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When “The Good Wife” premièred, on CBS in 2009, it appeared to have a simple premise: it was a meditation on the political wife who stood by her man. The main character, Alicia Florrick, was clearly inspired by Silda Spitzer, but she had many sisters in that year’s cruel perp walk of betrayed wives, including Elizabeth Edwards, Elin Nordegren, Jenny Sanford, and Dina Matos McGreevey. (Soon, Anne Sinclair and Maria Shriver joined the parade.) Only the November before, the country had elected a President whose campaign was fuelled—and likely saved—by the woman who danced with him to Etta James, and who stood in quiet contrast to his opponent for the nomination, the former First Lady. Here was a show that could take on these fraught notions of female power, addressing a primal question within the culture: What is she thinking?