Julianna Margulies has been in Chicago a long time. From the roving camera pans of ER as Carol Hathaway (not to mention the roving hands of partner-in-time Doug Ross played by Mr. Clooney) to the now redoubtable halls of Lockhart/Gardner as Alicia Florrick, repressive summer heat and six-feet winter snowdrifts come and go, but Margulies remains resolutely Chicagoan. The setting and context for her latest show has all the dyed-in-the-wool ingredients that long-standing American series require, and reveal why the likes of Law and Order, Grey's Anatomy and the rest last as long as they do. What makes The Good Wife stand out, however, and what the show's creators discovered either by accident or happen-stance, is a ensemble cast that can simply deliver gilt-edged drama with style and panache. Czuchry, Panjabi, Charles, Baranski and Noth come from a variety of well-known and not so well-known backgrounds for British viewers and their chemistry is there for all to see week-after-week. But it is Margulies as the emotionally-scarred wife of a philandering state's attorney who needs to carry the show and both here and in the US her talents have not always been appreciated. But it is in fact her very reticence, the painstakingly reserved persona she inhabits that make The Good Wife compelling from start to finish. You can virtually feel the whole audience squirm with embarrassment whenever she ends up having cocktails with Kalinda in some downtown, swanky hotel as she tries to make sense of the emotional turmoil going on around her while her firm's PI consultant has taken to casual liaisons with female law enforcement officers in lock-up garages! But The Good Wife is good because of the reserve of all this, the ability to turn emotion and sympathy, straight-forward cases and love interest, on its head, sometimes at nearly one and the same time. Alan Cumming's venal political operator Eli Gold we should have no time for, and yet feel snatches of sympathy every now and then. Michael J. Fox's turn as a character with a neurological disease ought to engender sympathy in us from the start and yet he is so conniving and manipulative as to want us to start throwing things at the TV. This is The Good Wife's trick and not only is a two-season box-set good value and all the better for not having the adverts in there, it shows what quality, mainstream television can still be like in our celebrity-fuelled, reality-TV addled world. Recommended.