“The Last Call” is the beginning of The Good Wife doing something different and weird and fascinating. This show has always defied categorization, because it aspires to be a bit more than just one category. Now that it is working with death and grieving, it’s working across two fields: one, the Sunday-night prestige crime-drama procedural, with its witty direction and musical cues and character work; two, the “family drama,” that somewhat patronizing name given to dramas like Switched At Birth and Parenthood. The former is all about intelligent questioning; the latter is so emotionally literate as to be occasionally maudlin. The Good Wife borrows from both wheelhouses, and is doing so again now. One of the reasons I’m so fond of the show is that The Good Wife is very aware of what else is on television, and deliberately wants to offer something different. So it knows how death is portrayed on other shows—and it has no interest in following suit. With Will’s death now, we get a range of types of grief and a ruthless attention to the details around death—and really, we’d expect nothing less.
good looks attract douchbages which leads to unstable releatioships I'm glad my fave is ugly and in love , atleast she's not f***ing a ratchet infested musty sewer rat
