When "The Good Wife" premiered in the fall of 2009, insiders whispered that Alicia Florrick, the good wife, was modeled after Silda Spitzer, the remarkably resilient former spouse of Elliott Spitzer, former New York prosecutor who ended-up himself prosecuted on charges of using public funds to support his prostitute habit. In the first few episodes, Alicia stood mute and shell-shocked as her politician husband admitted to "indiscretions," was tried and sent to jail. With only mild irony, the good wife emerges as the amazing woman as soon as hubby gets fitted for his orange jumpsuit. Played with tremendous grace, style, and power by Julianna Marguiles, Alicia Florrick, a la Silda Spitzer, returns to her old law practice. A little out of practice after thirteen years as wife and mother, she wobbles before she restores her professional standing. As "The Good Wife" evolved, it outgrew its need for "ripped from the headlines" comparisons. Episode by episode, Marguiles quickened, toughened, and deepend Alicia's character. Her imprisoned spouse becomes simply a footnote or sidebar as Alicia struggles to keep her family intact and build her career in a law firm riddled with scheming, scandal, and intrigue.
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Undoubtfully, cinematography has been my passion since a very young age. Even now, watching a new movie or series always prompts me to ask a lot of questions to the author. Thus, every little essay about a title is definitely not a spoiler, but rather an attempt to explore the idea.
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