November 17th, 2009
The Good Wife has earned the rather ominous title of being the most unexpected critical “success” of the new season, maintaining the positive response to its pilot and growing into a confident, sophisticated mix of procedural law constructs and some intriguing serialized character dynamics. The show isn’t extraordinary, but in a year where the biggest new drama series (like ABC’s FlashForward and V) are still searching for an identity the simple elegance of The Good Wife is legitimately refreshing.
However, the show’s consistency has been its undoing in one area, as the show’s persistence in crafting connections between Alicia and the cases she tries has begun to wear thin. Last week’s episode was actually really compelling, smartly introducing a new character for Alicia to interact with (the non-lawyer) and introducing a case that had both ramifications in the law firm (being the partner’s daughter) and that involved the unique questions of orthodoxy. However, the show used the marital strife which resulted from the case in order to make Alicia an ideal lawyer not because she is particularly skilled, but rather because she knows what her clients are going through.
There’s nothing wrong with this, and perhaps some could argue it actually helps solidify her character, but as long as she is defined by her past the show feels as if it has less forward momentum than it should. An episode like “Unprepared” works because of how legitimately central Peter Florrick’s trial is to the events in the episode, but in his absence the show relies heavily on those aspects of her life. At some point, Peter Florrick is going to come home, or be sent away for a long time: at that point, what does The Good Wife become?
It’s a question that’s been bugging me, even while I’ve found The Good Wife to be consistently enjoyable.