'The Good Wife' will always have an element of fantasy: among other things, its Chicago features an unusual number of slinky lesbians in uniform, the better for the noirish investigator Kalinda to hook up with. But the series is a model of how strict boundaries—the sort that govern sonnets—can inspire greater brilliance than absolute freedom can. In 2009, the show might have looked much like an empowerment procedural for the ladies, a 'Lean In' fairy tale about a strong woman who would find her way. Instead, it’s revealed itself to be a sneaky condemnation of pretty much every institution under capitalism. Marriage is one of those institutions, of course. And so is television.