Heh. Yet again, the highlight of my week is the bewildering, bewitching mix of the personal, professional and political on The Good Wife.
In the case of the week, AUSA Perotti (Kyle MacLachln, having a whale of a time) battles the combined forces of a smitten but determined Elsbeth and an exasperated but amused Alicia. On the campaign trail, meanwhile, Alicia compromises her stance on religion – and Grace’s too – because “voters don’t like atheists.” And on the Florrick Agos front, Diane and Kalinda go into battle with Canning and David Lee, with Lockhart Gardner Canning’s offices being the spoils.
From “Call Me Maybe” as the soundtrack to seduction, to “Nils Landrusyshym. That’s spelled the usual way” …… to “My physical presence and I will be in my office, should you need us,” just about everything about this episode is either hilarious or genius or both.
Elsbeth, in particular, is much more successfully used than last week’s slight stumble – as Jed pointed out, we like it a lot better when she’s played as a brilliant eccentric rather than a vulnerable person with troubling psychiatric issues. No matter how many times Howard is used as the winning pawn, he’s still a joy, Marissa as body woman is a great idea, and Judge Lessner is always, always endless fun. In my opinion.
Like all the best episodes of this show, though, darkness is never far away. Poor, loving, conflicted Grace’s face at the prayer meeting tells a desperately sad story of its own, and a couple of tense, tightly-drawn scenes in the Cary storyline remind us that he can’t escape the cloud hovering inexorably over him and the firm. But it’s the last couple of minutes of the episode that deliver the real punches to the gut, as a tearful Alicia, Diane at her side, takes her place in that office, with all the memories and all the heartbreak it holds. Sniffle. This show makes me laugh so much, but it really knows how to make me cry as well.