show, “ BrainDead”-they began serving up challenging new creations spiced with an angry absurdism and political directness. After a truly gonzo sorbet-the satirical zombies-in-D.C. Trump became President, a moral shock that destabilized them and transformed their art.
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The show was critically acclaimed, but, like its trophy-wife protagonist, easy to misread, and often sidelined in the public imagination as a “women’s show.” In 2015, the Kings launched a production company, King Size, aiming to spend more time producing the work of others: it had been exhausting to grind out twenty-two hours of network TV each fall, as opposed to eight or ten a year on equivalent cable dramas. The Kings’ breakout series, “ The Good Wife,” which ran on CBS from 2009 to 2016, was at once a sleek legal procedural and a spiky antihero drama, with themes of systemic corruption that resembled those on “The Wire,” only danced backward, in Louboutin pumps. They are mavens of order whose art is all about a world that is falling apart. There are no stable couples on the Kings’ shows there are no systems that can be trusted. The Kings have not only broken more rules, with more sophistication, than many of their more auteurist peers they’ve done it on CBS, the most conservative network with the oldest audience (and, more recently, on CBS’s maddeningly wonky paid streaming service, Paramount Plus).
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Yet somehow these mild-mannered institutionalists have produced, in the past thirteen years, some of the most iconoclastic shows on television-joyful, cracked visions of moral chaos full of rude wit and formal experimentation. They are repelled by didactic art, even when (especially when) they agree with the message. They are worker bees, proud of their ability to navigate within systems. The Kings’ careers have been defined by a shared set of values. “But not always-you get ’em in a certain mood.” “They’re very circumspect,” the actor Kurt Fuller, who plays a psychiatrist in “Evil” and has been the Kings’ friend since the eighties, said. She’s an introvert, and he’s an extrovert, drawing her out with the refrain “What do you think, Michelle?” They apparently have a twisted sense of humor, which their loyal friends and colleagues repeatedly bring up, then refuse to elaborate on. Robert is warm and voluble, with a fringe of steel-gray hair and baggy jeans Michelle, who is sixty, is more of a fashion plate, in leather boots and hip tortoiseshell glasses. In an era in which TV showrunners are often celebrated as towering art monsters, stomping their signature onto a tame medium, the Kings are refreshingly life-size: a family-oriented, hardworking couple, orderly in their lives and so polite that it’s hard at times not to feel rude around them. It’s the kind of charming origin story you might hear from friends of friends at a dinner party-likable types with a reflex toward self-deprecation. On the drive home, they had a bemused conversation: should they tell their parents that they’d set the date? Instead, when Robert asked if they could marry in the Church the priest misunderstood-and pulled out a calendar. Because Robert was set on a Church wedding, they’d scheduled an “informational” meeting with his parish priest, planning to have a tentative discussion about whether that was even possible. Robert was a devout Catholic, the middle child of seven in a tight-knit Italian-Irish family Michelle was a secular Jew, the only child of Holocaust survivors. “Oh, this story really makes me sound like a Catholic asshole,” Robert, who is sixty-two, said, looking at once amused and chagrined.Īt the time, in 1987, the couple had been dating for four years.
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One day last fall, as Robert and Michelle King were being driven from Manhattan to Connecticut, to film “ Evil,” their irreverent spiritual-horror series on CBS, they described the day they accidentally got engaged. This content can also be viewed on the site it originates from.