Ben Dreyfuss is the engagement editor at Mother Jones. He's done some other stuff, too. You can email him at email@example.com. But you don't have to. But you can. But you really don't have to.
I didn't actually watch it myself because I am a millennial cliché who doesn't know how to watch actual TV. I have a TV but I lost the remote and gave up trying to find it months ago, like a good millennial. Anyway, the internet is pretty in love with it.
RECAP: The Good Wife, Season 7, Episode 2: "Innocents."
The episode opens and the good wife is in bond court and she meets a kid who has been arrested for vandalizing some stupid photo exhibit at the Chicago Museum of Art and this kid, see, this kid just doesn’t know how to help himself. “I did it,” he says over and over despite the good wife’s pleas that he ixnay the whole confession-ay. The bond judge grants the dumb kid bail and as he’s being led away he says to Alicia, “it’s me…in the photo [i defaced.] It’s me.”
Eli visits Governor Bad Wife to apologize for saying some mean things during last week's episode. Peter is all, “great, thanks, apology accepted, Alan Cumming, but you still can’t work in the campaign.” Eli is like “I hear you, buddy. Live long and prosper.”
Can we talk about this whole thing for a second? The entire idea that Peter would fire Eli for Margo Martindale is insane. Peter owes everything to Eli and up until last week’s episode has been acutely aware of that. I get they just needed to set up a fight for Eli to have but it really just makes Peter seem even worse than he already is.
And, look—OK, this is turning into a rant—but Peter, the bad husband, has never been portrayed as an actually evil or nefarious person. Deeply flawed, yes, but never villainous. The whole throwing Eli under the bus thing is really annoying me. But I digress.
Eli bumps into Margo Martindale as he’s leaving Peter’s office and she threatens to kill Eli if he comes near “[her] candidate again.” Eli asks her if she’s seen It Follows. Like me, she has not. Unlike me, she hasn’t even read the Wikipedia summary.
Back to the kid who hates the art. The photo is of him as a child when he was naked. His mom is a famous photographer. His mom is played by Amy Irving! I love Amy Irving. Amy Irving and my dad were in a movie once called The Competition where they played competing pianists who fall in love. The art vandal in this episode is basically my brother.
Alicia needs an investigator because Kalinda is gone so she interviews a few of them. One is this guy who is clearly really good. He’s played by a famous actor whose name I can’t remember, but he was in Watchmen and various other things. He is too famous not be the one she ends up with but also his character is too rich for Alicia’s blood. He costs $5 more than another investigator so Alicia goes with the cheaper one…for now.
Cary and Howard are fighting about something and I don’t know or care what.
Mamie Gummer is back guest starring as Amy Irving’s lawyer. The good wife feels for Amy Irving’s son because he’s clearly a screwed up twentysomething and it’s probably because of all these naked photos of him running around. She is going to try to get the Chicago Museum not to show the photos.
Eli calls the good wife and lets her know that Peter won’t let her hire him as her chief of staff. The good wife is like, “no way, José” and goes to visit her husband and is like “LET ME HIRE ELI OR I WILL DESTROY YOU BY TELLING THE PRESS HOW OUR MARRIAGE IS A SHAM” and Peter is like, “ok ok ok ok.”
Amy Irving and the son she photographed nude as a child meet and he is like, “mom, please don’t put these photos in the museum” and his mom is like, “I’m an artist, kiddo.” Amy Irving is really good at playing a hippy artist here.
Alicia’s case against Amy Irving has to do with whether her son ever gave consent to be photographed nude. Mamie Gummer says Amy Irving gave consent because she is the child’s mom.
Margo Martidale dispatches a spy to be Eli’s assistant and report back to her all his activities because she finally realizes that he isn’t giving up without a fight.
Amy Irving’s son takes the stand and explains how ever since the photographs of him naked where made public he has received emails from pedophiles. “After the book was published I’d come out of school and these…men…would be waiting for me.” Gross.
Cary and Howard are still fighting. I don’t want to bother trying to explain this storyline but one of Howard’s throw away lines is: “I can some up the Cubs turnaround in one word: Jews.”
The investigator Alicia hired screws up a bunch because she is utterly incompetent and Alicia is like “damn i should have hired that famous actor who was far too famous to only appear in one scene of this TV show.”
Amy Irving takes the stand and is all, “look, back off, ok? I am an artist and lots of artists use their children as subjects and if I were a man you’d be throwing me a fucking parade” and then the bond attorney who is now Alicia’s second chair is like, “I’m not in the business of throwing parades for people who take photos of naked children.”
Back at Alicia's house, Eli presents the good wife with a plan to make her “Saint Alicia” again. She needs to go the Democratic party chief who screwed her over last season. I don’t remember all the details of that but he was corrupt and forced Alicia to drop out of the State’s Attorney race even though she had totally won and not done anything wrong. He is a bad corrupt person. That is all we need to know.
The corrupt man asks Eli to let him and Alicia talk privately and is like “I want to put you on the election board. People like people on the election board! But here’s the thing, I need you to do me a corrupt favor. Vote No on the first vote. DON’T ASK ANY QUESTIONS ABOUT WHAT THE FIRST VOTE WILL BE BUT JUST VOTE NO, OK?” And the good wife says, “ok,” because the good wife is not a perfect human being.
Alicia fires her shitty investigator and calls the guy from Watchmen but he maybe is going to work for Cary. Cary can offer him a lot more money.
Anyway blah blah the case of the naked child continues and it isn’t going great for Alicia and Amy Irving’s kid but then P.I. Watchmen suggests she put a pedophile on the stand and the pedophile is like, “oh yeah I love looking at those photos of that kid naked! All the pedos love it!” It’s a darkly humorous scene.
The judge isn’t convinced that it’s kiddie porn though and is like “museum can open!” but then Alicia realizes she can go after Amy Irving for lost wages because the kid was a subject of the photo and was essentially working during the photo shoots. She is going to sue Amy Irving for a whole lot of money.
It seems like ol’ good wife has Amy Irving over a barrel but then the kid is like “mom, i don’t want your money I just want the photos so the pedophiles will leave me alone” and the good wife is like, “the photos are still on the internet, kid. You can’t unring the bell. But this money can help you start a new bell.” Amy Irving looks at the kid and reaches her hand across the table. The kid reaches his hand and joins his in hers. This is the end of the scene.
Peter tells Margo Martindale that Eli did a good thing by getting Alicia on the elections board and that she should call him and give him an attaboy. She is disturbed by this instruction.
Back at the good wife’s home we find out that she won the case on behalf of Amy Irving’s son and got a nice chunk of change so apparently that handshake meant Amy Irving was agreeing to pay her kid. The male investigator shows up and is all “knock knock, I have a really good offer. Can you beat it?” We know what the offer is but Alicia does not. Diane offered him $250 an hour. Alicia says, “what’s the offer I have to beat?” And Jeffrey Dean Morgan (thank god, I finally remembered his name) lies to her and says, “$90 an hour.” Alicia offers him $95 which is still way less than the $250 he was really offered but he says yes because he likessssssssss her.
The best show on network television finally returned last night, but is this Good Wife still the Good Wife we all know and love? Kalinda and Finn have joined Will in that great big green room in the sky and last night's episode felt...different.
Let's talk about it.
Alicia's life sucks at the moment. She has no law firm. She has no male love interest. She has no friends. And where are her dumb kids anyway? She's a pariah! "I'm a pariah," she does not say as the episode begins, but she might as well have. She's whiling away her days in Shooter McGavin's bond court, fighting for pick-up cases with beleaguered unclean lawyers who probably went to a joke Ivy like Cornell unlike Alicia who went to Georgetown, which never pretended to be an Ivy in the first place. Poor good wife.
Governor Bad Husband promised his good wife last year that he wouldn't run for president if she didn't want him to and she didn't want him to so he isn't running for president. OK? Fine, Good. Whatever. But then the good wife changes her mind, because Peter running for president is going to be the plot line for this season—paralleling the plot line in America these days—so she needed to get with it. Peter's chief of staff, the Russian computer hacker from GoldenEye, is very pleased with this development and he celebrates by wooing Margo Martindale, a top-flight campaign consultant, the meth-making matriarch from the second season of Justified.
But Margo Martindale doesn't want to be just another campaign strategist. She wants to be the campaign manager and for reasons not entirely clear, Peter goes along with this and fires Alan Cumming. The good wife's bad husband is also a bad boss.
Meanwhile the attractive young man who used to be Alicia's rival before becoming her law partner before becoming superfluous to the main plot of the show is unhappy at the big fancy law firm that bears his name. Cary's few scenes in this episode are dedicated to him trying to be popular with the first year associates who think he's a stodgy old fart because he spends all of his time with his stodgy old fart partners in their stodgy old fart ivory tower.
Speaking of Cary's aged old partners: Diane and the lawyer who makes the divorces happen are facing off against Alicia in probate court over some meaningless bullshit about a painting that is worth a lot of money. Who will get the deceased's paining? No one cares. But this does provide a nice forum for the show to do what it does best: wink at the audience and acknowledge that the show isn't really about the cases. The Good Wife, more than any other legal drama, doesn't want you to care about the cases. The cases are just a thing for the characters to do. The marathon of random specialists testifying about post-it notes in this probate case are a great example of that. Not even the judge cares about what the post-it scientists have to say.
Anyway, Alicia covers for one of the bond court lawyers—because bond court lawyers stick together— and then the bond court lawyer covers for Alicia in the probate hearing for which she's totally unprepared. Diane and Divorce Attorney are going to school her so hard but then—shocker!—the bond court lawyer is good at law and wins the case. Bond court lawyer is apparently supposed to be Alicia's new friend.
Then Alicia hires Alan Cumming to be her chief of staff because the good wife is also a good friend. Alan Cumming tells Margo Martindale that he is going to destroy her.
Oh also Michael J Fox wants Alicia to work with him. And I think she sort of said yes at the end. (Or did she?) It wasn't entirely clear.
What is this show about now? It used to be about Alicia finding the courage, through crosses and losses, to become the person she wanted to be. Is it still about that? I guess we'll have to wait and see.
Editor's note: Earlier this week, I suggested to our own Ben Dreyfuss that he take a stab at reviewing Ryan Adams' new adaptation of Taylor Swift's hit album 1989. Given the chat that Ben and colleague James West published when Swift's version dropped last October, I figured it was a no-brainer. (I also didn't necessarily think that I'd be the only one around when it came time to edit it.) Anyway, Ben agreed, and he enlisted Tim McDonnell to tag-team the review, by which I mean chat semi-coherently for what must have been hours.
TRACK 1: "WELCOME TO NEW YORK"
Ben Dreyfuss: Here we go.
Tim McDonnell: Seagulls. We're on an island.
BD: Welcome to New York.
TM: How can you not like this?
BD: It sounds like a theme song to an '80s sitcom?
TM: I would watch that sitcom. Every episode.
BD: This really does sort of sound like he is stylizing, like, what's his name from New Jersey? The Boss? Springsteen!
TM: Descending into the Port Authority from New Jersey to fulfill all your dreams.
BD: I bet he was like "Jersey? That's basically New York. Let's go with Springsteen." Chris Christie would love this cover.
TM: Fist-pumping. Watch for this song at future Christie events. So…better than Tay?
BD: No. I mean, look…no.
TM: Or are we just going with the baseline that none of it is better than Tay?
TRACK 2: "BLANK SPACE"
BD: I hate this.
TM: This is definitely the mopey part.
BD: He is such a whiny bitch. I mean, he is SUCH a little crybaby.
TM: I kind of love it. It's like he's sitting in your living room playing right to you.
BD: He is the paradigm of a sad little white hipster guitarist.
TM: Okay, but this is actually a pretty sad song. You wouldn't really know that from the Tay version. There's so much implied loneliness.
BD: I feel like we're on a roof after a cast party, and he is trying to find the courage to tell the girl who played opposite him in Skin of Our Teeth that not only is he not gay...he's actually in love with her.
TM: Tinged with optimism and hope. Also, the reference to old lovers thinking you're insane.
BD: "If the high was worth the pain." Babe, it's always worth the pain.
TM: They'll tell you I'm insane. BUT I'M NOT OR MAYBE…
BD: "I'M NOT FUCKING INSANE, OKAY? PLEASE BELIEVE ME!"
TM: "I don't know! Maybe I am! Let's make out."
BD: Then you play this sad song in the bathroom and call the therapist in the morning.
TRACK 3: "STYLE"
BD: Yeah, this is different. This is less whiny.
TM: This is very like tech rock—like, I don't know. Flaming Lips or something.
BD: I like the bass line.
TM: This is what you hear coming from the second-best stage at the music festival, while you're trying to watch the Red Hot Chili Peppers.
BD: The band that is better than most of them, but still only forgettable.
TM: Not quite good enough for the main stage, but good enough to forget yourself and just dance.
BD: His voice is so weak and sad. I bet Ryan Adams was the dude in college who wrote his feelings into lyrics in a Moleskin.
TRACK 4: "OUT OF THE WOODS"
TM: Okay, now we're like at the bluegrass festival. Playing at the bandshell in the town square with your mom.
BD: Just an acoustic, a mic, and a few hundred friends in a park in Tennessee. The Town Square Open Mic! And your mom is way too enthusiastic. She's embarrassing you.
TM: That's like Ryan Adams' birthplace probably. He was probably conceived at an open mic.
BD: Can we talk about his voice? It's so whiny.
TM: It would be better without all the reverb.
BD: Why is it so weak and sad? Maybe he should smoke.
TM: All the indie bands are like obsessed with vocal reverb these days.
BD: I mean, he shouldn't smoke. Don't smoke, kids.
TM: No, but he should.
BD: It would make his voice gruffer and sexier.
TM: Smoke more and cut the reverb.Okay, what about the whole concept of this album? What do we think about rewriting whole albums?
BD: The Larger Story™. At first I was turned off by the idea.
TM: Especially for an album that just came out.
BD: One song is one thing, but doing a whole album feels like a purposeless re-creation, but I think I was maybe being too conservative. Like, I can see someone doing interesting things with it. Like imagine Fiona Apple redoing a Chili Peppers album. I mean, that sounds terrible.
TM: Is there a threshold of how much different it has to be to make it worthwhile?
BD: There must be a threshold, or else it's just masturbatory photocopying.
TM: I like how we just completely tuned out the rest of that song. It was putting me to sleep anyway.
BD: Yeah, I hated it. It went on forever.
TRACK 5: "ALL YOU HAD TO DO WAS STAY"
BD: WHO IS THE FAMOUS SINGER HE SOUNDS LIKE? Is it Springsteen?
TM: Kind of. The Springsteen purists would probably not appreciate that comparison. There are other comparisons that are probably better.
BD: Sorry, Springsteen fans. This sounds like it would be perfect at Giants Stadium. Chris Christie is losing himself in a press box. Should we talk about the pronoun changes? Some people had a little cry about it.
TM: Like when boys sing songs that were originally sung by girls.
BD: Their problem was that he changed the pronouns to "she" instead of "he" or whatever. I think it's a silly criticism. Like it would be really noticeable if he didn't change them, and that would in and of itself be a statement, which is maybe good or maybe bad. But clearly one he didn't want to make and that is his right—the right to abstain.
TRACK 6: "SHAKE IT OFF"
BD: Tay's version is perfect. Perfect pop song.
TM: Carved from a solid block of pop music viral marble.
BD: Birthed from the head of Zeus, the content creator.
TM: This version is more hedged. He doesn't actually sound like he's going to shake it off.
BD: He needs to shake it off. But he sounds like actually he is going to die. He is drinking too much and being angry.
TM: He's repeating the mantra his therapist fed him. "Shake it off." But he totally doesn't buy it.
BD: He is going to get in a fistfight outside a bar, get his ass kicked, get in his truck, drive drunk, and kill a bunch of people. SERENITY NOW!
TM: Shake THAT off. Maybe this is what he's singing immediately after doing that. That's what it sounds like.
BD: "Sorry, Mr. Adams, you can't shake off 5-0."
TM: "Haters gonna hate."
BD: "I am not a hater. I am a judge. You killed five people."
TM: Yeah, he is totally unconvinced of his ability to shake it off.
TRACK 7: "I WISH YOU WOULD"
BD: Oh, another acoustic guitar.
TM: The thing with all of these is that he doesn't really sound like he's buying the message.
BD: Yeah, that's a good point.
TM: Tay works because you believe her. She makes you believe her. She is in that car. She is driving straight ahead. That's why the songs work.
BD: He's covering her songs in the sense that he's singing the lyrics, but he's not playing the part.
TM: You take the same lyrics and put them in Ryan's mouth and they don't really add up. I don't know what he's standing for.
BD: My main problem with this album is that like it isn't fun. It sounds like something you would listen to while being overly dramatic about a breakup.
TM: While riding on a train in Europe with like rain streaking down the windows.
BD: YES. He is looking out of the Eurorail, watching Prague go by in an instant, thinking of…
TM: And drinking a whole bottle of wine by himself.
BD: …some girl.
TRACK 8: "BAD BLOOD"
BD: Taylor was writing about Katy Perry. Who do we think Ryan is thinking of while singing this?
BD: AHHAHAHHAHA. I love that.
TM: Wasn't he married to someone?
BD: Is he the Ryan Adams who created Glee?
TM: Mandy Moore.
BD: She got left behind the aughts with Gossip Girl and James Frey.
TM: This album isn't very fun! I mean, it's not meant to be fun, I guess.
BD: This album is like something you won't object to, but it isn't aiming to win you over. It strives only not to be turned off.
TM: And it's probably wrong to compare it Tay's version. It's its own thing.
BD: But you can't not compare it. You gotta dance with the one who brung you.
TRACK 9: "WILDEST DREAMS"
BD: So I was at a Taylor Swift-themed SoulCycle last night.
TM: Oh God. Here we go.
BD: And at the end during the stretching they played one of these, and after I walked out, I couldn't remember what song it was. It just sounded like every other one of his covers.
TM: See, this one kind of works because it's sort of nostalgic and sad.
BD: Like he's just reading the words, changing the pronouns, and strumming his dumb acoustic guitar. He sounds like Monsters of Folk. I don't believe him that it is getting good now. I don't believe that he knows she's "so tall." "SIR, SIR, have you even seen this woman?"
TM: Only from a distance. Restraining order, you know.
BD: Through a telescopic lens. Yeah, I mean, I do feel like this is Songs for the Socially Estranged.
TM: Most of Tay's songs sound very similar, too, and there's not a whole lot going on musically, but they're so fun because she sells the dream.
BD: Tay does the thing where she tries to appeal to every sort of young-adult scenario. Whatever your personal drama in high school is, Taylor has a song for it. This seems all made for the kid who is an emo cutter.
TM: If you strip away the fun, the songs start to fall apart. Tay is good because of Tay.
BD: That's so true. You can't strip fun from pop songs, because pop songs are just fantasy nonsense that exist to be fun.
TM: Of course, that would be the message Ryan is trying to telegraph.
TRACK 10: "HOW YOU GET THE GIRL"
BD: His voice is less weak and pathetic here.
TM: But does this sound like he's getting the girl? No.
BD: No. He sounds upset. He considers this therapy.
TM: This sounds like the girl went home with the jock after prom. After he caught them making out in the bathroom.
BD: Exactly, and now he's sitting alone on the hood of his car crying in a canyon somewhere, drinking cheap whiskey, playing for whom? He and God and her. Always her. It's all for her, but then, in reality, he didn't even love her. He loved the idea of her.
TM: And imagining another life that doesn't have to be like this.
BD: Thinking that he can't imagine who he would be had he not had their moments. But what moments did they really have?
TRACK 11: "THIS LOVE"
BD: Ugh. Piano. "My name is Ryan. I can play the piano."
TM: I think the ones I like more are the more rock and roll ones. There's a very fine line here between nice music and just falling asleep. I'm already nodding off to this one.
BD: Why did he do this? He must have spent at least some time thinking about this.
TM: Do you think people tried to talk him out of it? "Oh, cool idea…What else are you working on?...Oh, you were serious?"
BD: "Look, Ryan, I like you. I love you. Ryan, I'm your sister. I support you. But this is not a fight you can win."
TM: "Record it? Like, in a studio?"
BD: "I mean, if you want me to Periscope one song, okay, but…"
TM: "You want the label to pay for this?"
BD: "Have you had a stroke?"
TM: "Look, we know you're beat up about Mandy."
BD: "There are other fish in the sea."
TRACK 12: "I KNOW PLACES"
TM: I like this one. It's at least different.
BD: The beat is better immediately.
TM: This could be in a Tarantino movie.
BD: Yeah, it's got style.
TM: Kind of sexy, like we finally left New Jersey and are almost to Mexico City. Sounds like something you could listen to smoking a big joint and driving really fast through the desert in a Jeep.
BD: I do still hate his voice. I know I sound like a broken record, but I hate his voice. "They got the keys, they got the boxes." Who is he talking about? The landlord? Was he evicted?
TM: If so, he sounds pretty happy about it.
BD: It's funny that he finally sounds happy in the song about them having to pack up their lives and flee.
TM: That's what he always wanted anyway. He's happy to be unhappy.
BD: "They are the hunters, we are the foxes." Fox hunting isn't a thing in the US. Are they in Britain?
TM: I wonder if they recorded the whole thing in like one day. First take.
BD: I sort of feel like they may have? "We have 65 minutes. That leaves eight minutes for a smoke break and a three for a piss."
TRACK 13: "CLEAN"
BD: Okay, so I hate this song even when Taylor sings it. This is my least favorite song on Taylor's album, so I am open to his being better.
TM: I really think he could have done more on all these to push it to weird new places.
BD: Because he hasn't!
TM: Yeah, not really.
BD: He's just played it like any Berklee music student could have.
TM: Apple Music calls this album "intimate" and "disarming."
BD: "Disarming"? Who the hell is searching for "disarming" on iTunes? They should be on an FBI watchlist for sexual predators.
TM: I actually don't find it intimate at all.
BD: I don't know what the hell this is a metaphor for. His heart isn't in it.
TM: Well, that's it. Seagulls again. Coney Island?
BD: Okay, I hated that. I hate Ryan Adams.
TM: I mean I wouldn't necessarily turn it off, but I don't plan to turn it on again, which is like the opposite of Tay.
BD: Like elevator music, you couldn't. Okay, I have to run to therapy, but I'll be back in 30 minutes for final thoughts.
TM: Go have a good cry. At least you can say this is good music to prep for therapy. Therapy pregame with Ryan Adams.
[43 minutes later]
BD: I am back. I had a very nice therapy.
TM: Did Ryan come up? Could you get the songs out of your head?
BD: He came up in spirit, but I described him as "my friend who is going through some things."
TM: The only one I can remember now is "Wildest Dreams." That's the one that stuck with me.
BD: Which is a good segue into…What was this album all about?
TM: Existential angst ironically channeled through happy pop music
TM: Desaturated Taylor Swift. Tay in black and white.
BD: How a constitutionally angsty person can deliver their angst through pop music. "Words mean nothing—it's all in the the way you say them."
TM: While Tay is driving to the party, Ryan is hanging his 5 mm B&W portrait of her music on the wall at the art show in the lunchroom on Friday night, alone.
BD: Like a dramatic actor doing a Shakespeare comedy, it's not going to be funny, but maybe there is some honesty there? Like, some sort of unplugged brutalism? It's a very sad album. I'm worried about Ryan. I mean, I'm not really worried because, look, people die. But if I knew him better I would be worried. *If I cared.*
TM: So I'm probably not going to listen to that album ever again. It had its moments, but now I just want to listen to the Taylor version.And feel okay about my life again.
BD: I also will never listen. REVIEW: DON'T BUY, but it's okay in elevators.