No wonder she has emerged as a viewer favorite among the many colorful characters populating this CBS drama. And no wonder Archie Panjabi, who last year won an Emmy for her portrayal of Kalinda, can hold her own in a robust cast of actors who include series star Julianna Margulies as well as Christine Baranski, Josh Charles, Matt Czuchry, Alan Cumming and Chris Noth. ("The Good Wife" airs Sunday at 9 p.m. EST.)

"I'm not just a woman in a pair of boots," says Panjabi, describing her character with delicious understatement.

Along with her trademark knee-high boots, Kalinda is distinguished by the tough-gal wardrobe snugly sheathing her petite frame and, at the same time, by her defiant composure — little if anything throws her, stops her (including ethics or legal niceties), or penetrates her well-defended shell.

Adding to the intrigue of Kalinda is her matter-of-fact bisexuality, and her exotic but so-far-unexamined ethnic origins. To its credit, "The Good Wife" makes nothing of the fact that the actress chosen to play her is Indian and, though British-born, has adopted for Kalinda a throaty, Americanized purr that obscures any regional identity.

In short, Kalinda cannot be categorized. She is who she is: a source of fascination.

"I think that's the way forward," says Panjabi. "You don't focus on the differences, you don't make an issue of them — you just present them."

Meanwhile, the enigmatic Kalinda will have a few more layers peeled away in coming episodes.

"I've looked at the script and gone, `Oh my God. Really? Is "The Good Wife" going to go here?' And they went there," she teases. "Playing Kalinda definitely keeps me on my feet."

The 39-year-old Panjabi, whose birth name is Archana, knew from a tender age that she wanted to be an actress, "and I said no one would stop me from doing it.

"Coming from an Indian family and seeing the differences between them and our English neighbors, the differences in cultures always fascinated me," she says. "That's probably the source of my desire to earn a living out of being different people. There's nothing more challenging or exciting than being able to get into the heart and soul of another human being, and show that to the audience convincingly, from head to toe."

She landed roles on British television and made her film debut as a soccer-loving tomboy in the romantic comedy "East Is East." Subsequent films include "Traitor,""Bend It Like Beckham,""The Constant Gardener,""A Good Year" and "A Mighty Heart."

Along the way she wed Rajesh Nihalani, a bespoke tailor with whom she lives in London when professional pursuits aren't intruding.

But three seasons ago, she was invited to be part of a prospective New York-based TV series, a blend of courtroom procedural, high-stakes office battleground and domestic melodrama.

In the shorthand of casting, the character she was asked to play might be described as a Bollywood version of a Sam Spade detective with a feminist twist. "It's a throwback to the past, but a modern version of it," says Panjabi, who, in her portrayal, makes much more of Kalinda than any simple recipe.

"At first, the role kind of scared me," she concedes. "Kalinda seemed like somebody who used her looks as opposed to her mind, and I was nervous that she would have a limited range. But then they also made her incredibly smart."

Panjabi, who in person is soft-spoken, with raven hair to her shoulders, a hearty laugh and sparkling eyes, began building Kalinda from the ground up — that is, her boots, "which was something I was particular about."

She says she was given the choice of playing Kalinda with a British or American accent, and with hair up or down. (She chose her hair tightly bound up as a sign of Kalinda's fierce self-control. Besides, "She didn't need her hair down to feel sexy.")

When the pilot episode was shot, she recalls, "I didn't want her to dress in a sexy way. I was keen for her to be in jeans and a T-shirt, as if she didn't care what she looked like."

But once shooting resumed for the series' first season, the producers wanted her attire to express her sexuality. She kept the leather jacket and the boots (which are not just for vanity: "I can really run in them," Panjabi says), adding a snug skirt and tights to what became her signature style.

"The clothes and the look definitely help me perform the character," says Panjabi, adding that, despite all her differences with Kalinda, they share one trait: "There's very few people that intimidate me," she says with a laugh. "That's a little part of me in Kalinda coming through."

In the past, friendship-averse Kalinda had begun to be chummy with Alicia Florrick (played by Margulies), her law firm co-worker. But their connection was dashed when Alicia learned that not only had Kalinda previously worked for her husband (Noth), but had also slept with him.

On this Sunday's episode, Kalinda has an unexpected sexual encounter with another character while investigating a case, in a story arc that promises to heat up for her.

That suits Panjabi fine.

"There are so many smart women I know who are unafraid to celebrate their sexuality," she says. "Kalinda is sexy, yet people are drawn to her also because of the way she thinks. She's really struck a chord with women as well as men, and I don't think we see that kind of character on TV as much as we should."

During an interview, an imprisoned gang leader, Ricky Packer (Michael Irby) mentions an unsolved double murder, leading Cary (Matt Czuchry) and Dana (Monica Raymund) to dig up two bodies from a vacant lot. One of the victims is a young woman, who’s been missing for several months and evidence points to her fiancé being the murderer. Lockhart/Gardner takes the case and soon finds out that their only chance at clearing their client is to prove that the real murderer is in fact another gang leader, whose identity is only known by Ricky Packer. But the prisoner, a vicious, cold-blooded killer, is sentenced to be executed in 36 hours; therefore forcing Lockhart/Gardner to find a way to get a stay of execution so that Alicia (Julianna Margulies) can interview the guy and hopefully get the name in time.
Meanwhile, Eli (Alan Cumming) is solicited by campaign manager Mickey Gunn (Michael Kelly) to deal with the potentially compromising outcomes of an embarrassing Facebook photograph, showing state senator candidate, Robert Mulvey (Paul Fitzgerald) drunk and stooped in front of a Santa Claus statue, miming fellatio.

As for Kalinda (Archie Panjabi) she might be calling for trouble as she finds herself caught in the middle of the manipulative and seductive dance of Dana, who’s trying to trade info on Will (Josh Charles) against tip-offs on the murder case and Cary’s baffled and a little bit jealous reaction.

THE GOOD

Eli’s politically incorrectness: Though I find Eli way quieter this week than he usually can be when he’s on full ‘defusing crisis’ mode, he still gets to be his blunt, priceless self, preaching some truths in the face of his clueless client, as only he can do. His ‘here comes Santa’ double-entendre undoubtedly falls into the category of Eli’s memorable one-liners and just for that I’m willing to forgive him for not throwing one of his famous tantrums, like I’d definitely expect him to. Yes, Eli is a great political consultant and he’s second to none for dealing with crisis situations, but I confess I like him better when he’s losing it a bit (or even a lot) in the process. And Eli is too calm for my taste this week; although, I smell some potential in the new (rather awkward) bonding between Zach (Graham Phillips) and Marissa (Sarah Steele), Eli’s daughter. If those two start dating and Eli’s already quite upset pout when seeing Marissa hang out with Alicia’s son is any indication, it could be entertaining: one scene between Alicia and Eli talking and setting some ground rules for their kids, for example, would probably do wonders! Since that’s basically the only reason why I’d be interested in seeing Zach with Marissa, I’m all for it!

THE UH-OH

Dana’s double game: That girl has trouble written in capital letters on her forehead. The way she obviously manipulates Kalinda to get to Will (why is she so obsessed about a 15 year-old case by the way?) is definitely intriguing, and the fact that Kalinda allows it, even more. I like that the two women are playing each other without revealing all their cards yet and, even though, on the surface, the first round seems to be at Kalinda’s advantage – in the end, she gets the info she needs to prove Alicia’s client innocent – Dana has certainly some more tricks up her sleeve to get what she wants… The question being: what does she want? This is bound to provide some interesting upcoming power games, especially now that Cary seems a bit like tangled in the middle of something he, for once, cannot really control…

Cary and Kalinda… what?: I have to say that final scene took me off guard. Even though I’ve always enjoyed the sexual tension between the two characters, I didn’t expect them to take an actual step in that direction now and even less Kalinda to sort of be the one instigating it. Strangely, I have a hard time believing it will go anywhere farther than where they leave it off: a quick kiss, followed by Cary taking a French leave. Or maybe I just don’t want to. I like Kalinda’s speech about not always wanting something from people and Cary’s answer about not liking her being in his head. That feels sincere on both counts. The scene is intense and powerful but, especially with Dana’s interference, and everybody’s obvious hidden agendas in the trio (despite them claiming the opposite), I’d rather things stay as they are because I like those rounds of observations and intimate moments of confession a lot. I’m actually more excited by what they can potentially unravel than by the fact that they could lead to a relationship between Cary and Kalinda, at least at this point.

And Jackie (Mary Beth Peil) snoops again!: I don’t know if Alicia is aware of how nosey her mother-in-law can be but there has been a lot of prying eyes from Peter’s (Chris Noth) mother lately, laying on items that are definitely none of her business. I’m not sure where this is supposed to lead but, at some point, I’d like a real confrontation between the two women, to give an opportunity to Alicia to draw some boundaries, again, as Alicia’s already made clear in the past, like: my basque, my intimacy… or at least, to provide a pretext for Jackie to report to Peter about her findings. I know it’s mean but if Jackie’s just keep on poking her nose without any upshot ever, I admit I fail to get the point. However, Jackie expecting to turn Alicia’s laptop on just by opening it was quite amusing.

THE NOT SO GOOD

Too many uninteresting subplots to the detriment of unexplored, yet more needed, concrete fallouts: So that’s it? Diane (Christine Baranski) is supposed to have unmasked Willicia and nobody is going to talk about it? Peter threatened Will, implying that he knows about his affair with his wife and they’re going to leave it at that? Is Alicia going on with the divorce procedure or is she still thinking about it? I know everything is not supposed to be addressed every week, but I’d gladly trade yet another unnecessary minute of Grace (Mackenzie Vega) giggling in front of her computer with her tutor for a real scene with Diane. Or a scene between Kalinda and Alicia: those two haven’t had a real conversation in ages but it’s not like they have no reason to. I expect Kalinda to subtly warn Alicia about her relationship with Will, especially now that she knows that Will is investigated and that it could affect her. They might supposedly be in bad terms but it’s obvious that Kalinda is still loyal to Alicia so just give her a reason to prove it already!

What kind of relationship are Will and Alicia exactly having? I’ll say it straight: I didn’t like the scene between Alicia and Will. I’m sincerely opened to any kind of outcomes between them. They could stay together or break up, as long as they can honestly label what they mean for each other while they’re together, I’d be fine with it. That’s why I find the “Do we need to pause?” “I’m afraid even if we say we will, we won’t” lines a little bit odd, mostly because it makes Alicia sound like she’s in it just for the sex and it reduces the whole relationship to something that it’s not or at least something that does not mean the same to both parties. Not with everything that is at stake for Alicia. I don’t buy that she’s so emotionally detached, even if I understand why she’d want to. Her reluctance to commit or reveal herself is not illogical, but it shouldn’t be the only approach. In short: I crave some deep, meaningful interactions between Alicia and Will other than just the playful innuendos that we’ve been having lately. I mean, Alicia knows about the $45,000 thanks to Celeste, Will can rightfully think that Peter knows about them… they need to talk about that! Stop dodging the obvious bullet! And then, come what may…

All in all, ‘Death Row Tip’ is an enjoyable episode, but it leaves me with a taste of uncompleted by the end of the hour. One example of this is the failed attempt to deal with the questioning of the death penalty, in my opinion. Too many questions are left on hold and the ones to which I expect answers seem to be quickly brushed off to the benefit of subplots that are not always necessary, or even interesting. I guess this could qualify as good filler though, but I want The Good Wife to return to the core of its compelling drama and give me more than just teenagers’ flirting or mother-in-laws’ snooping.

Tune in to The Good Wife, Sundays 9/8c on CBS.

There are no guns in sight and nary a cuss word to be heard when Jennifer Carpenter — best known as Dexter's foulmouthed cop sister Debra — guest stars as a religious Republican professor on the December 4 episode of CBS' The Good Wife.

The brief departure from her ordinary routine is "why I was so attracted to this role," she says. Her character, Pamela Riker, hires Lockhart/Gardner to fight what she considers her illegal firing for political reasons. "It makes me realize how your politics can encourage a rush to judgment," Carpenter says. "It should be very surprising as it unfolds."

The episode also pits new hire Caitlin D'Arcy (Anna Camp), who's defending Riker, against Martha Reed (Grace Rex), the lawyer she beat out for her job at the firm. "Riker can feel how green both of them are. It's scary to have your career in less-than-capable hands," says Carpenter. As for her time with the more seasoned counsel? "Julianna [Margulies] is not only an incredible powerhouse of talent, but very warm and welcoming."