive them for it, but for Jessica to even continue existing in the world as she does makes her far stronger and resilient than your average person.

This means Jessica’s abilities are not limited to the physical. Her superpowers are not the point of JESSICA JONES, and we get them in small doses, not showy sequences. It’s not even immediately clear what she can do, other than lift cars and jump high. Yet, those aren’t the most impressive things about her, which is a departure for a comic book adaptation.

Jessica isn’t alone in her world, much as she usually acts like she wants to be. She has a sort-of boss, Jeryn Hogarth (Carrie-Anne Moss, The Matrix, Vegas), an estranged friend, Trish Walker (Rachael Taylor, Grey’s Anatomy, Crisis), and a neighbor without boundaries, Malcolm (Eka Darville, The Originals). She also (sort of) meets a bartender by the name of Luke Cage (Mike Colter, The Good Wife) who is probably more compatible with her than either expects, and who will be headlining the third Marvel Netflix series next year.

Given the pedigree of the cast, made up almost entirely of actors I already admire and respect, it’s not a surprise that the performances are every bit as excellent as the production. Ritter has needed a vehicle to show her ranger for awhile, and this is it. Tennant completely transforms into a monster unrecognizable, and I’ll never watch him the same way again. The scenes with Colter already have me excited for his turn in the lead. This is high quality television period, not just for its genre or when compared to its peers, but across the entire spectrum. I would posit it is the pinnacle of everything Marvel has done thus far, and a promise of continued greatness.

All thirteen episodes of JESSICA JONES’ freshman run will be live on Netflix this Friday. I recommend you watch as many as you can this weekend, lest you be lost when your friends and co-workers are talking about this on Monday, as they most definitely will be.

"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.

THE GOOD WIFE Fans "Recipients" of Another Great Installment

Article originally written for Seat42F.

Thank you for your advice. All options are open to me, and I’ll make a decision within 48 hours.

That’s the repeated refrain on this week’s installment of THE GOOD WIFE on CBS, “Undisclosed Recipients.” Alicia (Julianna Margulies) has won the State’s Attorney election, but that is just the beginning of her problems. She tries to play open and honest with everyone, donors and her partners at the law firm alike, but it doesn’t work too well. It’s time for her to start being a politician, and Eli (Alan Cumming) makes that very clear to her.

As much as one roots for Alicia to stand up to influence and do the right thing, it’s easy to see why Lemond (Mike Colter) and Redmayne (Ed Asner) think they should have influence over her. They did pour a lot of support into her campaign with the expectation of getting something in return. Alicia may not have agreed to terms, but she did take the money. She could have refused or made a stink about it, but she wouldn’t have won. Perhaps THE GOOD WIFE goes too easy on politicians and the influence of money, or perhaps they are just showing that even the best person is put in a difficult position within this broken system.

Eli provides a way out, backing up the stereotype that politicians are slimy liars. He tells her to deflect and appear to appreciate advice she won’t seriously consider. This works on Redmayne, and it works on Castro (Michael Cerveris), who is looking for professional respect. A variation of this also works on Alicia’s partners, whom are trying to lowball her in buying her out of the firm. But I don’t think it will work on Bishop.

Bishop isn’t a part of that world. He isn’t a public figure in the same way the rest are, preferring to dwell in the shadows. He also uses violence to fight, not words, giving him a different set of tools. Redmayne may forget that Alicia doesn’t choose who he wants, but Bishop won’t overlook Alicia refusing to call of an investigation on him. She could wind up hurt, or worse.

Alicia needs assistance in dealing with Bishop. I think it’s time she brings Eli and Marissa (Sarah Steele) fully into the loop here. Perhaps she puts them at risk by coming clean, but both have been very valuable advisors, different sides of the same coin with varying opinions. If the brain trust of these three can’t figure a way out of this, I’m not sure no one can.

The other thing that happens in “Undisclosed Recipients” is that a hacker leaks the firm’s emails because they are representing a client suing a file sharing site. Because these people let off steam, and also because they work with people they don’t always like, there are many damaging comments made that now come to light. Cary (Matt Czuchry), Diane (Christine Baranski), David Lee (Zach Grenier), Kalinda (Archie Panjabi), Lyman (Jerry Adler), and just-returned-from-New York Julius (Michael Boatman) all succumb to infighting over this. Alicia is spared only because the released emails are from the time of her campaign.

It’s interesting to see dirty laundry brought to light in this particular environment. The type of job and the sort of people who do this work create a much more tumultuous atmosphere than in most offices. Not everything said is what the authors are really thinking, though some of it is. I think it reminds us that we all find ways to work with people we don’t agree with or like, and we can’t condemn others for being no better than ourselves. It’s quite a thought-provoking story, as much as it is a juicy, dramatic one.

That Finn (Matthew Goode) lets comments Alicia pre-emptively admits to making about him roll off his back shows that he’s a different type of person that the rest of the cast. Or he just trusts Alicia more than he would most people, her actions speaking louder than words. He would be a great ally for her to have, a reasonable, logical individual who cares about her. I hope he takes the job as her deputy. Marissa, too, shows no judgment as she reads Alicia’s messages, so she also needs to stick around, given her considered take on the world (though it’s worth noting none are about her).

I also don’t think THE GOOD WIFE has seen the last of these emails. Alicia’s are not released, but they could be, as the hacker says they have two years’ worth of stuff. Given Alicia’s new job and how much more damaging this could be to her in the high-morality role, it seems too tantalizing a bait to not toss in the water. Expect this to come back up at some point, whether it’s sooner or later.

Once more, THE GOOD WIFE gives us excellent, engaging plot with authentic, layered characters in a very real situation. It rips from the headlines, but also stays true to the individuals created. I can find no flaw with “Undisclosed Recipients,” another excellent hour from the stellar series.

THE GOOD WIFE airs Sundays 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.

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.