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 discussions tend to focus on leading or supporting characters and so this guest star panel from SAG is a real treat especially as it features pretty much my favorite guest star – Carrie Preston plays the magical TV unicorn Elsbeth Tascioni on The Good Wife.
Guest stars can go from a three episode arc to becoming a central figure (see Michael Emerson on Lost) or they might do a short run and gain legend status. The phrase “potentially recurring” is often mentioned to guest stars and as Annaleigh Ashford can testify with Masters of Sex it can happen; Betty departed early in season 1 and she’s been upped to a regular for the new season.
Taking part in this SAG panel are Annaleigh Ashford (Masters of Sex), Sarah Baker (Louie), Aimee Carrero (The Americans), Joe Morton (Scandal), Carrie Preston (The Good Wife) and Pablo Schreiber (Orange is the New Black).
Levels of experience vary, as does the way they were cast on the shows they have most recently been on with some getting offered the part without an audition like Carrie Preston and others having to go through multiple callbacks, or getting a part that is different from the one they originally went for. Pablo Schreiber was originally offered Larry on OITNB and he didn’t see him playing this role. Schreiber had already worked with creator Jenji Kohan on Weeds and so that relationship was already there, but it was actually a friend on the writing staff that suggested Pornstache.
Schreiber also goes into how they developed the Pornstache look including the process of picking out the right moustache and how bushiness was an issue. Pornstache’s hair is influenced by Dolph Lundgren in Rocky IV and while the ‘stache is fake; the hair is all Schreiber’s.
Carrie Preston mentions the amazing reputation The Good Wife has when it comes to guest stars (both Joe Morton and Pablo Schreiber have also appeared on the show) and how after appearing in the first year she didn’t get called back for a season. Thankfully the writers found an organic way to bring Elsbeth back on multiple occasions; including this very special moment in season 4.
One of the most discussed episodes of this TV season has been Louie’s “So Did the Fat Lady” and while I haven’t seen the actual episode yet (I know, it’s still sitting on my DVR) I have read a lot of the discourse surrounding it, so hearing Sarah Baker talking about the auditioning and filming process, as well as her general experience is really fascinating. Yes, I need to watch this episode.
In terms of how much the actors know when taking on these parts and how long their guest arc will be varies and someone like Shonda Rhimes doesn’t tend to share too much, although Joe Morton did know that his character was Olivia’s father on Scandal. What he doesn’t know is how long Papa Pope will be around for and generally the guest star rule is “If you don’t die there’s always a way.” As we know from other shows, even if a character does die there is still a way.
Watch the whole discussion below for more on general guest star feelings and the shows they have been on.
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.
Another busy week of red carpets with the Cannes Film Festival in full flow so dramatic gowns galore alongside Riviera chic at the daytime photo calls. It’s not just Cannes as the Peabody Awards were presented this week and there was another premiere for The Normal Heart.
Eva Green brings gothic spectacle in this blood-red Elie Saab Couture gown at the premiere for TheSalvation and the flowing train combined with caped sleeves and an embellished bodice adds to the dramatic impact. Green’s style tends to gravitate in this direction and I’ve just watched the first episode of Penny Dreadful; the black corsets and full Victorian skirts look exquisite on Green and the costume design is fantastic.
Jess Weixler plays Robin on The Good Wife and so I’m more used to seeing her in one TV’s best sweater collections. This is a big switch up and Weixler has been promoting The Disappearance of Eleanor Rigby at Cannes. Weixler also attended the amfAR Cinema Against AIDS gala in a beautiful Honor gown. The ice blue color coupled with the petal neck detail and flowing tulle gives it a romantic feel and it’s the ideal contrasting companion to Eva Green’s blood-red dress.
Here’s one of my favorite daytime looks from Cannes with America Ferrera sporting yellow Louis Vuitton on top with a coral M Missoni pencil skirt. It’s a fresh and colorful style choice and Ferrera has raised her red carpet game recently. This is a really super cute outfit and thanks to the overall color I can forgive the nude pumps. Ferrera also handled a really shitty red carpet situation incredibly well later that day.
Mullet dresses are a strange breed and it’s one trend I don’t tend to be enamored with; Giambattista Valli might be the exception as both Diane Kruger’s dress from the Peabody Awards and Lena Dunham’s Met Gala frock don’t make me recoil, quite the opposite in fact. I’ve been rather underwhelmed with Cannes this year and it is missing Kruger’s presence so I’m glad she’s working her effortless style in this statement dress as she represents The Bridge at the Peabody Awards. Mint green pumps add a fun twist and work rather well with the pink print of this ensemble.
More fun prints with Doctor Who’s Jenna-Louise Coleman in Milly at the Peabody Awards. This is a really funky design and the geometric print is rather mesmerizing. The black ankle booties could be seen as a bit too clumpy for this outfit/time of year, but I think they work on this occasion and this is a red carpet look I’d quite like to nab for myself.
Now to the guys and The Normal Heart premieres this weekend. Matt Bomer is of course the standout here as he continues to avoid the red carpet dude standard as he goes for a maroon twist (last week he mixed polka dots, checks and floral). Jim Parsons’ suit is simple and he looks very cute. It looks like Taylor Kitsch got ready in a hurry, but hey he’s Riggins so he’ll always get a rugged pass from us.
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.
The NSA dudes have been playing the role of chorus on The Good Wife as they have knowledge of pretty much everything that has been going on and while they have been off the mark on certain relationships – one of them was a big Diane/Will shipper – this episode masterfully uses the NSA surveillance of Alicia and everyone she comes into contact with to propel both Alicia and the story forward.
It’s not clear exactly how much time has passed since the last episode and while it doesn’t appear to be more than a week tops, Alicia is still in the bed cocoon stage of her grief. It’s time to get back to work and a call from Finn about his computer being taken is enough of a push to get her out of her sweats. It still feels too soon and the bloody crime scene photos in James Castro’s office is enough to have Alicia blinking back the tears and looking shaky on her feet. There’s conflict at work as Cary is taking charge in Alicia’s absence and they immediately disagree with taking on a government related case. Cary also says a big no to a Lockhart Gardner merger – not that this matters anyway as David Lee has got Louis Canning on board before Diane could secure Alicia.
Last week I talked about the three women in Will’s life and how his death impacts work and personal matters. Diane and Kalinda are immediately affected when it comes to work; he was Diane’s partner and in a world where Kalinda doesn’t really work for anyone he was her boss. Will was confidante to both of them. To have someone new infiltrating this world is hard to swallow, when it’s someone who has financially hurt the firm in the past it’s even harder and Louis Canning has always played the role of antagonist. It’s not surprising to see such a hostile reaction to the idea of this merger and neither woman hides their displeasure at his presence. Canning is in Will’s office and going through all of Will’s case files, which at first feels like a violation and yet it can’t be an untouched shrine as there is work to do. The sight of his chair and the baseball underneath are enough to give a sudden rush of Will Gardner related feelings, but once Kalinda and Diane see past Will and what Canning has done in the past they come to realize that Canning is actually helping.
Canning isn’t there to force Diane out, instead he has fixed some of the issues from Will’s enthusiastic expansion binge and he has the awareness to admit that he is still a scumbag, but he’s now their scumbag and sometimes it is good to have someone like this on their side.
A quick note on Diane’s costumes this week and the dress above has a seaweed like texture, so much so that if you cut it up and put it on a plate I would probably eat it. It looks exquisite on Diane and the gold pin appears to be growing from this frock.
Other notable Diane costume highlights include:
In the first shot the statement necklace is less bold than we’ve previously seen and yet the chain aspect still gives the impression of Diane’s unbreakable spirit. The second shot comes from her lunch with Canning and her royal blue dress is all the power dressing she requires; there’s no need for any kind of dramatic embellishments.
Finn’s getting hung out to dry for Jeffery Grant and for anyone who was worried that Alicia is too close to this case, her first crack at representing him goes terribly. Alicia’s is understandably distracted and the mere mention of Jeffery shooting Will coupled with Finn’s responsibility for putting Jeffery in general detention is almost enough to have Alicia crawling under those covers as she blinks back the tears again. That is until she gets the renewed vigor and a reason to fight; the NSA gives her just that.
Upon hearing of the wiretaps that have been placed on her and how Alicia is at the heart of the three hop warrant it is enough for Alicia to take Finn’s case back off Clarke (that she has only handed off to him 5 minutes before). This is the wake up Alicia needs and even though Finn isn’t connected to the NSA surveillance in any way, they are part of the system and right now she wants to kick some bureaucratic ass.
One noticeable change between each hearing with Finn is what they are wearing and the mood that is represented in their color palettes. On both occasions they are in tune with each other; the first day their dark suits reflect the negative mood of the proceedings. Not so on the following day and they shift to lighter grey tones and when Alicia arrives it is clear that a weight has been lifted. Finn mentions Alicia’s brighter mood and Alicia responds that she “had a good night’s sleep.” Alicia beating down the smug assertions of a panel of guys who have used the same methods they are trying to punish Finn for is incredibly satisfying, as is getting this line past the standards and practices people “By going down on him?” Finn’s amused expression speaks volumes for us all. By highlighting the hypocrisy in this forceful, giving none of the fucks manner is just what Alicia needed to get out of her funk and it’s amazing to watch.
A fun bit of costuming to end with Jeff Dellinger’s Chumhum logo t-shirt (later on he sports an It’s Always Sunny in Philadelphia one) and I’m going to miss the NSA dudes and their array of tees now that Peter used his dickishness for good to get those wiretaps dismissed.
We needed to see Alicia react to Will’s death in a way that feels honest to her character and the time for her to wallow is over; life must go on and the schedule meeting with Peter at the end of the episode indicates this is happening. The Good Wife has allowed Alicia, Diane and Kalinda the space to grieve, while also dealing with their professional obligations and I’ve been impressed with all of the post-Will episodes and how the characters have responded to this huge loss. It’s remarkable what the writers are doing as I have no idea what the landscape of this show will look like when season 5 comes to an end and this is incredibly exciting.
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).
One of the most discussed episodes of this TV season has been Louie’s “So Did the Fat Lady” and while I haven’t seen the actual episode yet (I know, it’s still sitting on my DVR) I have read a lot of the discourse surrounding it, so hearing Sarah Baker talking about the auditioning and filming process, as well as her general experience is really fascinating. Yes, I need to watch this episode.
TV Ate My Wardrobe 
