AVClub: There has never been a show quite like The Good Wife, and there likely never will be again. As it progressed, the series became more and more difficult to define. It’s a character drama, sure. But it doesn’t go light on the legal proceedings or politics. The weekly cases didn’t just serve the purpose of character development or plot advancement; they were about the issues, too. It’s more serialized and narratively complex than the average legal procedural but fizzier than most prestige dramas. It doesn’t really look like most network dramas, and yet it doesn’t resemble cable either. The Good Wife has been immensely fun, distinguishing it from most of the Serious Dramas that dominate the television landscape right now. The Good Wife could be really smart, really pleasurable, and really thrilling all at once. If anything, its propensity for fun while still delving into darkness is really what set it apart. Its “End,” however, is quite dour. Co-creators Robert and Michelle King, who penned the episode, take weird but bold liberties with the series finale, which is very on-the-nose when it comes to its parallelism to the series’s pilot.