End

It's hard to wrap up a series that's been in as long as Good Wife was. I'm in the minority here, I guess, but I thought it was great. Not the best episode by any stretch, But I was very satisfied - it was moody and mournful for lost lives and lives, and frenetic with the case at hand. The only thing really missing for me was some evidence secretly, anonymously provided by Kalinda, but there's no way to be all things to all people. I've read a lot of the negative reviews and of course everyone has a right to their opinion. But I can't think of anything that was missing. I appreciate when storytellers make bold choices. I think the characters were all true to themselves, the storyline relevant and poignant, and the ending audacious and surprising, but not unsupported or out of the blue. Good job, Good Wife. I really miss this show.

Very bad ending. I loved this show and now it ends and I don't even know what really happened to my beloved character Alicia?!

I thoroughly enjoyed the series over all and recommend it to anyone. The season 5 shocker was not expected, I usually see these kinds of things coming and I didn't see this. Now, how was the finale. The arc was not unexpected, the title is "The Good Wife" after all, but I really wished for a more satisfying end. It was not a bad ending, I just wish it was more upbeat. I wanted more, like 1 (one) more episode to wrap things up or tie things up more completely. On the whole though, not bad...as I started this, I would recommend the show to anyone. Also, it was funny to see actors who would grow to bigger roles, shows or movies. I did find a funny here and there.

I dislike shows coming to an end, something about me likes to continue to inhabit this world that now exists in my head. I'll be honest, I stopped watching the episode after about 10 minutes. The courtroom action started to get a little silly and I was worried the series wouldn't resolve to my satisfaction, so I turned it off.

So a happy ending will always exist in my head. Series 7 has been a fitting tribute to a brilliant show and I laughed and cried more in some of the later episodes than in the rest of the show.

I know this isn't really a review, I'm sorry

The only truly enjoyable element of the final episode, The End, is the return of Will Gardner in Alicia's imagination-a moment that functions both as a lament and a revelation. It reminds us that the emotional core of The Good Wife always resided in the quiet tension between love and ambition, between desire and strategy. Will embodied the life not lived, the emotional mirror Alicia shattered in order to build herself into a public figure. His reappearance is moving, even haunting, because it starkly underscores how disconnected this final season feels from the coherent arc of the previous six.

Lucca and Jason are neither emotional nor narrative substitutes. Kalinda, in the early seasons, shared with Alicia a dynamic that was electric, ambiguous, at times almost erotic. Lucca is capable, but cooler, more distant, lacking that dangerous edge. Jason Crouse, for his part, feels like an attempt to reconstruct Will without the burden of shared history-making him emotionally irrelevant. This isn't a matter of performance; it's a question of narrative anchoring. Alicia, in Season 7, has lost her gravitational center. She lurches implausibly from washed-up outsider, working freelance from her apartment, to once again becoming the elegant wife of a governor and a sought-after partner at a prestigious law firm. It's a dramatic swing that lacks proper justification.

How are we to believe that someone whose public image was shattered by an election scandal-even if the scandal was false-can seamlessly return to being Illinois' Jackie Kennedy within a matter of weeks? The season's use of slapstick and contrived moments (Jackie getting married in Alicia's apartment? Zach returning for a scene that adds no depth, only cheap surprise?) reveals a tonal imbalance that breaks the series' contract with the viewer. The writers seem to have forgotten that the brilliance of The Good Wife never lay in glib cynicism, but in its masterful blend of political realism, personal tension, and sophisticated wit. Season 7, by contrast, feels like a parody of the show-a clever imitation with none of the soul.

For me, Landing is the only episode that stands the test of time. It's from the much-loved "NSA listens in on the Florricks" arc-one of the series' sharpest achievements: political satire at its best, with surveillance tech fueling paranoia, unforgettable minor characters, and a self-awareness that never tipped into caricature. In that episode, Alicia still feels like Alicia-clever, ensnared in a web of competing interests, but not yet blurred beyond recognition.

This series once played like Alice in Wonderland, reimagined through legal, romantic, and political mazes-but only for the first six years. It's regrettable, but perhaps inevitable, that the showrunners extended the series to coincide with the real-life U. S. presidential election. The move made sense commercially and thematically, but narratively, it was fatal. What in earlier seasons had been a brilliant synchrony between fiction and reality here became an excuse: recycled themes, exhausted dynamics, and a protagonist wandering, as you aptly put it, like a headless chicken. Not because we don't know what she wants-but because the writers no longer knew what to do with her.

In conclusion, The Good Wife was a towering series because it spoke of power, desire, and truth with a female voice that was complex and ambiguous. But its finale is the hollow echo of that voice, as though Alicia Florrick were still on stage reciting her lines out of obligation, drained of soul. Her goodbye, like the final episode itself, doesn't feel premature. It feels belated-like the real Alicia had already left long ago.