A couple of weeks ago, one of my favorite television shows, The Good Wife, aired its final episode. The Good Wife is a show about a disgraced state’s attorney’s wife, Alicia Florrick (Julianna Margulies) who must rebuild her life and career after her husband goes to jail for corruption charges. After years as a stay-at-home mom, she reenters the workforce as a lawyer and must grapple with what it means to be a modern woman–how does one juggle marriage, motherhood, career, friendships, and one’s personal and spiritual wellbeing? After her husband publicly cheated on her, what is her responsibility to herself, to her spouse, to her children? The show masterfully functions both as a procedural, with each episode covering a new legal case, and as a serial, with a larger narrative unfolding across the seasons. I have loved this show not only because of its excellent portrayals of interesting female characters tackling issues with which I resonate but also because of how well it has tackled questions about technology, religion, and politics. Though most of the key characters self-identify as left-wing or liberal, it is quite common to hear compelling arguments or presentations that reflect conservative and moderate perspectives. In fact, one of the most liberal female lawyers ends up marrying a right-wing, gun-toting, Sarah Palin-loving man–their steadfast, loving marriage yet regular, earnest disputes over differing values are a great reflection of the show at large.

Alicia stands beside her disgraced husband. Image provided for editorial usage by CBS on thegoodwife wiki.
Alicia stands beside her disgraced husband in the pilot episode. Image provided for editorial usage by CBS on thegoodwife wiki.

Having loved this show deeply, I was nervous about how it would all end. Final episodes can make or break one’s relationship to the entire show. For example, Lost’s finale felt like such a let-down and How I Met Your Mother‘s finale upset a good chunk of its fan base. 
By the finale, The Good Wife had been losing some momentum in the last couple seasons. It was time for the show to end, and I think the show-runners, Robert and Michelle King, intentionally paced the show in such a manner so that audiences would be ready to say goodbye. That being said, the last episode was no cakewalk and, indeed, garnered quite a controversial response from fans. 
From here on out, I’ll be weaving spoilers throughout my review of the episode, so if you haven’t watched the show or the finale, stop here! Come back once you are caught up.

The finale takes us back full circle to a parallel of the beginning of the show. Alicia is back where she started, standing at her husband’s side while he apologizes to the people of Illinois for his mistakes. This time around, however, Alicia has taken control of her life (or so she thinks) and made very active decisions that lead her to stand beside her husband in that moment–even though they are in the middle of a secret divorce. In that moment, as she walks out onto the stage, we return to the question posed by the title of the show: is Alicia a good wife? Does she even know what that is? Do we as the audience know what that is?

The episode references moments from throughout the entire show, reminding us that the answer to that question (if there is one) is complicated. It’s difficult to untangle the messiness that is one’s responsibility to family and friends, one’s need for self-care, and others’ expectations. What is clear in this situation is that Alicia is dangling precariously close to the edge of losing everyone that is important to her in her quest to take ownership of her own life. Her kids have left for college. She’s divorcing her husband, and he’s going to jail. Her best friend Kalinda is gone. Will, the man she actually loved and who loved her, is dead. Her current love interest may potentially also have left, uncertain of whether Alicia cares enough about the relationship to fight to make it work. She betrayed Diane Lockhart, her mentor and fellow lawyer, who slaps her bitterly in the last minutes of the episode. Cary, another fellow lawyer, has left the firm to find a happier, more fulfilling life. Even Jackie, the mother-in-law she hates, is getting remarried and thus spends less time harassing Alicia.

Alicia slapped. Screenshot from the show finale.
Alicia having just been slapped. Screenshot from the show finale.

Alicia in her struggle to recover from her husband’s infidelity–a struggle that she never actually acknowledges to herself–is compelled to be in control of her life to prevent something like that happening to her again. But that very control prevents her from taking the risks that would mean actual happiness and healthiness for herself and her kids. In contrast, Diane Lockhart, ultimately chooses love and integrity over her career. (Though her path resembled Alicia’s for most of her career.) She decides to represent clients with whom she disagrees because she values their right to free speech. She also recognizes that imparting a right to free speech requires a listening ear from those who disagree, and models that in her interactions with such clients. These actions result in several high-profile clients leaving the firm, horrified that Diane would “stray away” from her liberal convictions. Diane is also willing to lose a case in order to protect her husband from being defamed and manipulated on the stand. Another of the firm’s partners, Cary Agos, chooses happiness over career success when he willfully quits his job because he recognizes that the firm’s environment is toxic–opting for a less glamorous but more rewarding career in teaching. Alicia, however, time and time again jeopardizes her friendships in pursuit of what she deems as success.

What does Alicia see as success? I think she has come to the supposition, as many modern women do, that success as a female is found in always appearing strong, competent, and self-sufficient. At the end of seven seasons, though, feigned self-sufficiency has left Alicia with an alcohol dependency and no community. Stripped of the façade of empowerment, in the last minutes of the show, Alicia is revealed as she truly is–broken, exhausted, and lonely. She is forced to face the vulnerability that she refused to embrace willingly. We thought she had hit rock-bottom when we first watched the pilot of this show, but in truth, it took Alicia seven seasons to get to this realization: she needs people. To be a good wife and a strong woman, you cannot walk alone.

Ironically, Alicia herself taught this to the women around her–so many women looked to her specifically for their legal support because they also found in her emotional support and inspiration. They looked to her for help and compassion, and she gave it while never accepting that same love and compassion for herself.

As I watched Alicia come to these realizations, I was wracked with emotion. After spending hundreds of hours with her, I resonate with each of her decisions and impulses and realize that I too was so caught up in her triumph over tragedy that I too often forgot what Alicia was missing. I wept for Alicia, and I wept for my own delusions. And yet there is still hope. In that last moment, Alicia is the most alone she has ever been, but we do not know what will happen next. Perhaps Diane will come to forgive Alicia. Perhaps Jason has not given up hope on Alicia quite yet. Her children are not gone forever; they will return from their trips abroad and semesters at college. Even after Will died, Alicia was given new chances for love with Finn Polmar and now Jason–so too now, new opportunities can arise. If this is truly her lowest point, Alicia has only one direction to travel and that is up.

So, yes, this was a hard episode to watch, but I think it was also necessary. Some fans have criticized the episode as anti-feminist, but I think the episode is strongly pro-feminist. It does not shy away from telling a hard story about the struggles and temptations involved in striving to be a strong woman in today’s age and the pressing need for women to support one another and accept help when it is needed. Alicia can find hope and strength and healing, and so can we. It just might take learning some painful lessons to get there.

Voting – it’s not just for men.

That’s not new knowledge, but faced with a visual depiction of what it originally took to win women the vote, I was reminded how I take my ability to vote for granted. In fact, every time I talk to another woman who has just seen the film Suffragettethey say the exact same thing. While the woman’s suffrage movement is briefly addressed in our high school history courses, for the most part, it is a period of history that remains largely unknown. Sitting in the theater, I was embarrassed to acknowledge how little I knew of this significant part of my heritage. Simultaneously, though, I can’t quite describe how it felt to experience a film where at any given moment the screen was predominately filled with female characters. We are so accustomed to going to films made by men about men, that encountering the opposite felt markedly refreshing. Suffragette clearly passed the Bechdel Test

What I think made the film so successful is that instead of trying to address the entire suffragette movement, the filmmakers focused on a particular significant instant in the movement and the events surrounding it. The film is just a glimpse into the era, within a particular space and time: working class London in the late 19th/early 20th century. Within that framework, the crew invested in a high attention to detail, fully immersing their audience in a new unfamiliar world through the production design, cinematography and acting. The performances in particular were exceptional from the obvious, Meryl Streep and Carey Mulligan, to the unexpected, the little boy who plays Carey Mulligan’s son. (Apparently this is the year of incredible child performances in cinema.)

I also really appreciated the two lenses they used to explore the suffragette movement in the UK. The first was the lens of the working class, the foot soldiers of Emmeline Pankhurst’s movement. When the story of woman’s suffrage is told, it’s often centered on the upper/middle class leaders of the movement, such as in films like Iron Jawed Angels and the TV mini-series Shoulder to Shoulder. This provided a completely different perspective and raised some interesting questions about the ways in which the leadership utilized the women of the movement–often evading imprisonment while lower class women with more at stake (they worked to support their families) would get picked up by the police because they were the ones on the frontline.

Public Domain through Library of Congress
Public Domain through Library of Congress

The second lens I enjoyed was their focus on the role of media in the suffragette movement’s success. Photography was just entering the public realm at the turn of the century, and it plays a prominent role throughout the film. At the screening and Q&A for the film I attended, producer Alison Owen compared this dynamic between photography and women’s suffrage to the more contemporary relationship between the Arab Spring and Twitter. Both movements were integrally shaped by the presence of a newly developed technology.

Though this film is about women, director Sarah Gavron did also consider the men in the lives of these suffragettes, presenting them for the most part in some complexity. Edith Ellyn’s (Helena Bonham Carter) husband supports her career as a pharmacist and provides the getaway car when the women commit their acts of civil unrest, but he is mostly silent and at one point actively resists Ellyn’s involvement due to her health. Alice Haughton’s (Romola Garai) husband lets her “play at being a suffragette” but refuses to support her and will not let her invest her own money in the cause. Maud Watts’ (Carey Mulligan) husband seems to genuinely love her, but he can’t escape his commitment to societal expectations meaning that he can’t take her seriously and would rather sacrifice her for the sake of his societal respect. For many of the other characters in the film, their husbands are entirely absent. Most of these characters are based on true events or composites of true events, but I was disappointed that we did not see any pictures of men who passionately fought for women’s suffrage. Though there may not have been many, I’d be surprised if there weren’t any. Instead, the men in the film largely seem disappointing and uninteresting. While this is the way women have been portrayed in film for decades, it seems unfair and unimaginative to simply “reverse” the situation. Interesting male characters don’t need to steal the show from the women, but it would be nice to have them present and not silenced.

That being said, this area of history is largely absent in our cultural collective memory, and the crew (who was over 50% female) did their due diligence with what little resources were available to try to provide as faithful a dramatic representation as possible. In fact, the final scene of the film is rare historical footage that the crew discovered and paid substantially to have developed–even though no one was sure if the negative even had any relevant footage on it. I am grateful for their hard work to provide a cinematic experience that would enter the mainstream and remind audiences across the world about what it actually took to win women the vote. To this day, there are countries in which women remain legally silenced by the men in their lives, unable to participate in the political future of their families and communities. As an immigrant, I tend to think in terms of my general privileged right as a U.S. citizen, but this film reminded me that my privilege is doubly valuable–as a U.S. female citizen who can vote.

Annie Kenney and Christabel Pankhurst
Annie Kenney and Christabel Pankhurst

Media Cited:
I saw the film last Thursday at the Film Independent event at LACMA with my friend Justine. The screening was followed by a Q&A with producer Alison Owen, so much of the information included below comes from that conversation.
This week’s featured image is a screenshot from the film Suffragette.

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