Robert and Michelle King’s most recent politically aware drama series centers on Carrie Preston’s incredibly vivacious defense lawyer as she assumes a new position: regulating the cops.

Fifteen years have passed since the first CBS broadcast of “The Good Wife,” seven since the successful launch of CBS All Access by its first spinoff, “The Good Fight,” and zero years since “Elsbeth” completes the circle of the “Good” world. The franchise will return to CBS on February 29, 2024, albeit every promo will mention that you can watch episodes on CBS All Access Paramount+. Starring Carrie Preston, the drama series will take Robert and Michelle King’s legal procedurals to new heights. Elsbeth no longer outwits her other lawyers; instead, she polices the police.

Preston plays Elsbeth Tascioni, a defense lawyer who was originally seen in “The Good Wife” and later reappeared in “The Good Fight.” Her unwaveringly positive outlook makes her opponents and friends alike underestimate her at every opportunity. In the pilot for “Elsbeth,” she boldly displays her persona as the innocent traveler in a city full of jaded locals by walking into a crime scene with a foam replica of the Statue of Liberty. She’s not exactly the kind of person a suspect would think twice about chatting to, especially a haughty auteur who already believes he’s gotten away with murder. With her sunrise-pink coat, heart-embroidered mittens, and color-coordinating totes. (Here, guest star Stephen Moyer, in an arch-smug sort of way.)

The TV show “Elsbeth” follows the “Columbo” formula to the letter. It is a howcatchem, or an inverted murder mystery, in which the murderer is revealed in the first scene and the investigators spend the entire episode figuring out what the audience already knows. Not only do the two lead detectives have different names and ways of speaking (a running joke in the first three episodes is that people always trip over Elsbeth’s last name rather than her shortened one), but each episode has a lot of leeway to explore character motivations, personal histories, and political perspectives because we know who is guilty from the beginning.

Furthermore, it keeps the mystery intact while allowing intriguing cameos to appear. The likelihood is that in a network TV drama, if a well-known face is identified among the suspects, that person is the murderer. Since we already know who the murderer is in this case, we can relax and enjoy the devilish smarm of Danny Moyer, the bossy charms of Jesse Tyler Ferguson, and the toned arms of Jane Krakowski. (She also frequently makes fun of her immaculate appearance.)

Though I believe this is done to assist viewers become used to Elsbeth as the lead, the first three episodes that were viewed for review don’t stray too far from the norm. Even fans of “Good Wife/Fight” may find Preston’s portrayal of the character a little too convincing at first, and anyone unfamiliar with the character may find it difficult to follow the incredibly upbeat lawyer for the duration of the show.

Do not be alarmed. Preston is familiar with the precise pitch at which to play Elsbeth; in 2013 he won an Emmy for this role. Her constant optimism (and overall relentlessness) would surely grow old, fast, in real life. She was never irritating, but she was constantly bothersome. She wears down cops and criminals alike, but moviegoers can more readily accept her tenacious attitude because, one, we know she’s headed in the right direction, and second, she’s portrayed by the charming Preston. Because they are aware of this, the Kings skillfully structure our re-(re-)introduction to the character in a way that highlights her sincerity and makes her an appealing protagonist.

Even better is the inherent possibility for future directions “Elsbeth” may take. The former Chicago defense lawyer supposedly relocates to New York as a part of an oversight program run by the police. The police are now obligated to allow a court-appointed counsel to conduct an investigation into their actions since all those wrongful arrest claims have finally caught up with them.

Because she chooses to work when investigations are still pending, Elsbeth may function more like a conventional TV detective without having to carry the weight of a badge and pistol. Furthermore, she is actually on a covert mission to uncover whether or not Wendy Pierce’s character, NYPD Captain C.W. Wagner, is dishonest. The Kings have provided themselves with numerous opportunities to assess how public perception of American law enforcement is changing, whether it is through a case of the week or an ongoing conspiracy.

Even though we haven’t seen it in action yet, “Elsbeth’s” approach to police policing should prove intriguing. Fans of “Good Wife” and “Good Fight” are aware that the Kings are adept at addressing difficult social issues, whether they are in the public eye or the structural injustice that exists in our legal system. Viewers’ perceptions on police enforcement are expanding beyond the thin blue line on TV in general, and Pierce’s casting in one of three series regular roles—along with his incredible onscreen talent—is probably not the only reason for this.

Pierce is an enthusiastic artist and advocate. (The third is Carra Patterson, who portrays Elsbeth’s de facto partner, patrol officer Kaya Blanke.)
“Elsbeth” is already a strong procedural, with a talented couple behind the camera and a talented trio in front of it, regardless of what happens in the future. Even though it only occurs once every seven years or so, the network known as The Eye is worth watching this time.

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