Winning THE GOOD FIGHT

Article first published as THE GOOD FIGHT Review on Seat42F.

If you’re a fan of The Good Wife, as I am, you’ve likely eagerly been awaiting the spin-off, THE GOOD FIGHT, which finally premieres this Sunday on CBS. The series, which will only be available via CBS’s All Access streaming service after the pilot airs, is set one year after last spring’s series finale. While much of the show is the same, including plenty of returning faces, it also feels wholly different in both positive and negative ways.

I’m not going to lie, I was unpleasantly jarred when THE GOOD FIGHT fights first catches up with Diane Lockhart (Christine Baranski), whose firm is now called Lockhart, Decker, Gussman, Lee, Lyman, Gilbert-Lurie, Tannebaum, & Associates. Try saying that a few times fast. Not only has the name changed, but so have the sets. Gone are the familiar law offices we saw over seven seasons, and even Diane’s recognizable corner space. Instead, after merging with two other organizations, the digs are brand-new.

I can’t help but feel that change was unnecessary. While it makes for an easier separation between Diane and her practice, plot-wise, the same story could be accomplished without blowing up what came before. Given how much THE GOOD FIGHT keeps reminding us that this is set in the same universe, it feels very wrong to begin with the off-putting setting.

To play devil’s advocate, maybe this is done on purpose so that viewers aren’t sad when Diane does find the exit. Rather than hoping for some last-minute save that gets her back where we’ve come to think she belongs, by not having that home to return to any more, there’s no compelling reason to want her to go back. In that sense, it makes for a clean break.

In the first two episodes, Diane shares the central limelight with Maia Rindell (Rose Leslie, Game of Thrones, Downton Abbey), her goddaughter. Having just passed the bar, Maia is excited to go to work for Diane and the rest. But she barely gets settled in before her father, Henry (Paul Guilfoyle, CSI), is arrested for stealing millions of dollars from wealthy clients, including Diane. With her girlfriend and lawyer telling her to stay away from her mother, Lenore (Bernadette Peters, Mozart in the Jungle), until things get settled, which could take years, Maia is suddenly left with no job or family to speak of.

In a way, Maia is kind of like the new Alicia. Diane is somewhat of a mentor to her, but they aren’t super close friends. Maia is going through rough scandal because of what a loved one did, which makes her presence in a court room a distraction, welcome or not. She is young and strong and building her life, like Alicia was doing for the second time when The Good Wife started.

However, there are some very stark differences in THE GOOD FIGHT, too. The firm for which Diane and Maia go to work, where Lucca (Cush Jumbo) has already relocated prior to the series begins, is quite different from any seen on The Good Wife. THE GOOD FIGHT has different music, different lighting, and different direction, too, making it feel like its own thing right away. Plus, it’s hard not to mention the cursing, which feels natural to the characters, more so than avoiding it did in certain parts of The Good Wife.

Once THE GOOD FIGHT settles in to what it is, getting past the initial event, it quickly gets very good. It has solid cases and interesting ongoing narrative arcs. It isn’t a copy of its predecessor, but there are a LOT of returning characters, including Sarah Steel in a welcome lead role as Marissa. It also has a lot of new roles, such as Adrian Boseman (Delroy Lindo, Blood & Oil) and Barbara Kolstad (Erica Tazel, Justified), partners at Diane’s new job. It has something to say, as The Good Wife did, but is fresh in its approach to it. This balance of continuation and completely new is effective, and I wish I’d had more than two episodes to watch ahead of time.

Of course, the big question is whether to shell out for CBS All Access. As someone who canceled cable, I went ahead and got my subscription. It’s how I’ve continued to watch CBS shows. However, were I still getting a strong cable signal into the house (my antenna is unreliable), I’m not sure I’d want to pay $10 for a single show. (As someone who’s had a DVR since 2005, the cheaper subscription that includes commercials is not even something I’d consider.) The network doesn’t have enough offerings to fully justify the expense, even for someone who has cut the cord, but I do it begrudgingly for now, especially with Star Trek: Discovery joining THE GOOD FIGHT later this year. While I want people to subscribe and watch this show so it can continue, I can’t blame anyone who doesn’t, as the network has not made a compelling case for its ridiculously high fee. So I won’t recommend signing up, though I selfishly hope lots of people do.

THE GOOD FIGHT begins this Sunday on CBS and CBS All Access, continuing only on the latter from week two onward.

"The Watchers on the Wall" Play the GAME OF THRONES Solo

Article first published as TV Review: 'Game of Thrones' - 'The Watchers on the Wall' on Blogcritics.

HBO’s Game of Thrones mades an unprecedented move in last night’s penultimate episode of the season, “The Watchers on the Wall,” by setting the entire hour in and around Castle Black. With a sprawling cast and multitude of settings, its rare that one group gets a large chunk of a single episode, let alone the full installment. Yet by lingering during a very important time, it allows some great character development and an easier way to get lost in the world. It’s a bloody, moving episode, memorable even in a season that’s already had so many major moments.

At the start, an Alamo-esque situation presents itself. There are barely more than 100 men of the Night’s Watch at Castle Black as the enemy approaches from both sides. It may be true that there’s a giant Wall between the soldiers and Mance Rayder’s (Ciarán Hinds) 100,000 men, but fierce Ygritte (Rose Leslie), brave Tormund Giantsbane (Kristofer Hivju), and the brutal Thenns are on the south side, where the fort is lightly defended. They must be held off while keeping the giants and others who would break into the tunnel at bay.

Game of Thrones has departed more from the books in the past few weeks than in the last few years combined, but most of the differing choices make good sense. For instance, Tormund and his crew attack separately, before the vast army, in the novels. However, a coordination is good battle strategy, and it allows for a very big battle. Tormund and his ilk are the more immediate threat, and so most of the recognizable faces spar with them, rather than the larger army, but there will surely be more combat to come.

Those disappointed that we only get a few establishing shots of the huge fighting force and then a handful of close ups of a couple of giants should take comfort in the fact that this war is far from over. While the Night’s Watch defeats the Thenns, capturing Tormund, stopping a single giant in the tunnel and knocking a bunch of climbers off the Wall is hardly enough to send the army fleeing for good. The Wildlings are disorganized and break when the going gets tough, but their survival is on the line and they remain near by. “The Watchers on the Wall” is merely the first night of the fight, unless budgetary concerns prevent a truly epic showdown.

More important, though, are the personal stories in this episode. Sam (John Bradley) finds what it takes to be a man. He tells Pyp (Josef Altin) that he isn’t himself when killing a Walker, but in “The Watchers on the Wall,” Sam is fully cognizant of what he’s doing. He doesn’t hide away with Gilly (Hannah Murray) and her baby, as does the traitorous Janos Slynt (Dominic Carter), who is supposed to be a seasoned soldier. Sam doesn’t give up when Ygritte shoots Pyp and Pyp dies in Sam’s arms. Instead, he rises to the occasion, proving himself a worthy member of the sacred order.

It will be interesting to see if Sam stays in the Watch, though. He takes his vows seriously, but he also looks for a loophole in order to be with Gilly. Seeking love advice from Jon Snow (Kit Harrington) and Maester Aemon (Peter Vaughan) reveals Sam’s desires. And while Gilly claims Sam is abandoning her when he joins the fight, surely she will respect him for his bravery and commitment now that he has survived.

Jon has an even better-defined emotional journey. Taking command by default after Alliser Thorne (Owen Teale) is wounded and Slynt hides, Jon has to rally the troops. It’s telling how quickly the men around Jon fall in line to his orders, even if no one is sure Jon has the power to back them up. He’s a born leader and can make the hard decisions. Even his choice at the end, to go beyond the wall and deal with Mance one-on-one, is not an abandonment of his position, but rather, the difficult choice that must be made in desperate times.

Amidst all this, Jon does get one last encounter with the woman he loves, Ygritte, as she pulls her bow on him again. This time, she doesn’t shoot, and for a second, it looks like there could be a reconciliation, or at least a peaceful parting of ways, even though Ygritte has killed Jon’s friends. Then, one of those clever Game of Thrones twists reveals itself and the very boy whose life Ygritte spared a few weeks ago kills her, giving her a moving death scene in Jon’s arms, far more powerful than her demise in the books.

This actually sets up Jon well for the continuation of the story. He now doesn’t have any romantic ties, freeing him up to be the leader he must be. At this point (ignoring what I already know from reading the books), it’s not clear whether Jon will command the Night’s Watch or not. But it is certain he has a role to play in the direction of the group, having proven himself in battle, in front of the other men. Jon has a destiny to fulfill, and as much as I and most viewers like Ygritte, she stood in the way of that.

As regrettable as it is to lose a few familiar faces in “The Watchers on the Wall,” including Grenn (Mark Stanley), this is only a precursor for next week’s season finale, which will likely see a higher body count, and with more prominent characters. Part of the draw of the series is seeing who will die next, but couched in a compelling tale with high stakes and well-developed characters, Game of Thrones is much more than that, an excellent series newly defining a genre. “The Watchers on the Wall” may be a ‘very special episode,’ but it furthers the groundwork already established in new and interesting ways, keeping the spirit and tone of the show and hammering it home more than ever. Great job, all involved.

Game of Thrones concludes its fourth season next Sunday at 9 p.m. ET on HBO.

Game of Thrones wrestles season two to a close

HBO's Game of Thrones ended its sophomore run this past Sunday. In the dramatic final two hours, the series proves that one can never get enough Game of Thrones, each season being far too short, and that the show has some of the best writing and acting on television. Those hooked back in season one are handsomely rewarded for going this far, as the stakes are raised even higher, and every fan should be left with much anticipation for the third go-round, coming next year.

That being said, this review will not cover every character and every plot. There are just too many to to do so.  If I miss your favorite, I apologize, and will try to get to them next season, when I review more episodes.

First, because I didn't review it separately, some comments on the penultimate installment, "Blackwater:" Game of Thrones is often compared to The Lord of The Rings, albeit with a longer, more complex story, and a lot more characters. For quite awhile, GoT seemed better than the films for those reasons. But I didn't even realize I was missing the fight scenes until now. TLotR has epic battle sequences. GoT tackles their first truly great one in "Blackwater." From the swords and axes, to the exploding fleet, this episode really captures something that wasn't even obviously missing. GoT does an amazing job, really bringing the series to new heights in what must have been a very costly episode.

Even better, Tyrion (Peter Dinklage) makes the viewers feel the cost of war. While many characters and viewers are rejoicing at the stunning blow Tyrion strikes against Stannis' boats, Tyrion stares on in shocked horror. Only he realizes how many lives are being taken, and what that will mean to thousands of families. Only he feels bad about the death and destruction he has wrought. And it's not that he wouldn't do it again, as he very well might, but that he truly understands what he has done, in a way few people ever would. What a brilliant character, and an awesome performance by Dinklage! Hand him another Emmy, stat!

Moving onto the season finale, "Valar Morghulis," Tyrion refuses to flee King's Landing. He is offered the opportunity to peacefully live out his days with a beautiful woman whom he loves, Shae (Sibel Kekilli), and he passes. This is just as revealing about his character as the expression from the previous week. He really does love the political game that he plays so well. Even after a setback, being replaced as Hand, despite the fantastic job he has done, he wants to stay. It's a pivotal moment for him.

When will others begin giving his character the due he deserves? Surely the common folk, at minimum, the army he leads into battle, have respect for him. Even if his family dismisses him, as they have always done, that should help. And it does feel that Tyrion has struck a real friendship and understanding with Varys (Conleth Hill), a man that seemed impossible to get to know before Tyrion came along. But no one will be satisfied if Tyrion doesn't rise in stature over the course of the show. Where will Tyrion go from here?

Staying in the capital, Joffrey (Jack Gleeson) dismisses Sansa (Sophie Turner) as his betrothed. It's a great victory for her, and the joy she briefly lets slip out as she leaves the chamber is gratifying. What will happen to her now? It's understandable that she doesn't want to leave with the Hound (Rory McCann), as he is scary and unpredictable. He has also proven himself a protector of Sansa, and he's a lot less scary that the king. On the other hand, the woman Sana has become, who can inspire the people and stand up to queens, does not belong in Winterfell, either. Unfortunately, "Valar Morghulis" doesn't make clear her decision.

One cannot help but feel sorry for Joffrey's new bride, Margaery Tyrell (Natalie Dormer). She may be overly, selfishly ambitious, and willing to join her forces to the despicable Lannisters to serve her purposes, but that doesn't mean that she deserves what Joffrey will do to her. She has no idea what a sadistic little bastard he is. With luck, she will control him better than others have, perhaps through sexual means. But, more likely, she may go the way of Dormer's previous character, Anne Boleyn, and lose her head.

Another king makes a mistake in choosing who to wed. Robb Stark (Richard Madden) picks love over commitment. He has shown what kind of king he is during his battles, but his marriage actually proves he is still too green, or doesn't have the temperament, to really rule. A great king would put country before himself. By marrying the woman he loves, rather than the woman he is promised to, he makes a grave mistake that will have unpredictable repercussions for many of his subjects. It seems it's the beginning of the end of his reign.

What is it with young men making bad decisions? Robb's almost-brother, Theon (Alfie Allen), also allows personal satisfaction to override good sense in his sacking of Winterfell. Now, he has been defeated, his own men turned against him. Robb will almost certainly murder the lad, especially if he thinks that Theon has killed the younger Starks, as many believe to be true. Is Theon's story over so quickly? He has had a complete arc, so it wouldn't be a total disappointment, but he's come to be an interesting character this season, so there is no eagerness to lose him, either.

The younger Starks are just fine, by the way. Well, as fine as they can be, with their home burning, and their lives destroyed. At least they are still alive. Bran (Isaac Hempstead Wright) shares a touching moment with Maester Luwin (Donald Sumpter), who has done a great job helping Bran mature. Too bad Luwin won't be around to see what comes next for Bran. Of course, Bran being as young as he is, Luwin may never have lived to see Bran be a real leader anyway. But rest assured, there are big things in Bran's future. Thank goodness he has the resourceful Osha (Natalia Tena) and the strong Hodor (Kristian Nairn) to keep him safe until then.

Speaking of younger Starks who will be great, Arya (Maisie Williams) makes it away from her captors in the season finale. On her own, away from her family, the girl has proven her mettle. She may make mistakes, like letting too much of her intelligence and breeding slip out in front of  Tywin Lannister (Charles Dance). However, she seems to have luck on her side, too, making a powerful ally in Jaqen (Tom Wlaschiha). It's unclear what role Arya will play in the larger picture yet, but there is little doubt, she will be important.

Moving North, who will protect Jon Snow (Kit Harington)? Will it be Ygritte (Rose Leslie)? She's definitely interested in him, and the two have a palpable chemistry. But is Jon just playing along, intent on keeping his Night's Watch vows? Or is he actually falling in love with her? It's extremely hard to tell, especially with the impassive way that Harington plays the character. Not yet sure if that's a good thing or a bad thing.

Samwell (John Bradley) gets a bit of a shock in "Valar Morghulis" when he sees an undead army heading towards the Wall. Thankfully, they spare him. Is Game of Thrones competing with The Walking Dead now for zombie fans? If so, TWD, as awesome as it is, had better watch out! This sequence is amazing, and foreshadows another fantastic battle that surely must come to pass.

Across the sea, Daenerys (Emilia Clarke) continues to face greater and greater challenges. Her newest obstacle is magical in nature, and yet, she comes through triumphant again! Is there anything that this girl can't do? She even resists the arms of her deceased love, Khal Drogo (Jason Momoa), to defeat her enemy. Following the path she has been on, overcoming every problem that comes her way, it seems certain that Daenerys is poised to eventually rule Westeros. And she'll be a much better monarch than any of the other contenders. But considering who she is, is there any chance that the others will bow down to her? Game of Thrones is masterful at setting things up so that no one can have a happy ending.

The thing with Game of Thrones is, looking back over the large number of plots and characters covered in this review, there is still so much more going on! It's a series that bears repeat viewings, and practically needs an interactive viewer's guide to keep straight. Still, with barely anything to complain about, it's well worth the effort, really providing some of the best hours of television ever made, and certainly some of the most ambitious. I can't wait to see what's in store next season!

If you like my reviews, please follow me on Twitter. To buy the Game of Thrones books on which the show is based, and DVDs, please click here. Article first posted as Game of Thrones wrestles season two to a close at TheTVKing.com