Elizabeth Wurtzel on The Good Wife.

TV Writing for The Guardian for the first time since 2010, Wurtzel explains why it should be lauded just as much as Mad Men if not more so. Mild spoilers unless you've already worked out the Hogwarts like structure of the series (or indeed aren't at the beginning of season three like me):
"From the first episode, when Alicia was a first-year associate making her way at Lockhart-Gardner, I was rooting for her. I root for her when she is wrong and awful, which is all the time. Alicia is difficult and demanding and unfair – with herself and with everyone else – because she would rather be right than nice. The Good Wife invents a rare female character: Alicia is not interested in good intentions because they have nothing to do with the correct result, in fact they are the enemy of it."
Alicia's the focus of the piece but Kalinda's probably The Good Wife's secret weapon. Whenever a story is flagging sometimes, or the legal stuff is a bit thin and the writers clearly know it, they'll throw in a scene where Kalinda does something completely outrageous and we're back. Incidentally, the lift scene at the end of season 2 is one of the best pieces of television as a visual medium I think I've seen.  Onward into season 3.

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