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I would like to start off this review by saying that I was skeptical that The Good Wife would be able to sustain its quality post-Will Gardner. This episode proved me wrong.

Throughout the entire season we have had this odd isolated storyline concerning the NSA and a wire tap that surrounds Alicia, 3 hops to be exact (anyone she talks to and anyone they talk to). However, it seemed like the storyline wasn’t really going anywhere. Well, we just found out where it’s going.

The episode surrounded Jeff Dillenger, one of the NSA employees who was working on Alicia’s wiretap. He becomes concerned that he is being investigated for taking confidential files out of the workplace and goes to the one law firm he knows, it also happens to be the law firm that he has been helping spy on for the last few months. Dillenger was portrayed by Zach Woods, better known as Gabe Lewis from The Office, who absolutely killed it in the role. He was able to delve into drama so well, but still slyly maintain some goofiness that was key to the success of the episode.

The episode was genius in its handling of the case. Cary and Clark (Nathan Lane has been a wonderful addition to the cast by the way) walk Dillenger through the process of taking the focus off of himself by becoming a whistleblower.

The Good Wife has always been so good at storytelling, but this episode really took it to the next level. First off all, the episode began with exposition about Alicia’s grief and the potential firm mergers through the NSA wiretap, then we see Cary and Clark telling Dillenger exactly what to say when he reports his boss for spying on his ex-wife by merging the two scenes together.

After the firm realizes that they have been tapped, the firm goes into lockdown. Then, Alicia realizes that they are also spying on Peter, which leads to a wonderfully awkward encounter between the two. In the end, Peter uses his pull to stop the wire tap on himself and Alicia. There is something in the works for the two of them, I just don’t know what that is yet.

The episode also found the return of Louis Canning (Michael J. Fox), who merges with Lockhart/Gardner, adding his name to the end as a remembrance to Will. Diane is skeptical and Kalinda is furious when he refers to himself as the new Will and frankly so was I.

Finn Polamar continues to deal with becoming the scapegoat for the courthouse shooting. Alicia comes to his defense in a not so Alicia way, mostly because she has been moping around for the past two episodes (not that I’m blaming her). Of course, she gets a kick in the ass when she talks with Louis Canning and he fire is running like good ol’ Alicia.

The final scene? An incredible discussion between Peter and Alicia discussing which events Alicia needs to attend. Actually gave me chills.

The Good Wife has found two niches in its writing and directing. They have been able to side step the categorization as a procedural or serial drama by dealing in both arenas. On the one hand we have the NSA case, which take the “case of the week” spot. On the other hand, we have the firm mergers, Alicia’s depression, her defense for Finn Polamar, and the NSA case has been underlying the entire season. As for the directing, don’t even get me started. It is a beautifully directed show. Everything from the classical underscore, the storytelling devices, to even shots of a computer screen, the show has really matured into what I’m calling the best network drama since The West Wing.

And time just keeps chugging along. We have the first three fantastic and forward moving episodes of this final season of Mad Men, then we get an episode like “The Monolith” that reminds us that this is a show that doesn’t need forward momentum to be great.

The episode found Don’s return to work a little less positive than we, or should I say, he would have hoped. First off, the entire episode is drowned out by the sounds of construction to put in a new computer that will thrust the firm into the future [insert echo noises here].

The creative department is having trouble accepting what is essentially a shove into the corner. It was even suggested in the last episode that creative is becoming a handicap for the company. However, they continue to push them further and further to the wayside. It’s probably because that assh**e Lou has no idea what he’s doing.

He buries himself further into the deepest darkest part of our minds when he gives Peggy a raise to essentially babysit Don. Earlier in the episode Pete discovers that Burger Chef (now in present day known as Hardee’s) is shopping for a new firm and is able to get SC&P thrown into the mix. However, later on Peggy reveals to Joan that she knows that the account was given to her so that either she or Don would fail.

Peggy hasn’t been getting it easy this season, but Elizabeth Moss has been killing it as Peggy. Thinking back to the Pilot when Joan was showing her all the “intimidating” equipment, to her rise, and now fall has been fascinating and Moss has been with her every step of the way.

After Bert tells Don that the company was doing fine without him, he starts to break one of the guidelines set on his new job and drinks in the office.

This episode was really heavy on the death foreshadowing for Don. Whether that’s a figurative or literal death is obviously left to be seen, but the first sign is probably one of my favorite symbols Mad Men has ever used. Don’s new office is Lane’s office. Put it together? Well, if you didn’t, Don is literally working in the office of a dead man. What’s more telling is that Don decides to hang up Lane’s old Mets banner and invites Freddie to a game, although he was under the influence. It’s almost as if he has accepted defeat.

Another bit of foreshadowing came from Freddie Rumsen who tells down that he is killing himself drinking. I think I like where this is going. However, Freddie comes to the rescue tells Don to sober up and pull himself together he wanted chance of getting his old job back.  Maybe Don is actually on the up and up. But who am I kidding, this is Mad Men. For now it looks like good ol’ Don is in the clear.

It shocked me a little bit that the show would put such a character heavy episode late in the season. I mean, we only have three more episodes left until halftime. However if makes me wonder, how long is this carousel ride going to last.

SIDE NOTE: I loved the incredible references to 2001: A Space Odyssey in the title (The Monolith is kind of big deal), the opening shot where the elevator resembled the monolith, and the new computer acting as the monolith to the agency.

Well, f**k. If that wasn’t on of the best episode of Veep, then I have no damn clue what I’m talking about. Episode 3 of Veep’s already brilliant 3rd season, titled “Alicia”, reminds us why Veep is one of the best comedies currently on air. The episode followed Selina and her Veeple as they prepared for the announcement that she will be running for president. An announcement aptly titled, “Operation Lady POTUS”.

This episode found Selina at her absolute worst, which is the absolute best for us. However, instead of telling the episode from the Veep’s perspective, we watched the events unfold from the perspective of Alice Brice, wonderfully played by the incredibly talented Tracie Thoms. Alicia is an activist rooted in universal child care, who was drawn to be “next to the Veep” during her announcement as a VIP. Little did she know, other VIPs included an injured fireman, cancer survivor, and disabled farmer.

She first had to deal with Amy who according to Sue sounded “uncomfortable, like she’s dealing with a member of the public,” when she first met Alicia and her daughter. SIDE NOTE: Amy dealing with children is one of the most hilarious running gags on the show. Amy has the pressure of constantly dealing with Alicia and her daughter to keep them happy, including a fun trip to the bathroom.

Dan, who felt it was necessary to remind Alicia that she was an inspiration every time he passed her, had to deal with an SNL sketch that poked fun at Selina and her pony to which she responds: So what, I had a horse as a kid. Who didn’t? I mean, have a pet, is what I meant.”

However, best B-storyline has to go to Mike who accidentally calls Alicia a cow after being tasked with disinviting her from the announcement after the party tells Selina to drop universal child care. Mike then has to deal with Jonah who threatens to release the story and ruin Mike’s career. Mike decides to give into Jonah and begs him, on his knees, to not run the story. Jonah, like the ass he is, makes Mike sing “Goober Peas” with a little twang. However, Jonah, like the ass he is, still threatens to run the story.

Selina must also deal with some… difficulties. First of all, she has to deal with everyone’s opinions on what to include in her speech. Space? Universal childcare? Seniors? Well, the party prefers the latter. When she refuses, some party members “hit some traffic” and are unable to make the announcement. After a small blow up, with some balloon casualties, Selina gives in and drops universal childcare.

Then falls into a fugue state, that Catherine has to snap her our of. Also, did I mention that she had to deal with Catherine wearing the same outfit as her?

In the end things work out for Mike and Selina when, using Alicia’s daughter, Selina is able to convince the party to allow universal childcare. Alicia is back on the Veep’s side, which puts her against Jonah when she denies to him that Mike ever said anything.

This episode brought the characters of Veep to hell and back, but that’s what makes great television. It also continued the incredible build of this campaign that is going to end either spectacularly and disastrously, which is great for us either way.

LAST NOTE: Best Jonah insult of the night goes to Leon with, “Amy, what is this bushel of f**k talking about?”

I was one of the people that was tepid toward season 6 of Mad Men. I thought it still had its honest writing, complex characters, and impeccable style, but it was missing the forward momentum that is needed to sustain a series week to week. When I binge watched the season later on I found it to be more satisfying, but it made me eager for the upcoming season because I knew Matthew Weiner couldn’t keep the show stagnant for too long.

The season premiere, titled “Time Zones”, may have been the boost I was looking for. The episode, in my opinion, was one of the strongest premiere they have had in their entire history. The entire episode was so well-balanced, stylish, and strongly acted, but what captivated me is that Matthew Weiner is able to create the plot development that I was straining for, while also so intently showing us where each character is in their own growth and decay.

The episode didn’t start off with Don, or Peggy, or Roger, or Joan, but with Freddie Rumsen who is pitching an idea to Peggy for a watch, which becomes the center of Peggy’s storyline. Let’s just say Peggy doesn’t have the easiest time in this episode.

It revealed later, in a slightly more off kilter reveal, that Freddie is getting his ideas from Don, who is striving to continue working. The reason I found it so off putting is it just felt too easy. The point of the show is to chronicle the decomposition of Don Draper, so I suppose this is him striving to stay afloat, but I wish that Weiner portrayed it in a more subtle way.

Don, who has become bicoastal during his leave, visits Megan who is introduced in an extended slow motion sequence at the airport set to Spencer David Group’s “I’m a Man.” If that wasn’t a 70s entrance, then I don’t know what it.

However, not all is good with the Drapers. Their marriage is getting stale. Unlike when they were first introduced, the couple isn’t constantly grabbing at each other at the first moment of privacy. They have become an old couple. Tired, even. After Don buys a television, much to Megan’s dismay, she says “you’re not here long enough for me to fight with you.”

However, while on the plane back Don is able to resist the advances from a widowed woman (Neve Campbell, who I’m hoping continues to appear) and avoid an affair. His excuse? He had to work. Don may not have been able to maintain his marriage with Betty and it looks like his marriage to Megan is going down the toilet, but he will always have that mistress called work. However, what is deeper is that whenever she talks about her sea husband, it seems as if she is referring to Don. She had said her husband died of thirst and that one day “all of them would be.” Is this Matthew Weiner’s biggest clue to Don’s demise?

Roger, who is at the tail end of a “party”, receives a call from his daughter asking to have lunch. His new hippie lifestyle is obviously becoming more serious. Complete with orgies, drugs, and freedom. His daughter is persistent that the two reconcile. Where Roger ends up I don’t know, but it will certainly be an interesting ride getting there.

Joan spends the episode trying to retain Butler Footwear as a client. It was nice to see Joan making strides to reaching her full potential, including seeing a professor to help her on her marketing knowledge. The result is her schooling Wayne (played by  Dan Byrd) and solidifying her place as a partner at the firm and reaffirming her strength. However, there is still room for growth. The people around her still treat he like a glorified secretary. To see her finally reach her full status is going to be so gratifying.

Going from the episode’s biggest success to the episode’s biggest failure. Peggy has to deal with two separate, but draining issues. First is of course her falling out with Ted. She is reeling and lonely, as displayed by that wonderful scene about the coffee. Her other problem is her new boss, Lou Avery. Unlike Don, he doesn’t care about quality, only formality. It is something Peggy can’t wrap her head around. Even he brings up that her charm is ineffective.

In the end, Peggy is alone in her apartment, crying and broken set to the song “You Keep Me Hanging On”, which is pretty much the theme of the episode. Broken people hanging on.

The first 3 episodes of Veep‘s third season were honestly some of the best and funniest episodes of comedy I have seen in some time. The fourth episode? Not so much. I’m not saying that is was bad. I mean the concept of having a dimwitted, awkward Washington politician taking on the brilliant, awkward Silicon Valley tech wizards is one that is destined for success. However, I think Veep was in over their heads for this episode.

Part of the brilliance of Veep is the writers’ ability to focus an episode and wrap all of their characters’ storyline around the main story of the episode. I think the biggest issue here was their inability to allow each of their storylines fully develop.

Let’s start off with the positive first. As usual, every single member of the ensemble was on fire tonight. However, I’d like to pay special attention to Reid Scott who was able to take Dan’s usual kiss ass routine and turn it into something actually fleshed out and absolutely hilarious as he vies for the position of campaign manager. Seeing Dan fail is probably one of the show’s biggest successes and in the only storyline that worked for me, Dan was on a collision course with a mental breakdown.

However, after hearing that Danny Chung allegedly tortured Iraqis, Dan decides to use that information to impress Selina and bring down Ryantology in one fell swoop. By feeding Jonah the unconfirmed torture story, Dan was able to associate the words “Chung” and “Torture” together and completely discredit Ryantology. First of all, Timothy Simmons is actually for once doing great work here, but I attribute most of his performance to Jonah falling completely on his face.

Outside that storyline, we have Selina touring a pseudo Google in Silicon Valley. In addition to her general dimwittedness when it comes to technology, there is the added issue that technology sometimes isn’t as smart as we’d like it to be. For example, when Clovis founder Craig (pronounced Cregg, or is it Crayg? Either way it was the single funniest running gag in the episode) shows Selina a new Smart Watch he struggles to get it to work and when she tries to use its voice controls to open her campaign site Meet Meyer, she inadvertently opens Meating Meyer, which displays Selina being “taken from behind”. When Gary tries to cover up the image with a sign, Selina quips “now he’s fucking me harder.” Possibly the single greatest line since the Croissant scene in season 1.

This trip to Clovis also finds Amy being offered a job at Clovis by CFO Melissa who is aching for another adult among the sea of “kids”, but we all know how Amy is with kids (see “Alicia”). Again this storyline never really reached its full potential, other than her reaction to their generous offer Chlumsky didn’t get the great material she deserves.

The episode was full of great small moments like Craig’s use of “Selina” instead of “Madame Vice President” or Gary’s issue with his bag shoulder (another storyline that never fully panned out), but as whole the episode didn’t do it for me.

As her campaign revs up I’m sure episodes are going to find more focus, but this is a small bump in the road for an otherwise amazing season.