1. melikeit2011:

    Cary being….Cary, caring, supportive and adorable. But I want him to be fierce and non-stoppable like last episode.

    Cary doing the only thing writers allowed him to do. For 17 episodes at least. Enough.

    (Source: emlary)


  2. In the wake of Will’s death, Alicia and Diane’s story lines seem to be pushing them to address long-standing problems, while in Kalinda’s case it just seems to be suffer porn.

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  3. queenofthenorths:

    make me choose → will & diane or alicia & cary


  4. Anonymous asked: Kalinda or Diane?


    Oh, this is a challenging one. But I’m going to go with Diane, simply because the show has written her more consistently and made better use of the character. Kalinda has so much potential, potential that the writers sometimes seem determined to waste, and she’s had so many awful plotlines (okay, two, but they were arcs and they were absolutely terrible). I think she’s a great character, but the writing for her is often lacking. Diane, on the other hand, tends to get better material. And she’s fascinatingly complex (again, this isn’t to say that Kalinda isn’t, just that the writers have done a better job with Diane). As I wrote in my post about Diane and Alicia’s relationship, Diane seems to be motivated by her own self-interest and by a desire to help others and bring about change, and these goals aren’t always compatible. I have a lot more I could say about Diane and Kalinda, but unfortunately, I’m in a huge rush at the moment, so I’m just going to leave it at this. The post I linked to above, in many ways, doubles as my take on Diane, but I’m not sure that I’ve written anything about Kalinda. The closest thing I can think of is this, which is fairly old and also is mostly about Alicia. 

    Also, to the anon who asked about Friday Night Lights: I’ll try to get back to you ASAP!

    What was the second terrible arc? Blake? The only other arc I can think of is from season one where she helped get Peter out of jail. Well, and the time she helped Will avoid an indictment, but neither of those arcs focused on her. So the writers are batting 0/2 with Kalinda-centric arcs. The character has so much potential and the actress is great, but they really need to characterize her using something other than sex and violence. How great would it have been if the writers filled in more of her relationships with Will and Diane and why she respects them and works for them but nevertheless wants to move on and do something else and what that might be in between 5x5 and 5x15?

  5. fuckyeahcaryagos:

    Matt Czuchry and Robert King on Season 5 finale set.

    (Source: instagram.com)

  6. (Source: ale-la-pazza1)

  7. If you read interviews with the writers or Archie Panjabi, they intend her accent slipping to be completely in character. When Kalinda gets emotional she loses some control over the persona she is attempting to project. To me, this accent slipping is fine, because I know why they are doing it, but the writers have failed to explain it within the context of the show. No one should have to read interviews to understand what is going on with Kalinda’s accent.

    (Source: thegoodwifeconfessions)


  8. bitchjerked:

    do you ever get mad because there’s so much wasted potential in characters and relationships and plotlines in some shows

    (Source: alecmacdowell, via arathesane)

  9. desoeuvre:

    I don’t particularly have an opinion about this ship one way or the other, but I would argue that I think the lack of Cary/Kalinda interaction in 5x16 was less to do with the characters and more to do with the writers.

    We were shown a very specific and very predictable set of interactions in this episode - my housemate and I pretty much guessed all of them, with a couple of notable exceptions such as the brilliant insights into David Lee and Eli finally snapping at Peter (if only a little). Of course, it would be foolish to assume that the focus of the episode would have been anyone other than Alicia, so these scenes (along with the glory that is Diane Lockhart, and the adorably off-his-face-on-pain-relief Finn Polmar) were actually a pleasant and welcome surprise.

    I’d have been incredibly surprised if a scene with Cary checking up on Kalinda had actually been shown. As much as I adore the show, I think this may be another of the things that we’re just supposed to assume has happened off-camera, because it has perhaps been deemed less important than other things. I only lean towards this line of thinking because let’s be honest, Cary and Kalinda are arguably two of the characters who get pushed to the sidelines the most (Kalinda especially).

    I wasn’t overly surprised, either. Unless Kalinda’s using someone or being used by someone (or both at the same time), the writers don’t feel like her actions are worth showing. I also think the point of the episode was really to show how individuals reacted to Will’s death, and not so much how it affected people’s relationships with one another.

    (Source: thegoodwifeconfessions)


  10. "The Good Wife has never been totally clear about who it thinks Kalinda is—she’s been one of the show’s most problematic characters, especially in the last few seasons, because she’s been inconsistently drawn and oddly motivated. This is no exception, though I’m hopeful that Will’s death propels Kalinda to some greater sense of purpose. Kalinda pushes Alicia away to go on a quest of witnessing the most gruesome details of Will’s death—including both the interrogation of the killer, Jeffrey Grant, and Will’s corpse laid out on a slab. It suits her character, sort of—Kalinda would never be satisfied with an easy answer. But I’m not sure about The Good Wife positioning her as the show’s avenging angel of death or mercy or justice—that scene at the end with the belt was a touch too melodramatic for my taste. We know Kalinda is brutal and loyal to a fault, but I’m less and less sure of who she really is.”

    -The A.V. Club

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