But it's like, Diane just called her and she did magic anyway, so it's not exactly absurdist comedy that she would do this. She was on the phone with Diane when he walked up, so Diane's needs had like a five-second jump on Eli's, and while she was discussing it with him, she was researching Diane's stuff, and now that she has, she will probably somehow be investigating Spellman while briefing Diane and Celeste on her findings here. My fear is that if you are too efficient you will propel yourself backward in time, resulting in fine lines and wrinkles, which is why I do everything at the last possible moment.
Kalinda: "It was a blind CC. Ritter e-mailed the CEO about the de-icing problems, and on Ritter's copy, there were only two e-mail addresses included in the CC. But on the CEO's copy, he BCC'd someone else, the VC guy on their original IPO. CS at HeraldEquityGroup?"
It sinks in. Diane and Kalinda are like Oh girl and refuse to tell Celeste who it is by name, to the point that you suddenly realize we haven't even hit the credits yet, so obviously "CS" is going to be a huge reveal. So then you're like, "Whose initials are CS? Is there a political celebrity or, I don't know, a recurring guest star who plays a... HOLY SHIT!" and then everything starts moving real fast.
Diane: "Mother of God."
Kalinda: "Well, he's a crazed creepster that might not even help us."
Diane: "He will if we send Alicia. He loves her ass."
Which, I love that they did that right up front: Along with political contacts and a preternatural charisma on TV, Alicia also brings with her the admiration, not to say friendship, of a perverted serial-killy murderer.
Which positions it correctly, for the series and the episode, because the problem most shows face with a character of this magnitude is "not enough/too much," you know, like on crime shows there's always this one Irene Adler Hannibal Lecter mastermind that's obsessed with Our Hero, or a theatrical Grande Dame that plays somebody's crazy grandma, and if they do too little then it's this perennial event, and if they do it too much, then you're Betty White and everybody gets over it.
I think for a lot of people the acclaim of this show has to do with the "Characters Welcome" sort of approach -- you get to see the best actors doing the most insanely well-written and well-rounded characters -- and so it's like a play they're putting on for us. But for me, it's more often the story of Alicia, because I identify with her -- her secret desire to be Captain America, her rigid self-righteousness, her chronic inability to discern the difference between the two -- so much. I think it's the most dynamic thing about the show, that it manages to be both an ensemble and a biography, which makes the best shows (again, Buffy being a great example) what they are. Finding your place in the emotional and symbolic landscape made up of the people around you.