Welcome once again to Behind the Insta-Scenes! A new feature offering a roundup of the best behind the scenes photos posted on Instagram from a variety of TV show and personal accounts from the people who are on them. This includes anything from future episode sneak peeks, what’s airing this week, flashing back to the past and general on set (and sometimes off set) antics.
The inaugural Behind the Insta-Scenes post was an all comedy affair and we’ve mixed it up with a couple of shots from some more dramatic shows, plus a directorial debut and this week a TV Ate My Wardrobe favorite joined Instagram which is cause for celebration.
Play guess The Good Wife plot from Alan Cumming’s shot of co-star Julianna Margulies wearing an apron and latex gloves while sitting on a tiny plastic chair.
Diane Kruger is now on Instagram and she has already delivered on fashion, Pacey and amazing cat photos. The highlight so far is this photo from German themed party Kruger organised for The Bridge crew (oh hey FX please renew this show) after Germany won the World Cup. So adorable.
The second episode of A to Z is on tonight and Ben Feldman’s reminder concentrates on co-star Cristin Milioti; all I can focus on is her amazingly long eyelashes. While I thought the first episode was only okay, I am totally charmed by Feldman and Milioti even if the premise isn’t so promising and so I will definitely keep on watching.
Busy Philipps directed an episode of Cougar Town this week (including her own daughter in the scene above) and she did so in style wearing a vintage JC Penny ’50s dress.
Our weekly installment of Mindy Project set shenanigans has Mindy Kaling learning lines in an Equipment tartan sweatshirt that I really want in my own wardrobe now it is finally cold enough for sweaters.
Alicia has spent the first three episodes of The Good Wife’s sixth season insisting to everyone who dare mention the State’s Attorney election how she is definitely not running and it’s been pretty clear that something or someone would eventually persuade her to join the race. After a series of conversations including Eli’s sometimes subtle and often obvious attempts to get her on board, Alicia comes to Eli at the end of “Dear God” asking what the plan would be if she ran. This is as close to saying “Yes I am running” as Alicia has entertained so far and in this episode we see Alicia make several compromises; moving position on whether she will enter the race and indulging in conversations about the Bible to help her win a case. Alicia might be referred to as Saint Alicia, but she definitely has none of the religious beliefs to back up a nickname like that.
What it takes to get Alicia to this point is an array of persuasive tactics and even if Alicia knows Eli is saying Peter will endorse Castro just so she puts herself forward, when Castro sinks to an abhorrent level even for him, she can’t ignore how terrible Castro winning would be. Castro is the villain of The Good Wife even when there are drug dealers/murders like Lemond Bishop; Castro is so much worse because he’s the guy who is meant to be good. Alicia also gets a push from another source as guest star and feminist icon Gloria Steinem acts as both an imaginary and real motivational coach.
Alicia’s feelings regarding Castro are pretty straight forward as she tells Eli “Castro is a bad man” even before he reaches a new despicable low by daring to bring up Will and their rumored relationship – there’s something supremely icky in the way Castro accusingly says ‘lover’ – which sparks her final visit to Eli’s office. Words like ‘good’ and ‘bad’ are both definitive and abstract; one is included in the title of the show and represents a certain image and perception of our protagonist. ‘Saint’ takes this even further and it’s a word that Castro invokes earlier in the episode as he tells Alicia “Very few saints survive oppo research.” This is something I discussed a few weeks ago here on TV Ate My Wardrobe and on Twitter in a conversation with Kristen Warner we speculated about how Alicia’s secrets could be the perfect setup for a ‘ripped from the headlines’ story involving the recent iCloud hacking. What better way to ruin a reputation that plays up on someone’s virtue than by shattering this perception with photos revealing an affair.
Hats off to Michael Cerveris as he is doing a fantastic job of making Castro so villainous without any metaphorical moustache twirling. Castro can’t quite let things go and plays into Alicia’s “Men always have something to say” challenge, which in turn works in Eli’s favor. Between Castro’s vile words and Gloria Steinem’s encouragement, Eli couldn’t have primed Alicia any better to say yes.
The Gloria Steinem moment is amusing (and amazing) for a number of reasons. First up is this facial expression:
In an episode where Alicia is at her most unflappable, she has a moment where she almost loses it in a bumbling and very human way as Gloria Steinem encourages her to run and she effectively tells her to get out of her own way by asking the simple question “Would you do a good job?” and reinforcing the notion that “We need more good women to run.” There’s that word again. Twice.
Alicia also allows herself to daydream for a moment extending the conversation with Steinem in her mind as she briefly succumbs to the power of compliments from a woman she looks up to and respects. The eye rolls at herself and later a quick look around to make sure no one knows what she has been thinking can be added to the list of amazing facial expressions Julianna Margulies delivers in “Dear God.” In fact Steinem first ‘appears’ to Alicia while she is absentmindedly playing with her wedding ring in a church as a deity like presence, bathed in the same blue light from the stage that now appears to be other worldly. Blue is a repeated color throughout the episode with both Diane and Cary wearing this color throughout signifying a unity that might not be so obvious considering how combative the brief flashbacks to the office are.
In a conversation with Dean about religion, Alicia explains that she isn’t “genetically built” to believe and while she might not be open to a traditional form of worship she does have idols/heroes who help guide her in this episode, no matter how silly Alicia thinks she is for indulging in these moments.
Is it kismet or Eli manipulation that leads to Alicia’s bumping into Gloria Steinem and thereby adding another voice to the get Alicia to run campaign? It’s not as clear cut as the Valerie Jarrett phone call last week and I think Eli was hoping this encounter could happen. What he couldn’t necessarily predict is how well Castro would play up to his villain role and thereby aiding Eli’s master plan.
Alicia delivers the best ‘go fuck yourself’ face I’ve seen in a long time and coupled with her steely “Anything else?” I think we’re going to have quite the messy race on our hands. Alicia has come far since standing by Peter’s side in the pilot all meek and with little media awareness; I cannot wait to see her enter the fray and come out blazing even with all the oppo research threats Castro suggests will ruin her reputation. I say bring it.
The Good Wife kicks off the new season with yet another surprising move and while it might not elicit the same heart getting ripped out of your chest feelings as the Will twist did, it still packs a punch. Diane moving from her old firm to Alicia and Cary’s was what I expected to be number one on the agenda, instead this moves into the background as Cary ends up in prison as a result of some advice he may or may not have given – there is allegedly a recording which we don’t hear and Cary insists that he didn’t do the crime he is accused of – and what’s great is how equally disorientated both Cary and us as an audience are at Cary’s initial arrest and subsequent incarceration.
The amount of world building The Good Wife has achieved in the previous five seasons is showcased in “The Line” as old faces resurface from family members to former love interests and perceptions that were established in the very first episode are still very much on point.
Take Saint Alicia and the brand that is making Eli pull out his big guns to get Alicia on board the State’s Attorney campaign ship. Eli is convinced Alicia should run despite her lack of interest in this political position and the polling numbers support his belief that she can win. Alicia’s brand is enticing to both women on the left and right as she stayed with her husband and set up her own business; she is both fiercely loyal and independent striking that rare balance.
Skeletons lurk in Alicia’s closet when it comes to her relationship with Peter, not only her past affair with Will but also the current ‘faking it’ marriage status. Add in the slight flirtation with Finn and the photos Castro already has of Finn leaving Alicia’s apartment which he planned to use against Finn, but could easily double for Alicia smearing (no matter how innocent this visit was) and there is a reputation to be besmirched. Calling someone a saint is a rather high pedestal to put someone on and Alicia could be knocked off this perch in quick fashion if someone was to stumble on hotel room records or CCTV footage. Will might be dead, but he could easily come back to haunt Eli if he goes ahead with this.
Eli is excellent at his job even while his daughter mocks him (I’m beyond thrilled to have Sarah Steele show up once again as Marissa, more from her please) and he expertly manipulates Peter into getting on board with his Alicia plan by using Castro to rile him up. Eli has another issue to consider with the Florricks as he is still concerned about the intern Peter has been flirting with, an intern who doesn’t wear underwear (they said the word ‘panties’ far too much for my liking in this episode) and will happily show the office that she isn’t when confronted about it. Lauren is the intern Eli was told he couldn’t fire last season and while the vagina flashing is maybe a stretch, she represents everything Eli worries about when it comes to Peter’s brand.
P.S. Lauren, your dress is super cute, but underwear should be a given in a work place like this.
I’m not sure how much Alicia would actually care if Peter did sleep with Lauren as she really has severed those kinds of ties with her husband in the wake of Will’s death; I expect there would be an exasperated eye roll followed by a ‘because, of course’ reaction. The voters would definitely care as Eli’s polling suggested and Eli is pulling out all the stops to ensure Peter doesn’t resort to old habits.
There are far more pressing matters than Eli’s latest attempt to get his doomed ship back together as bail for Cary has been set to the crazy high $1.3 million (to match the street value of the heroin in question) and Alicia has to work several angles to obtain this money. Despite the current fractured state of her relationship with Cary as a result of wanting to bring Diane on board, Alicia is even willing to get a second mortgage on her house to get Cary out. Cary has already faced a test in prison regarding his loyalty to Bishop and while he didn’t lose a finger, he did receive a rather nasty hand gash which he then had to pretend he got from falling on the bars. Cary is a target in lock up in part because he used to be an ASA and because he poses a risk to Bishop. He passed the test and that should afford him some protection even if he’s received the wrath of a guard for not following certain rules like crossing lines and keeping his eyes to the ground.
When Cary enters prison his suit has a disheveled appearance, but with his pocket square still neatly in place he looks like a rich dude who has been done for a DUI or some kind of drug possession – so grateful they mentioned the last time he did drugs was the hilarious season 1 mushroom incident – and when Cary changes into the beige prison uniform he looks small and vulnerable. The puffed up chest lawyer confidence is all but gone.
Diane is having to maintain appearances with Louis Canning and David Lee as they try and figure out her next move; David Lee doesn’t think Diane will move to Florrick, Agos as it is “too small potatoes” with Canning accurately acknowledging that it appeals to “Diane’s romantic soul.” It matches Diane’s brand and her client roster is worth an impressive and significant $30 million. This is in part what Diane is selling herself on to Alicia, that and the prestige her name brings; a name that could counterbalance the damage to this fledgling firm from Cary’s arrest and the Lemond Bishop connection.
Costume wise both Alicia and Diane are on top of their power game despite the tidal wave of shit that has hit them both from last season and in this episode. Alicia is all Hugo Boss suits and Emilio Pucci puffed sleeve blouses. Alicia’s color palette sticks to darker tones and neutrals like grey; however as the ensemble below shows this isn’t about becoming a wallflower and she still stands out thanks to precision tailoring and flourishes like those sleeves.
Diane is also not someone to fade into the background even with the fake retirement story she is serving up. This means an exquisite raspberry colored St. John Collection draped dress and Pono statement necklace. The shot below gives me shivers and with Diane representing Cary (as Alicia has been removed) he has yet another excellent and very vocal advocate. Perhaps this will get him on board with Diane as a new partner.
Cary is but a pawn in the quest to bring down Lemond Bishop and no matter how hard Bishop tries to convey an appearance of being nothing more than a business his reputation precedes him and after all this is a pretty accurate assessment of how Bishop makes his money. Bishop can use intimidation to get Cary to keep his mouth shut, steer Kalinda away from her line of questioning and get the bail money. The latter is an issue now that Finn has requested a source of funds hearing as the funds are not from a legitimate source and were originally delivered in a duffle bag with $200,000 more than they needed (the removal of this extra money was hilarious). Does this mean Cary is going to languish in prison for even longer? Maybe they should tap up Colin Sweeney instead.
When Alicia suggests Finn is going hard after Cary because of his sister’s overdose she crosses a line by using her personal knowledge to suggest an ulterior motive. Instead he just wants to get one of the biggest drug dealers behind bars which seems like a perfectly valid reason and they shake on it not ruining their friendship.
There is an ease to Alicia and Finn in their playful back and forth even as Finn gets her disqualified – in an aside he notes how he didn’t want to go against her – that is free from the meaningful looks and complicated history that Alicia shared with Will. Not that I’m advocating a hook up just yet (this thing has to build) and gifs of Will and Alicia over on Tumblr still feel like a punch to the gut, but I have to admit that seeing the shoulder squeeze of thanks and the friendship declaration handshake makes me more than glad to have Finn Polmar as a an opponent and Matthew Goode retaining his regular status. Is he going to become the latest thorn in Eli’s side if he messes up the Saint Alicia brand?
Fall TV is back and after the Fox celebration last week, NBC are showing off talent from their current and new shows. Some of these are more likely to be on for longer than others, though none of the new offerings are all that enticing at the moment. Talk show appearances and Netflix launching in France are all on the menu today.
Julianna Margulies tends to make all the right style choices and here she is killing it once again on The Tonight Show in a stunning Pamella Roland frock (yes there are pockets). You don’t get the full effect from this sitting down shot, but the print is a fun take on a traditional silhouette that would have me twirling in the aisles. A good dramatic injection of red lip color and I am so excited about the return of The Good Wife this weekend Sunday. Look out for our costuming/story reactions to the premiere.
I am charmed by both Cristin Milioti and Ben Feldman which is enough to guarantee I will watch the first six episodes of A to Z and I just hope the material will end up matching (or at the very least not wasting) their talents. Milioti has played it cool in the ultimate safe LBD, but she has snazzed the whole think up with a pair of metallic stilettos.
This is a very cute outfit that could double for stylish office wear as well as going out material for a relaxed affair like this one. It’s definitely more daytime than evening and the splash of pink lipstick stops this from looking so much like work attire.
Thankfully someone is injecting bold color at this NBC event and Retta’s yellow and turquoise dress is just what this red carpet needs. It is fun, summery outfit and maybe it’s not quite the time to ditch bright tones for the fall season.
Netflix launched in France this week and some of the Orange is the New Black cast were on hand to promote the streaming service. Taylor Schilling looks incredible in a cobalt-blue Elie Saab. This is when sheer detail really works with just a hint of it near the hemline.
Uzo Aduba is on a style high at the moment after several NYFW hits and she joins co-star Taylor Schilling in France to promote both Netflix and OITNB. This is a very pretty floral frock (even as it smooshes her boobs up high) and Aduba is working a whole range of looks at the moment from 70s secretary chic to shimmery art deco goodness and now a 50s inspired gown (with added cleav).
Roundtable season is here and I was waiting for the full video to be available on YouTube before I discussed the drama actress Hollywood Reporter session. The full transcript can be read here, but some of the points don’t come across in the same amusing tone and you’ll also miss out on Sarah Paulson’s John Travolta impression.
One aspect I find fascinating is seeing who out of the group is the most vocal and who only really speaks when specifically addressed. This isn’t to say that some of these women are trying to steal the spotlight from others, it’s just some of them are much more experienced when taking part in these types of discussions or they are naturally more talkative. Having a balance between those who take charge and the more shy participants is a good roundtable attribute as it means there is always going to be someone sharing, but it doesn’t descend into talking over each other chaos.
The lack of diversity on the cover is troubling and as this excellent piece points out, Jessica Paré (who I adore, definitely not a Megan hater here) is far from being a lead actress on Mad Men. Of course these roundtables are subject to who is available and this automatically rules out Kerry Washington (new baby). Washington shouldn’t be the only flag bearer of diversity and other figures such as Nicole Beharie, Lucy Liu, Danai Gurira and Archie Panjabi are a few that spring to mind. This isn’t just a Hollywood Reporter issue as the forthcoming Variety drama actress panel has a similar problem.
Let’s get the other negative talking point out of the way and there is an insistence when it comes to the styling of drama actress covers to go for a pastel color palette (Vanity Fair is another offender), neutrals or monochrome; bold color is seemingly reserved for comedic actresses and this coding is rather tired Also why are they all looking so timid? They all portray women who would not stand for this nervous approach so it’s disappointing to see The Hollywood Reporter go for a shot like this.
Oh and Keri Russell somehow makes the Burberry Prorsum lace and granny panties look work; this is an incredible skill as I recoiled when I first saw this on the runway last September.
*End of rant*
The actual conversation manages to skirt around the “having it all” trap – a man will never get asked about juggling family and work – with children only coming up while they discuss paparazzi intrusion and scenes that have been difficult to shoot. Julianna Margulies’ tip to get rid of paps is to wear the same outfit to the gym as it looks like the photos are from the same day and Claire Danes talks about how aggressive they are when she is with her son, which is super shitty. The difficult scene Danes shot on Homeland occurred when she was seven and a half months pregnant and she was portraying a kidnapped Carrie Mathison. Also shooting love scenes while pregnant are as awkward as you can imagine, especially when the baby is kicking super hard. Baby Danes is not a Carrie/Brody shipper.
One fascinating part of the conversation deals with career lows and while this could end up being rather trite, there is a good cross section of success/failure stories. Both Keri Russell and Claire Danes experienced success in their first shows at a young age (and both won Golden Globes for these performances) and have followed a similar career trajectory. Although Russell doesn’t seem to have experienced the same low points as Danes and seems rather content with how it’s all turned out so far. Danes talks about her acting transition period and how doing Temple Grandin changed her acting outlook “I really didn’t have any tolerance for a limited kind of secondary role. I had to wait for Carrie on Homeland. She was the first character who could match Temple’s dynamism. It was the first time I was scared into action, and that felt great.”
Julianna Margulies has also been on not one, but two hit shows and also had a large period of time between both. Whereas Sarah Paulson was on a show that was expected to do well (Studio 60) and it was canceled after one season “It was not only my expectations I was dealing with; I was dealing with everybody else’s expectations about something that was disappointing for them, too.” Jessica Paré is currently experiencing what it feels like to be on a cultural phenomenon that is coming to an end and it sounds like she’s pretty terrified at the prospect as “I’m going back to that place of not having work and not knowing what’s next.”
Awards success doesn’t always translate into an influx of fascinating offers as Vera Farmiga can attest and after her Oscar nomination for Up in the Air she didn’t get a whole lot of work. With Bates Motel she initially resisted, but after reading the script she realized there was something to the part and reimagining of this story. Later on Farmiga refers to the “sophistication in the writing of female characters on TV” and this group reinforces the notion that there are far stronger and varied roles for women on TV as opposed to film. This also translates to the creative forces behind the camera with Julianna Margulies listing all the women who work on The Good Wife “My unit production manager is a woman, two of my executive producers are women and three of the writers.” Female directors have worked on all of these shows with the exception of American HorrorStory.
As I’m currently watching Felicityfor the first time and I’ve written about the love triangle in a pre-social media era, a question about this show and how its defining moment in pop culture would have been received on social media is going to peak my interest. Of course it is haircut related and Keri Russell is pretty shoulder shrug about the whole thing as a shocking TV moment “You think a haircut’s going to beat out blow jobs? That’s so tame compared to what’s going on now.”
For more including a bakery venture I want to happen and unfiltered thoughts on John Travolta’s Oscar mispronunciation watch the whole discussion below.
Season 5 of The Good Wife has focused on the idea of starting anew and it has been a decision both thrust upon characters unwillingly and with careful plotting. Betrayal and corruption are in the DNA of this world; it is how we came to meet Alicia Florrick as she symbolically stood by her man in the pilot despite accusations of corruption and the betrayal. Alicia has come far since that press conference and this year has shown more than any, how much has changed since then.
As a viewer it has been a thrilling ride – even when dealing with the trauma of Will’s violent and unexpected death – and this finale captures the energy that has flowed throughout the entire season. It mirrors the explosive “Hitting the Fan” without coming across as a retread; featuring an energetic score, so many moving pieces, scheming and disloyal gestures. The shadow of Will looms and while “A Weird Year” is missing a scene as powerful as rage-filled table sweep, Will does ultimately play a role in how this season ends.
Cary and Alicia started this firm for fundamentally different reasons even if their point of entry was the same. It was a direct result of the equity partner shenanigans in season 4 and how they had been mistreated at Lockhart Gardner, but Alicia’s final decision came because of her overwhelming Will feelings. Alicia doesn’t have the same level of animosity or resentment towards LG as Cary does and this tension heats up this week. Cary doesn’t want it to be like it was and now he has control, well control over his work life, his personal one is another matter all together. Cary sees a merger as a huge step back, Alicia disagrees and when Cary goes behind her back to Canning it blows up between them and in front of everyone. One issue I have with this storyline is how little they have focused on Cary and Alicia as partners; there has been the odd hint at tension, including Cary’s reaction to Diane last week, but this divide has occurred without enough to back it up on screen.
The layout of their offices has been a source of contention and comment whenever anyone visits (Eli is the most vocal) and while the open plan is very modern, it’s also means there is barely any privacy. Privacy or lack thereof has also been a thematic concern this year with the NSA wiretapping and it culminates with the use of the conference call camera in the finale. Lockhart Gardner leave their camera on by mistake and this leads to an ethical debate with Clarke being the only one who disagrees with this accidental surveillance. What it informs them of is so much more than just strategy as they become aware of multiple schemes including the plan to get Diane bumped from her role at LG, Diane’s merger idea and Kalinda’s manipulation of Cary. A result of the many different plots going on at once and the constant phone calls is that the tension is increased and there is a frenetic energy that is as disorientating to the viewer as it is to the characters. They are constantly in flux and nothing is certain, not even by the end of the episode.
Ok, let’s plot out who is challenging who; David Lee and Louis Canning are scheming against Diane and Florrick Agos, Diane wants to merge with Florrick Agos, Alicia is up for this merger and Cary is most definitely not. Elsewhere the State’s Attorney race has turned even more contentious as Eli has found something that will sink Finn, so they offer it to Diane instead. Diane is still pissed about what happened with the Supreme Court Justice position and doesn’t seem to want the SA position anyway. So this is where we are for most of the finale.
Everything shifts when Canning brings word of his nuclear option and how Will’s acquisitions prior to his death is going to cause Diane’s downfall; it doesn’t matter that she had no involvement and there is nothing she can do about it. Canning’s motives for doing this are all wrapped in his own mortality “My work is my life” and he thinks it will keep him alive longer. The fact that Diane has built this firm from the ground up doesn’t matter to Canning and he really is as slimy as it gets. In this moment it looks like Diane is well and truly defeated and she even tells Kalinda that she has no fight left in her. There is an alternative path and thanks to a prompt from Kalinda – who is now very much Diane’s confidant – Diane proceeds with mystery option number 3.
Not a merger, but Diane asks Florrick Agos to take her and her $38 million in billings and while this always seemed like a likely scenario it is still incredibly satisfying to see it play out. This meeting takes place in the no doors conference room and the tension between Cary and Alicia is palpable as they sit at either end of the table. Clarke continues to play mediator and this wide shot highlights all the major players in the scene. The flash of pink helps Cary stand out and Alicia’s light grey suit differentiates her from the others at the other end. Robin is the only character in casual wear, highlighting her presence and Diane is the focal point in both the red of her costuming and the message she is there to deliver.
Red is traditionally Alicia’s color, but since Will’s death it has been notably absent from her wardrobe. For Alicia red is often tied to sex, passion and power all of which has been missing since Will. Alicia asserts once again about how tired she is feeling, the ear this time is far less sympathetic and it’s something she has to yell twice before Cary hears her. Cary points out that work isn’t what is causing this inertia, implying it is Will. Alicia takes this suggestion rather badly, even if it’s true and it follows on from an earlier remark Cary makes about him being the new Will and that doesn’t go over too well either. It is still far too soon to poke this wound. It will be interesting to see how Alicia continues to move forward from Will as it still doesn’t feel like she has really confronted what this loss really means. Yes, she has made a decision with her relationship setup with Peter and yet there is this avoidance and repression that is classic Alicia Florrick.
Alicia’s lack of deep and meaningful relationships only goes to magnify her bottling up reaction. As an outsider, Finn has played an important role in Alicia’s post-Will life, not from a romantic perspective yet, but as a friend who doesn’t have all of this prior knowledge of Alicia. Finn is a blank slate in a way, he’s also a connection to Will and this gives him a unique position in Alicia’s life. Finn also doesn’t bristle when Alicia answers the phone with a not so welcoming “WHAT?” If Alicia does take Eli up on his State’s Attorney suggestion (which is met with a less aggressive “What?”) how will this impact her relationship with Finn? Of course we don’t know if Matthew Goode is sticking around for next season, the hope is that he will as he has brought a calming energy to the show.
Dirt exists on everyone and a fake affair with Alicia wasn’t Finn’s downfall in the end, even if it threw him out of favor with Peter initially. No, Finn bribed a prosecutor to help his sister and this is enough corruption to sink his SA bid. The only character who has yet to reveal their corruptible side is Clarke and he demonstrated just how much he believes in fairness by being completely against the monitoring of the LG camera, no matter how much it could help them.
The empty nest is referenced throughout “A Weird Year” and it is yet another upheaval and dramatic change for Alicia. I have to admit the screen got rather blurry at Alicia’s joy turned sorrow upon seeing Zach graduate, coupled with her “I just wish there was more time” remark. This statement could be read in a couple of ways; in the immediate as Alicia has spent so little time with Zach on his graduation day, in general terms as a mother or overall signifying the toll this year has taken on her. Time with Will has been stolen and it’s something she can never get back. It’s why her arrangement with Peter makes sense, even if the consequences down the line with red haired interns are going to be disastrous. Jackie can’t comprehend this decision when Veronica lauds it over her – I would love a Veronica, Jackie and plenty of wine sitcom – and it is problematic in how it means Alicia can move forward, but not really as she is still married and part of a power couple.
Eli’s career suggestion for Alicia is impulsive and I’m not entirely sure he’s thought it through as I’m sure there’s plenty of dirt on Alicia and her Saint Alicia reputation will get destroyed as soon as those hotel trips with Will get uncovered. Don’t get me wrong, I think a Good Wife where Alicia is SA and going against both of her old firms would be a lot of fun, it would just take some getting used to. The reason this season has been such a success is because they challenged the dynamics and while some of this was down to external factors like actors wanting to leave, Robert and Michelle King certainly rose to the occasion and delivered.
Below you can watch a conversation with Julianna Margulies about her career and towards the end there is a hint of where she would like to see Alicia go in season 6. It’s a long, but very fun discussion.
Boundaries are important and these have shifted this season on The Good Wife; relationships are not what they were and the rules have been redefined. Loyalties changed, first when Alicia and Cary started their own firm and Will’s death has further altered the equilibrium. When Kalinda tells Canning “Or we could be adults, just ask questions and talk” it seems like the most simple and obvious statement, however this isn’t how things work in either the legal or political sphere and it’s all about gaining the upper hand by whatever method no matter how nefarious. Straight talking can make things even worse from hyperbolic off the cuff remarks to throwing a glass of water in someone’s face (actually that was pretty great) and there should be a certain amount of wall building, but there’s also a danger that you will cut yourself off from everyone as Diane is learning.
Alicia’s arrangement with Peter is problematic for all the reasons Eli lists as someone is always going to talk, no matter how much you think they won’t. Peter might be an incredibly savvy politician, but when it comes to his emotional reasoning he runs hot. We see this in his interactions and face soaking of Castro, but Castro’s not going to yell about this from the rooftops and yet if he sleeps with this intern (with a blog) then he’s the biggest idiot there is. She will definitely talk (or blog) and yes I love that lipstick too. It also calls into mind this New York magazine Eliot Spitzer cover, after all that is who Peter is loosely based on.
The goal posts have been moved and Will’s death did act as catalyst, but it’s not just this and Alicia reiterates her feelings of being tired and done with this aspect of her life, this time to Eli. Eli tries to appeal to her from an emotional standpoint mentioning how good they have been together over the past year and while part of me knows this is part of Eli’s job, I do also think he is the only Alicia and Peter shipper out there. Enter James Castro’s smear tactic and Finn claims there is nothing hiding in his closet – as an aside it’s interesting that the word divorce pops up with his wife and why haven’t we seen Mrs Polmar yet? Is this why he moved to Chicago from New York? – Castro takes something innocent as a suggestion of something duplicitous. It’s a security photo of Finn leaving Alicia’s apartment, Castro claims it was from only two weeks ago but Finn is wearing his sling in the photo which he definitely hasn’t worn for a while now. Instead of showing the photo to Finn or Alicia, Peter barely shows it to Eli and gets in a huff about it. To Peter it’s another Will waiting to happen and he probably thinks this is partly why Alicia implemented the new rules. Peter has been given no choice in this decision and that’s compounding these bratty reactions.
Boundaries have always been important to Alicia when it comes to her relationship with Eli; she imposed them when it came to using the kids during campaigns and there’s always been frankness to their interactions. So when Eli mentions they need more walls at Florrick Agos he is talking about the physical kind and yet he needs to break down the mental ones that both Peter and Alicia have erected so he can do his job to the best of his capabilities. The reason he interferes with Peter’s interactions is because if Peter fucks up it could bring the whole thing crashing down and the way he watches the Florrick family at home shows just how vicarious his relationship with them has become. Alicia notes “we seem to share everything these days” and Eli really is the third person in this marriage and there’s this blurring of professional and personal responsibility.
Alicia and Cary’s case is all about a lack of filter and how words can be worth a whole lot of money. Diane is learning this the hard way as a smear campaign is being waged against her by Louis Canning as he’s using Will’s death to try and undermine her. This is pretty low tactic, but it is Canning after all. Diane’s only really ally at Lockhart Gardner is Kalinda and really if I had to have anyone in my corner it would be Kalinda. Kalinda unfortunately doesn’t hold much sway in the grand scheme of things and Diane realizes this is a fight she has to go at alone. Cary didn’t seem overly receptive to Diane and her problems so while I’d love to see Diane join their firm, there will be resistance.
Costuming wise there’s an interesting amount of color palette sharing between the three main women, a few weeks ago this happened with teal and once again there is a mirroring. Both Alicia and Diane wear monochrome:
It’s a flip reverse it take on monochrome with Diane in predominantly white and black dominates this look on Alicia. Diane’s includes a bow flourish standing in for the usual pin or statement necklace. The balance is off with both of these characters at the moment because of what happened with Will and these women are connected by their relationships with Will, as well as a professional and personal admiration for each other. It’s why Alicia doesn’t react in a hostile manner (as Cary does) to Diane’s accusations.
Diane and Kalinda both wear deep shades of blue in “The One Percent” and this color has featured heavily in their costuming recently. Blue means loyalty and it’s significant that despite their very different styling this is something they share. Diane is pretty exposed at Lockhart Gardner and the only thing that will ensure her position is her monetary worth to the firm. Her worth could be impacted greatly by Canning’s tactics and he is doing a very good job of making her very paranoid. Kalinda’s loyalty is vital and it’s another case of these women being tied together by their relationship with Will; he might be gone, but the bonds he formed are still very present.
Next week is the season 5 finale and there’s a fight brewing. I’m not sure it can top the dizzying heights of “Hitting the Fan” or the shock of Will’s death and yet I am also very excited to see how they are going to finish this exceptional season. Everything has dramatically changed since this time last year and I don’t even want to try to predict where these characters will end up in the aptly named “A Weird Year.”
The word is in the title and question of ethics and morality have been at the center of both The Good Wife and who Alicia Florrick is since the pilot. The moral grey area has expanded with each season and Alicia is no longer naive and wide eyed when it comes to these boundaries. Alicia tells her mom that “Nothing’s as simple as it used to be” and considering how tangled her romantic life was prior to Will’s death this might seem like a ridiculous notion. There was simplicity in that there was Will and there was Peter and while that was a mess of sorts, it was something Alicia has lived with for five years (more if you include their bad timing at college). Now there is Peter and there is nothing, the nothing is the daunting thing and work isn’t enough to keep her occupied especially when Cary forces her to take a day off.
Will’s death continues to hang over each episode in a way that doesn’t make it too maudlin or disingenuous for Alicia and Diane. With Diane it’s mostly in a work sense (more on that below), for Alicia it has her questioning everything. There have been moments in each episode since this tragedy where something causes Alicia to have a teary eyed reaction and Julianna Margulies is working the glassy eyes so well as she draws breath and stops those tears from exploding. They do come eventually as she breaks down on her mother in a way she stopped herself from doing in front of Owen last week; with Owen Alicia still wants to appear as the pillar of strength she likes to project, but with Veronica she lets the facade slide.
The Good Wife is Alicia’s story and this season filled in some of the blanks of Alicia’s return to work after Peter’s scandal. For the audience Alicia’s role has always been more lawyer than wife so to hear her question this part of her life is jarring. It is something Alicia mentioned when she encountered Grace’s old tutor Jennifer and at the time it came across as an extreme reaction to her grief. Is this something we should take seriously now that she has mentioned it on more than one occasion? Alicia spends so much time between work and whatever she is with Peter now that everything else is muddled; last week she told Owen she was happy with this and at the time she was very convincing. However, the cracks continue to form and Alicia’s black/beige/white block Narciso Rodriguez jacket is trying to present some form of order and yet it highlights how fractured her life is.
Jury duty selection produces a meet cute and it is the catalyst for Alicia’s confusion this week as she doesn’t know how she should behave with Daniel. It’s always been Peter or Will so to throw in a brand new flirtation is rather jarring for both Alicia and the audience. There’s no real reason why she can’t go for a drink with Daniel – technically she is still married, but what’s one drink? – and it doesn’t even have to be about getting laid as Owen suggested in the previous episode. For Alicia it feels like she is cheating and when she asks who she is being faithful to, the crane shot and the look up infer that it is Will. I don’t know if the audience are ready for Alicia to move on this quickly from Will and while there has been some chat about her chemistry with Finn, for me they are reading very much as solid friends. This isn’t to say that something won’t happen down the line (he is also married), but their catch up call at the end of the episode felt very much like BFFs checking in on each other rather than romance.
The notable thing about this relationship is how Finn has become her go to person and as Alicia has always had a glaring lack of friends since the whole Kalinda breakup, I’m glad to see her find a friend as a result of this tragedy. During this conversation Finn mentions how Eli is trying to turn him into a hero and how Eli already made her a saint so we circle back on this idea of purity and Alicia’s identity. This might also have contributed to Alicia’s decision to not go into the bar for a drink and while we know Alicia isn’t a saint (because who is?!) this has become part of her persona as it has been reinforced on multiple occasions.
Saint and hero are both labels that suggest an inherent goodness and while Alicia and Finn are uncomfortable with this notion, they also let Eli manipulate the press to adhere to this image. Finn’s soft spoken answers about the shooting and his sister’s suicide help with this perception and so far he’s very much the good guy. We’ve also seen how Castro is not above leaking personal information about Finn and so this SA race is going to get dirty; will Finn be able to retain his hero status? Alicia has committed many actions that could impact the image the public has of her as the woman who stood by her man, Will being the main one and it’s the glance she is given in the bar that sets off her alarm bells when it comes to socializing with Daniel over lunch. There’s still so much conflict about who Alicia is and how she is perceived; at the moment her grief is compounding this further.
Alicia’s relationship with Will was never public and that impacts the legitimacy of it and how she is dealing with his death “It’s unreal. Like he’s, like he’s still there, you know? Or he was never there at all.” It was always so hard to define what she had with Will, particularly with the added emotional turmoil this season and so it is not surprising to hear Alicia complain that everything is in a tailspin. Part of the reason why Alicia decided to leave Lockhart Gardner was down to the overwhelming Will feelings as she used work to avoid her personal life. Losing Will has caused Alicia to look inward and she doesn’t like what she is seeing and this might be why she is questioning if she wants to be a lawyer anymore. It’s never really been about being a ‘good wife’ more like becoming someone beyond this label and this crisis has Alicia examining everything that makes her who she is and it is terrifying.
Over at Lockhart Gardner, Diane is taking a very different approach as she is concerned about the actions of David Lee and Louis Canning in regards to her clients. Diane’s not going to roll over and let them take the reins of the firm she helped create and she’s got Kalinda in her corner to help with any potential sneak attacks. Canning tells Diane he is dying, which turns out to be true and yet Diane’s instincts are spot on as he’s also trying to screw her. Kalinda notes there is something different about Diane in a good way – here’s that word again – and Diane explains that she feels like she is “channeling Will’s ghost.” It’s like Diane has taken the best of Will to help with her current situation. The women of Lockhart Gardner are making their presence felt as Kalinda and Diane are wearing colors that make them stand out; purple and royal blue are colors that emphasize power and neither are going to go gentle into that good night.
The White Correspondents’ Association Dinner attracts an eclectic assortment of star power with journalists, politicians and actors all rubbing shoulders. Instagram is awash with selfies of the casts of Scandal and Veep posing for photos in the environment they pretend to work in for a living and there are plenty of starstruck expressions. We’re going to take a look at the best red carpet looks on display last night.
The red carpet featured several classic black gowns including a super chic looking Julianna Margulies in vintage Jean Dessès. Sometimes keeping it simple gives the best results and accessorizing with black pumps, Roger Vivier clutch and silver jewels does just this. A simple updo and a splash of crimson lip color is the perfect way to set off this ensemble.
Veep’s Julia Louis-Dreyfus also opted for black in Antonio Berardi with a bodice adorned with crystals adding a slight hint of shimmer to the frock. Adding more glitz to this outfit is the gunmetal pearl Edie Parker clutch with a sparkly silver trim. Julia Louis-Dreyfus looks radiant.
Polka dots and peplum for Lupita Nyong’o as she also does the black gown trend with a twist in Oscar de la Renta from the Fall 2014 collection, which TV Ate My Wardrobe adored. Lupita continues to take the fashion world by storm and the hot pink lip color is another excellent and striking choice. And there’s more from Lupita…
“They fought crime with a bold lip.” As this photo from Mindy Kaling’s Instagram shows, Mindy went with both strong lip and dress colors, with Zooey Deschanel and Lupita Nyong’o doing monochrome in two very different ways. I would definitely watch a show based on this simple crime fighting premise.
It’s not just black dresses on the red carpet with Scandal’s Darby Stanchfield showing green gowns and red locks makes for an excellent combination. From the Alberta Ferretti Spring 2014 collection this ethereal look is enhanced by the embroidered floral beaded waist and shoulder accents.
Alicia is keeping busy on The Good Wife and the opening sequence in “Tying the Knot” shows her juggling work, family and Finn continuing scapegoat status. The work aspect includes one the most tricksy clients, Colin Sweeney and in true Sweeney fashion death is not far behind him. Memory and perception has been a repeated theme this season with memory being used in multiple ways to dictate the emotions of an episode.
This began with memory-pops (what the writers call flashbacks, thanks Noel for pointing this out) as Alicia and Will both recalled a time when their relationship was more in tune, followed by Alicia’s choice of suit when she was trying to distract Will with memories of sex. Continuing with Alicia’s keynote speech and how she came to be at Stern, Lockhart & Gardner and the first flutters of those elevator encounters. Since Will’s death the use of memory became imagined encounters thanks to the voicemail Will left moments before he was shot and in “Tying the Knot” there’s yet another type of memory on display as Alicia’s short term recollections are picked over.
First of all I love this shot of Alicia as she contemplates her options and James Castro’s insinuations, weighing up factors from both this case and Castro’s less than subtle play to get rid of Finn from the SA office. Josh Charles does an incredible job directing an episode with so many moving parts and one that uses memory-pops throughout as Alicia’s experience at the party is the vital piece of testimony. While at the party Alicia receives and makes phone calls to Cary, Eli, Zach, Zach’s friend Shauna and Finn. All while dealing with Colin Sweeney and his demands regarding his new fiancee Renata. The engagement party feels chaotic and disorientating at the time and this is repeated in the memory-pops with the same piece of music playing in the background, the identical looking brunette bobbed waitstaff and the case of Sweeney mistaken identity. On one occasion Eli makes an appearance repeating the words he said on the phone and Alicia chats with an imagined Sweeney about his decision to take off his tux jacket.
Memory is unreliable and when there is this many distractions it gets even more convoluted. There are certain aspects that never change with how Alicia recalls her time at the Sweeney house and Alicia is being manipulated, not in her memory but in the staging of events so she can produce the perfect alibi for Sweeney as he’s only out of her eye line for the briefest time. Once again they help Sweeney get away with his murderous deeds and this time it wasn’t at the hands of Sweeney, instead it was part of his twisted couple’s therapy to give balance to his relationship with Renata. There are a couple of cases of mistaken identity first at the actual party when Alicia is on her brief Sweeney hunt, followed by Alicia misidentifying who she saw going up the stairs that adds credibility worries to the rest of her testimony. As Alicia reinforces, it is better that she owned up to her error than perpetuate a lie even if it adds doubt to her reliability.
Memory comes into play in the courtroom not just in the form of testimony as Finn enters a courtroom as prosecutor for the first time since he was shot. Gone are the bandage and sling; the only physical sign we can see is the scar on his hand he is absentmindedly touching. Upon standing up Finn sees a pool of blood forming at his feet and as the camera goes in for a tight close up we are with Finn back in that courtroom as he sees flashes of both his hand getting shot and what appears to be Will going down (Updated to add this second shot could be the other one Finn was hit by, not Will). These flashes are so brief and this adds to the jarring nature and the sound of the gunfire that isn’t really there causes Finn to noticeably flinch. Instead of breaking down or exiting the court Finn pulls it together and while James Castro’s assertions that Finn needs some time to deal is perhaps correct, he’s not going to let his super smug former BFF get the better of him by using his vulnerability as a way to dismiss him. Nope, instead Alicia has a plan.
Finn’s running for State’s Attorney and what was originally going to be in name only so he couldn’t be fired for whatever BS reason Castro had come up with, has now turned into an actual campaign thanks to Peter’s endorsement. Peter’s been on fire in the past two weeks with how he is dealing with the suck ups and secret backstabbers as he decided to go with Finn after Castro attempts to sweet talk him. This is the Peter I can understand Alicia falling in love with, not that guy who called her a selfish bitch a few of weeks ago.
Owen’s back and he’s playing his usual role of no nonsense advice giver; this time as with most times he thinks Alicia needs to get laid and perhaps he’s right. We’ve never seen Alicia indulge in any kind of no strings sex and while you could argue that sex is never just no strings, it’s always just been Will or Peter. This isn’t to diminish what she had with Will and I’m even bristling at the thought of her with someone else, but Will is gone and hey sometimes you need something beyond work, wine and making dinner for the kids. Owen is Alicia’s truth-sayer and Alicia is his favorite person in the world, so while he might come across as interfering it is all done with love and he’s happy if she’s happy; you can count on Owen to pry just that bit too far.
This scene is hard as Alicia is holding back because she doesn’t want to cry anymore and Owen’s comment about Will making him laugh is just the thing that might tip her back into tear territory. The “facade of perfection” and Zach’s assertion that his parents are Bill and Hillary is a not so off topic conversation point with Alicia giving herself a new motto to get stitched onto a cushion “It’s a decision. I like decisions.” Alicia’s wine cardigan from Vince is rivaling Olivia Pope’s in my heart for best wine consuming style. It has the perfect wraparound factor meaning it’s pretty much the clothing version of a hug and this is what she needs right now.
What follows is the only point where Alicia’s facade does slip as she stands alone against her bedroom door, the wounds of Will freshly opened by her chat with her brother, the red wine coursing through her veins; the chin quiver and pools of tears forming in her eyes is inevitable and something she can’t stop. This is an accumulation of everything Owen has just spoken to her about; Will, Peter and moving on. It’s also one of the only moments in “Tying in the Knot” where she isn’t focused on anyone else’s problems, just her own and it is overwhelming.
TV Ate My Wardrobe 
