Say what you will about The Good Wife – and we have done, a lot, particularly recently – but the show likes its consequences. Very rarely does a protagonist do or hide something dodgy that doesn’t come back at some point later to punch them right in the kisser and “Loser Edit” sees several of those punches land as Chekhov’s emails from last week and, er, Chekhov’s faked metadata from a while ago both re-surface, threatening, respectively, to destroy Alicia’s political career before it really begins, and to land the increasingly frantic Kalinda and the blissfully oblivious Diane in jail. If you listen to Finn, anyway – I mean, he’s lovely and adorable and I could listen to him / look at him being lovely and adorable for ages, but lawyers strictly liable for unknowingly, unwittingly, entirely innocently presenting evidence they later find out to be faked? Dude. I don’t think so.
Anyway, on the email side of things, Eli, Josh and Marissa scrambling to try and defeat the reporter trying to bring Alicia down is very sharp, very funny and very entertaining, although, come on now, you guys, no one (except maybe the elk” dude) is going to believe those emails arose from a “flirtation” rather than an affair. And even if they did, how about the email where Alicia admits to sleeping with her campaign manager during the campaign, eh? Or did that one get lost in the file transfer?
Minor plot holes aside, though, watching Team Alicia on top, twisty battle form is a delight, and Chris Noth’s Peter, in particular, is both fabulous and clearly loving every second of it this week, making his deceptively genial annihilation of Petra doubly wonderful to watch. Although his “I’ve never been as bad as you wanted me to be” almost had me throwing something at my long-suffering television. Dude. Have you forgotten the hookers? The affairs with family friends and employees? Or perhaps the vote-rigging?
Come on, now.
Speaking of family friends, employees and, er, affairs, however, Kalinda’s sub-plot is also surprisingly engaging (if only marginally less funny), thanks to the aforementioned lovely and adorable Finn and the return of the cunningly rumpled but quietly ruthless Wiley, with those pint-sized assassins he calls “children” along for the ride. I’m onto you, little dudes.
The always awesome Diane, meanwhile, has her own
episode storyline going on too, doing actual lawyer stuff (!) with the also always awesome Oliver Platt. Yay! And it’s very sharp and very funny too, as well as being about interesting, complicated areas of the law; something the show is excellent at dealing with when it wants to be. Thankfully, this is one of those times. All of which adds up to a hugely enjoyable episode: “Loser Edit” might have its flaws, but it’s very, very good nonetheless.