This season of The Good Wife has felt like preparing a fondue: You have to take the time to slice the pieces you’re going to dip into the simmering pot and trust that when you’re ready to whip out the skewers and dine, it will be delicious and worth the wait. It’s fitting then that the episode that (fingers crossed) finally put all the players in place for this season to catch fire was one involving cheese.
You probably shouldn’t use the title of a song from Flickerstick, winners of the brilliant 2001 VH1 reality show Bands on the Run, as a headline.
Lockhart Gardner lawyers aren’t always great at dealing with pesky human emotions. And, frankly, neither is The Good Wife.
Lately, there’s been so much feeling going on – Will confessing his love for Alicia, Eli insisting that he was betrayed by his ex, Diane experiencing pangs of guilt about limiting her pro bono cases – that I sometimes long for the days when everyone could put all that personal drama aside and concentrate on what’s really important: winning.
Lately, The Good Wife has gotten really fond of playing Gotcha!
Just when I thought I was all Lockhart-Gardner-ed out, they pull me back in.
How can a good lawyer stay good when there’s so much inventive to be bad? It’s a real problem for Lockhart-Gardner folks these days, what with all the “strippers and acquisitions” parties going down within garter-snapping distance of Will.
It’s not love, is it?
Well, Owen, it is and it isn’t. Once, The Good Wife was all about the strange intimacy of work relationships, the kind that drew Will to Alicia, Alicia to Kalinda, and Kalinda to… Cary, Sophia, and probably half of Chicago. And it’s always been easy to understand why those bonds are so intense. Clocking 80-hour workweeks, Lockhart Gardner lawyers spend more time with their colleagues than they do with their own families.
Tally-ho, Good Wife fans! As longtime Lockhart Gardner associate Paul Revere once warned us: The British are coming! The British are coming!
Hello, and welcome back to… can we still call it The Good Wife? Because, judging by what happened last night, Alicia’s not so good anymore.
Patty Dickerson is pregnant with her first child when her hubby, Tommy, is arrested on murder charges after he and a pal break into a house in upstate New York they mistakenly, drunkenly think is abandoned. Despite her mom’s long-held doubts about prison-bound Tommy, Patty becomes a modern-day Penelope (or fodder for a Jerry Springer episode), waiting for her man. The magnitude of her patience is revealed gradually, as O’Nan cleverly withholds details about the era of the arrest. Throughout, he depicts Patty’s working-class milieu with rare and clear-eyed compassion.
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