Granted, this is a tricky situation. I just don't want to see the show drag out Will and Alicia's dalliance for very long. We can only deal with so many secretive looks or quiet moments of reflection. Alicia is in a good mood, she is not living with her husband the sex is clearly hot*... just come out in the open and enjoy it, people!
One serious note of complaint: Having Will enter Alicia's office because he wanted to talk about their night together, and then cutting away from that scene and only showing Alicia's reaction, was a very cheap move. That's manipulative storytelling, not strong storytelling.
Elsewhere on the season premiere, we were told numerous times that it was a "new day." This may have been the case at the State's Attorney's office, but, fortunately, it didn't apply to the same fast-paced, mature nature of the show to which fans have grown accustomed.
Elsewhere on the season premiere, we were told numerous times that it was a "new day." This may have been the case at the State's Attorney's office, but, fortunately, it didn't apply to the same fast-paced, mature nature of the show to which fans have grown accustomed.
Is there any other series on television that could handle the topic of Israel/Palestinian relations in such an even-handed manner? Most shows wouldn't even go near the topic. But The Good Wife dove right in, using the centuries-long feud as a way to fully incorporate Eli into the firm. And I think we can all agree that the more Eli, the better. He really feels like our son of a bitch, doesn't he?
The sensitivity of this religious conflict for Eli also highlighted what The Good Wife does best: blur the personal with the professional. It should be fascinating to watch Peter oppose Alicia in court all season, either directly or through Cary. Similarly, there's the obvious line crossing between Will and Alicia, as well as the sexual tension that drips from every Cary and Kalinda scene.
* REALLY hot. 4/5
[Entertainment weekly] The third-season premiere of The Good Wife, an hour titled “A New Day,” was a sustained series of pairings: Will and Alicia; Alicia vs. Peter; Alicia vs. Cary; a Muslim student accused of murdering a Jewish student; Kalinda and investigator Sophia; Eli and a crisis-management client; Grace and her new tutor; and, in the end, the twosome that provoked the crime that was the legal case of the week. The pairings were emphasized, as directed by Brooke Kennedy, in the visuals. At the beginning of each of the first two scenes, a solitary figure emerged energetically from an elevator (first Alicia, then Will), the opening doors and full-front close-ups emphasizing their renewed vitality. The dialogue, in a teleplay by show creators Robert and Michelle King, had its own agenda, either pushing the new, single-lady-lifestyle Alicia is living (“You look different,” said a pleasantly puzzled Eli, not merely referring to Julianne Margulies’ snazzy, Theda Bara vamp half-bangs) or making with the puns (“Diane thinks I’m going too hard on you,” said Will to Alicia as he pushed up against her in his apartment).
If the plotting here was a bit kitchen-sinky — Palestine/Israel tension mingled with its depiction in violent videogames complicated by the sexual preferences of a couple of characters — it was a vibrant messiness that not only mimicked the complexity of real life, but also threw into sharp relief the crisp clarity that delineated the various twosomes.
What The Good Wife understands more than most network dramas is that we will watch people obsessed most intensely if they are presented on television in the most crisply metaphorical versions of obsession. Thus the show can address Middle East tensions in a manner that doesn’t have the exhausted air of debate, and can constantly root around in the well-rutted arena of office flirtations and romance without reminding you of a score of Steven Bochco/David E. Kelly dramas from the ’80s and ’90s.
Read More from Entertainment Weekly
Chigotoday: 3.8/5
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